Murder in the Cathedral, part 3
by Douglas Mercer
WAY BACK in 19 hundred and 53 when White America was still at the midway point of its dissolution, the great and good Daughters of the Confederacy donated the famous and beautiful Jackson/Lee stained glass windows to the National Cathedral in Washington, DC. At the time no one thought anything was amiss in such a thing, and people went on about their great national purposes.
Fast forward to the squalid present era, and in the year five BF (Before Floyd) the deranged Christians at the Cathedral decided that the Jackson/Lee window had to come down. This decision came to fruition in September 2021, when it was announced that the windows were coming down for good and in their place will be windows depicting poor Negroes being redlined and having to shine a White man’s shoes.
The new “Black” windows and the “poem” that will accompany them are slated to be done by 2023, by which time Whites in America will have been shaved off by a few more percentage points as we make our perilous lunge down past the fifty per cent. mark.
And now Kerry James Marshall and Elizabeth Alexander have got another black feather in their black black caps.
Black black black black black.
The Washington National Cathedral has chosen Kerry James Marshall, a renowned Black artist, to design new stained-glass windows to replace former ones that featured Confederate imagery. The cathedral seeks to correct a false narrative of what America once was.
The new narrative is the false narrative and it was created out of whole cloth five minutes ago; it’s the exaltation of the Negro, the denigration of the White race — as if without our great race there would be anything like the grand edifice they are contaminating with their presence. Without us, that edifice would not be there; it would be a flimsy hut — if they were lucky.
“New windows created by artist Kerry James Marshall, a Black American man, will aim to share a new and more complete story, to tell the truth about our past and to lift up who we aspire to be as a nation,” Hollerith said.
The cathedral also announced that Elizabeth Alexander, a Black poet who spoke at then President Barack Obama’s inauguration, will write a new piece that will be inscribed in stone tablets alongside Marshall’s window installation, overlaying the previous stone tablets which venerated the lives of Confederate soldiers.
You know her “poem” will be a big fat flop of waste, but they will polish and spit and shine it, and it will still be a big fat flop of waste. Then they will pretend it is profound anyway, and ooh and ahh the way friends of the parents ooh and ahh over the scrawlings of a particularly obtuse four-year-old.
Mr. Hollerith called Mr. Marshall “one of the greatest artists of our time” and praised Ms. Alexander as “one of our nation’s most eloquent and compelling voices.”
Neither of these grandiose statements is so, but were they so the gods help us all to have fallen so far.
The announcement by the second largest US cathedral comes a day after Richmond, Virginia, unveiled a new monument commemorating the end of slavery after pulling down a statue of Confederate General Robert E. Lee that had prompted protests over racial injustice.
One by one they pick off Bobby Lee, down he comes. He’s the big dog among the Confederates; but this is just a warm up act until they go after the Washingtons and the Jeffersons. They still don’t have the juice to do this wholesale; but in a majority non-White America their end game will be the Washington Monument and Mount Rushmore. And I’ll make a prediction: The hinge moment will be Stone Mountain. If that hunkering baboon Stacy Abrams becomes governor of Georgia, this will be in her sights. Taking it down will be a blood battle. But after it, the deluge.
The windows depicting Lee and Confederate General Thomas Stonewall Jackson “did nothing to address the reality and painful legacy of America’s original sin of slavery and racism,” the Rev. Randolph Marshall Hollerith, Dean of the cathedral said.
They certainly weren’t meant to; in telling the story of a nation, the rise of a nation, the ascendance of a great and powerful people, one pays no attention to the two-bit players. That we are now elevating the losers to some kind of new pantheon is dire sign and symptom of decay; it shows a people who have lost their nerve, and this will not auger in greatness, nor be conducive to any great national purpose. If Whites ever leave the scene, there will be nothing but famine, destruction, desolation, and decay.
And make no mistake about it, the retroactive criminilization of the past is the surest signpost of the coming of a revolutionary dictatorship.
The racial-justice themed windows are expected to be completed in 2023 and permanently installed, said a cathedral spokesman.
The landmark sanctuary said in a statement that the four windows will tell a new and more complete story of the nation’s racial history. Poet Elizabeth Alexander will write a poem to be inscribed in stone tablets alongside the windows, overlaying older ones that venerated the lives of Confederate soldiers.
Overlaying, as in a palimpsest, though you can be sure no traces of the original will be in evidence; they are literally overwriting our history, erasing it, and putting their graffiti on it; it is a new story but in no way is it “more complete.” To wash out the main story line and and center the marginal, the alien, is propaganda from those who plan dark, wet deeds in the night. (One might as well tell the tale of America becoming an industrial giant by focusing on the shoe shine boys.)
