Degenerate Jewish “Art”

Compilation and comments by Sword Brethren


Wassily Kandinsky

01-Kandinsky_WWIComposition VII  (in his own words it was the most complicated piece he ever painted)

Pablo Picasso

02-Picasso_three_musicians_moma_2006Three Musicians

Egon Schiele


04-EgonSchieleSelfPortrait1Self-Portrait (the only thing honest about this Jew is that he portrays himself as the vile creature of rot and decay that he is)

05-EgonSchieleSelfPortrait2His next self-portrait (look at how he captures his inner essence, this is perhaps one of the few times he is honest, in how he captures his “inner beauty” because he shows himself to be what he is, a DEMONIC CHILD OF SATAN in human form. The Devil is a Jew and Jews are of their father the DEVIL and the LUSTS OF THEIR FATHER THEY WILL DO!)

06-SitzenderweiblicherAktSitzender weiblicher Akt  (this is how the filthy Jew, Egon Schiele, views his lover, this is his idealization of womanhood, the Jew only seeks to liberate a woman from the protection of her family and community so he can pollute and corrupt her)

07-TodundMadchenTod und Mädchen (Death and the Maiden) (Another “masterpiece” by Egon Schiele the stench of death and decay must pervade all their works, it must be vile, obscene, unnatural, hideous, vulgar, Paul declared that God is not the author of confusion, but of peace, these works, coming from Jewish minds, are clearly the results of the author of confusion, the father of all lies, Satan)

Ernst Ludwig Kirchner


09-MarzellaMarzella (two years in the making, this sums up the Jewish mentality towards womanhood, has anything even remotely neutral and non-offensive ever come from the minds of these creeps?)

10-Self-portraitasaSoldierErnst Ludwig Kirchner’s Self-portrait as a Soldier  (He was never wounded, he did not suffer any amputations, and there is no evidence he ever fired his rifle in combat or ever closed with the enemy, while he claims to have volunteered in September of 1914 it remains to be proven just how he came to wind up in military service. What is known is that he was discharged in early 1915 after he had a nervous break-down and a total mental collapse, at which time he was institutionalized. He like all Jews was a maniac and a neurotic fiend. His art-work must therefore gratify his decaying nerves. Once again he cannot pass up the chance to mock womanhood and show that the only ideals he holds to are perverse ideals, his view of woman is a view that could only form in the twisted mind of one of Satan’s disciples. This freak had been painting for only about thirty years and had come up with over SIX HUNDRED “works” which, when seized by the National-Socialists in 1938, caused him to commit suicide due to depression… He was forbidden from painting and his works were seized, so he killed himself because he was no longer able to push perversion on the West and thus he had no purpose left in life. You may ask yourself how any artist can come up with six hundred works, but the answer is simple… Real artists such as Michelangelo and Rembrandt spend a lifetime on perhaps a half-dozen true masterpieces, but the Jew simply masturbates on a canvas and calls it a masterpiece, so they can turn out filth at an alarming rate. It should be no surprise at all that Schiele had HUNDREDS of works that were seized by the police, who condemned them as pornographic and degenerate, and that Kirchner had almost ONE THOUSAND works).


Ephraim Goldberg


12-DancingHousePrague (Czech Republic)  Dancing House

13-GuggenheimMuseumBilbao (Spain) Guggenheim Museum

14-Seattle_EMPSeattle (Washington, USA) Experience Museum Project

15-Disney_Concert_HallWalt Disney Concert Hall


Degenerate Art

EntarteteKunstCover of the exhibition program: Degenerate Art exhibition, 1937. Note the word “Kunst”, meaning art, in scare quotes

Degenerate art (Entartete Kunst, in German) is a term used to describe pieces of art that are intended to perversion. Even Neanderthal cave paintings are far superior to degenerate art. While the origin of this term dates from the nineteenth century or even earlier, was popularized during the years of the Third Reich.

In 2005, ABCNews ran this test to bigwigs in the “art” industry to see if they could tell whether a piece was “modern art” or was just artwork by a toddler. The art bigwigs could not tell.[1] Even art by animals is of the same quality or superior to “modern art”. In another instance, toddler Freddie Linsky in 2007 did ketchup paintings and fooled the art world into thinking a famous adult degenerate artist made them.[2]