It is not the real story, not at all; it is their story, one might say their cover story.
The project is expected to be completed by 2023. The windows will replace a set that honored two Confederate generals, Robert E. Lee and Stonewall Jackson, with saint-like reverence and had included a Confederate flag.
New saints now, new heroes, new stories, a new ideology, a new morality; the nation will go by the same name (for a while) but will be that of a different people.
In replacing the windows, the cathedral acknowledged a need to correct what it called a false narrative of what America once was.
“The old windows were a barrier to our mission and impediment to worship in this place, and they had no place being in sacred space,” the Very Rev. Randolph Marshall Hollerith, Dean of the cathedral, said in a Thursday news conference.
Worshipping what? Not God, or the gods, that is for sure; the Episcopalians are so forward-thinking they stopped believing in Jesus Christ long ago, except perhaps as an abstract spirit of Jewish anti-Whiteness. And not God; they are more likely to be cosmopolitan agnostics than anything else. No, they worship the new creed, the new state religion, the religion that says that all of American History, and all White people, are evil, and that they must be rooted out root and branch; they are the preening avatars of a new and perverted and inverted morality molded out of thin air and bearing no resemblance to reality; and it is this morality that they worship; they think the arc of history has bent towards them, and they worship themselves.
“This is a once-in-a-generation opportunity for the cathedral to not only create beautiful art but to stake a claim about what and who we value.”
What they actually are is criminal race traitors waging ceaseless war against the founding people of this country by vilifying us, marginalizing us, ostracizing us, and relegating us to a servile status. This is the state religion of the National Cathedral; this is what those wafts of weird incense are all about, as they lust after ebony gods.
The Rev. Marshall Hollerith, Dean of the cathedral, always has a new dagger to stick in our hearts:
“The move will help educate the public about our country’s racist past and point all Americans toward a more just and inclusive future. As artists adept at capturing the lived experience of Black Americans, Marshall and Alexander will add a new and important chapter to the Cathedral’s history of art and architecture, and reflect the Cathedral’s aspirations to be a sacred gathering place where all Americans can see themselves reflected in its expanding art and iconography.”
It’s ironic that the “all men are created equal” fiasco was never meant to include Negroes, but by the time it did our enemies’ phrase “all Americans” certainly does not include White people.
Support for the windows’ replacement project and related public programming to highlight the Foundation’s and the Cathedral’s ongoing commitment to racial justice and reconciliation is provided by the Ford Foundation and The Andrew W. Mellon Foundation. The Hearthland Foundation, founded by Kate Capshaw and Steven Spielberg, is also providing funding to the project, with support directed to the poetry-inscribed tablets.
Originally an Episcopalian Capshaw converted to Judaism before marrying Spielberg. The two were married in both a civil ceremony and an Orthodox ceremony.
Steven Spielberg was born in Cincinnati, Ohio. His family were Orthodox Jewish. Spielberg’s paternal grandparents were Ashkenazi Jews from Ukraine who settled in Cincinnati in the 1900s. Spielberg attended Hebrew school from 1953 to 1957, in classes taught by Rabbi Albert L. Lewis.
Like clockwork, these filthy Jews stick their long filthy noses into our business.
Once completed, the new racial justice windows will be installed, and they will remain a permanent part of the Cathedral’s world-renowned sacred iconography.
Sacred, sacred, sacred; I’ll tell you what’s sacred: Hitler and Pierce and National Socialism and the men who keep their spirits alive and expanding today, that’s what.
They tell us those lovely and moving paeans to Lee and Jackson were very much temporary; but these droppings of rotted waste shall be “permanent.” So says the new Ozymandias.
A special Windows Replacement Committee has been overseeing the future of the former Lee-Jackson windows, along with the Rev. Canon Leonard L. Hamlin Sr., Canon Missioner and Minister for Equality and Diversity at Washington National Cathedral.
Not Minister for Jesus Christ, but Minister for Equality and Diversity — though, any more, they are one and the same thing.
“We sincerely hope that an honest examination of the painful legacy represented in these windows will help all Americans forge a clearer understanding of our past. Looking to our future, we are committed to working to help unite this country around a shared identity of inclusion, equality, and true justice for all. The old windows’ association with racial oppression, human subjugation and white supremacy does not belong in the sacred fabric of this Cathedral.”
So said that rhetorical charnel house called Dean Randolph, White man, abomination, truckler, buckler, and traitor.
That “sacred fabric,” however, is paper thin.
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Adolf Hitler knew the importance of such national halls of fame; the importance of constructing buildings that were the repository of the nation’s culture, heritage, and history. A place where the average citizen can walk in and see an overwhelming display and say — this is who we were; this is who we are; this is who we will be. He knew that such places must be magnificent, monumental, awe-inspiring, and imposing. He wanted a German to walk in to his buildings and see the grandeur of the German people.
All nations do this, and the elite crew of vicious vermin and “liberal” maggots at the National Cathedral are no different. They are taking a sledgehammer to the former greatness of this nation, and when they are done not stone one will be left. In its place they will erect a vile story of a helpless and hopeless people who by the “inspired word” of the Jewish god and the insipid words of the “American Creed,” were lifted up and elevated to a place of honor in this country — and stand now with their dirty feet on the necks of those who actually created it.
And the infection is spreading:
In August 2020, a United Methodist church in Boise, Idaho, known as the Cathedral of the Rockies, deconsecrated a stained-glass window featuring Lee. In its place, the church will honor Bishop Leontine Kelly, the first African American woman bishop in the United Methodist Church, according to the Rev. Duane Anders, pastor of the church.
That is, they didn’t just remove the window of Lee; they “deconsecrated” it. That is, they put on their miters and whipped up a witches’ brew of holy water, wagged their tongues with some rancid nonsense, waved their grubby hands in the air, and pretended to “de-sanctify” the artwork depicting Lee, thereby, they think, ridding themselves of the spiritual pollution of being associated with him; one day the great man was sacred, but now his image can safely be shattered and replaced with an ugly Black female of no distinction whatsoever.
The amazing thing is that they didn’t bring in a priest to exorcise the spot where the image of Lee was housed; but then, who knows, maybe they did.
And now the National Cathedral will take the Lee Window and cart it around, like the Romans did to the captured leaders of their enemies.
They will take that window of Lee and put it on display, as if it were in a zoo. They will use it like an object lesson in evil, telling us of the “depravity” of the men who put race above “sacred” things like the Constitution and the American union. That is, they will turn truth on its head.
The cathedral has loaned the Robert E. Lee window to the National Museum of African American History and Culture for a new exhibit, Make Good the Promises: Reconstruction and Its Legacies. The museum said the window represents the myth-building and the nationwide intimidation of African Americans through the embrace of Confederate symbols.
Why, it’s as if they are treating Lee as a captured slave for Negroes to gawk at and point at — and hiss their stupid execrations at a man who is in every respect their better.
In the summer of 2020, amid the historic movement for racial justice following the police killing of George Floyd, the Cathedral began collaborating with the Smithsonian’s National Museum of African American History and Culture (NMAAHC) to plan the public exhibition of the Robert E. Lee window.
Seeing White Americans tolerate this reminds us that the arc of history often bends toward madness.
* * *
The setting is particularly significant in the massive neo-Gothic cathedral, which is filled with iconography depicting the American story in glass, stone, and other media, with images ranging from presidents to famous cultural figures and state symbols.
He noted that the cathedral set a monumental goal of having the windows depict the pain as well as the dignity of the African-American struggle for justice and equality.
Hitler knew the value of monumentalism. During the war, the National Socialists went on an art spree, buying and repossessing countless works of the Old Masters. By doing this they were removing them largely from the hands of Jews, who had no right to them, and who were using them (at best) for the purposes of making money. The number of such paintings became so large, and the danger to them from air raids became so acute, that they dug a two-mile-long tunnel five feet high and many feet below the surface of the Earth to house many of them in an abandoned salt mine in Austria. They had every right to take custody of them. Their motives were noble.
The eventual home of these masterpieces of the White race was to be the European Culture Center in Linz.
Even during the culmination of the disaster of 1945, when Hitler ordered the destruction of infrastructure so it would not fall into the hands of Europe’s enemies, he specifically excepted those artworks in that tunnel in Austria. There is a story, and perhaps it is true, that amidst the chaos, a German officer in the area countermanded Hitler’s order of salvation for the art. He is said to have put out the word that the Rembrandts and the Goyas and the Bruegels and all the rest were to be dynamited and smashed to smithereens. Only when a subordinate of his went rogue were they saved, and you probably know the rest of the story. After 1945, they were eventually carted back to the Jews along with wagonloads of our money as “compensation” for such “persecution.”
* * *
One thinks about the “art” produced and promoted today by the Jews and their servants, which functions as a battering ram against our people. One thinks of the shambling things which make it, and the beings from the pit who force it upon us. One thinks of the generations of White children who have been harmed by them and by their works.
And, of an Autumn evening, as the day passes into a thousand fires of orange and red, one dreams of the fate of such things in the not-too-distant future. One dreams of them, condemned not merely to the darkness of an Austrian salt mine, but to the pit of eternal blackness from whence they came — on the command of a new Leader, who will issue the order for a million righteous fires to begin.
An uncountermandable final order.
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