Degenerate art during the Third Reich

Hitler’s rise to power on January 31, 1933 was quickly followed by actions intended to cleanse the culture of degeneracy: book burnings were organized, artists and musicians were dismissed from teaching positions, and curators who had shown a partiality to degenerate art were replaced by Party members.[3] In September 1933 the Reichskulturkammer (Reich Culture Chamber) was established, with Dr. Joseph Goebbels, Hitler’s Reichminister für Volksaufklärung und Propaganda (Reich Minister for Public Enlightenment and Propaganda) in charge. Subchambers within the Culture Chamber, representing the individual arts (music, film, literature, architecture, and the visual arts) were created; these were membership groups consisting of “racially pure” artists supportive of the Party, or willing to be compliant. Dr. Goebbels made it clear: “In future only those who are members of a chamber are allowed to be productive in our cultural life. Membership is open only to those who fulfill the entrance condition. In this way all unwanted and damaging elements have been excluded.”[4] By 1935 the Reich Culture Chamber had 100,000 members.[5]

Nonetheless there was, during the period 1933-1934, some confusion within the Party on the question of Expressionism. Dr. Goebbels and some others believed that the forceful works of such artists as Emil Nolde, Ernst Barlach and Erich Heckel exemplified the Nordic spirit; as Dr. Goebbels explained, “We National-Socialists are not unmodern; we are the carrier of a new modernity, not only in politics and in social matters, but also in art and intellectual matters.”[6] However, a fraction led by Rosenberg despised the Expressionists, leading to a bitter ideological dispute which was settled only in September 1934, when Hitler declared that there would be no place for modernist experimentation in the Reich.[7]

Although books by Franz Kafka could no longer be bought by 1939, works by ideologically suspect authors such as Hermann Hesse and Hans Fallada were widely read.[8] Mass culture was less stringently regulated than high culture, possibly because the authorities feared the consequences of too heavy-handed interference in popular entertainment.[9] Thus, until the outbreak of the war, most Hollywood films could be screened, including It Happened One Night, San Francisco, and Gone with the Wind. While performance of atonal music was banned, the prohibition of jazz was less strictly enforced. Benny Goodman and Django Reinhardt were popular, and leading British and American jazz bands continued to perform in major cities until the war; thereafter, dance bands officially played “swing” rather than the banned jazz.[10]

421px-'The_Prophet',_woodcut_by_Emil_Nolde,_1912Membership in the NSDAP did not protect Emil Nolde, whose 1912 woodcut The Prophet is shown here, from being proscribed by Hitler. 1052 of Nolde’s paintings were removed from German museums, more than any other artist.

The Entartete Kunst exhibit

By 1937, the concept of degeneracy was firmly entrenched in National-Socialist policy. On June 30 of that year Dr. Goebbels put Adolf Ziegler, the head of the Reichskammer der Bildenden Künste (Reich Chamber of Visual Art), in charge of a six-man commission authorized to confiscate from museums and art collections throughout the Reich, any remaining art deemed modern, degenerate, or subversive. These works were then to be presented to the public in an exhibit intended to incite further revulsion against the “perverse Jewish spirit” penetrating German culture.[11]

Over 5,000 works were seized, including 1,052 by Nolde, 759 by Heckel, 639 by Ernst Ludwig Kirchner and 508 by Max Beckmann, as well as smaller numbers of works by such artists as Alexander Archipenko, Marc Chagall, James Ensor, Henri Matisse, Pablo Picasso and Vincent van Gogh.[12] The Entartete Kunst exhibit, featuring over 650 paintings, sculptures, prints, and books from the collections of thirty two German museums, premiered in Munich on July 19, 1937 and remained on view until November 30 before travelling to eleven other cities in Germany and Austria.

The exhibit was held on the second floor of a building formerly occupied by the Institute of Archaeology. Viewers had to reach the exhibit by means of a narrow staircase. The first sculpture was an oversized, theatrical portrait of Jesus, which purposely intimidated viewers as they literally bumped into it in order to enter. The rooms were made of temporary partitions and deliberately chaotic and overfilled. Pictures were crowded together, sometimes unframed, usually hung by cord.

The first three rooms were grouped thematically. The first room contained works considered demeaning of religion; the second featured works by Jewish artists in particular; the third contained works deemed insulting to the women, soldiers and farmers of Germany. The rest of the exhibit had no particular theme.

There were slogans painted on the walls. For example:

  • Insolent mockery of the Divine under Centrist rule
  • Revelation of the Jewish racial soul
  • An insult to German womanhood
  • The ideal—cretin and whore
  • Deliberate sabotage of national defense
  • German farmers—a Yiddish view
  • The Jewish longing for the wilderness reveals itself—in Germany the Negro becomes the racial ideal of a degenerate art
  • Madness becomes method
  • Nature as seen by sick minds
  • Even museum bigwigs called this the “art of the German people”[13]

Speeches of National-Socialist party leaders contrasted with artist manifestos from various art movements, such as Dada and Surrealism. Next to many paintings were labels indicating how much money a museum spent to acquire the artwork. In the case of paintings acquired during the post-war Weimar hyperinflation of the early 1920s, when the cost of a kilo loaf of bread reached 233 billion German marks,[14] the prices of the paintings were of course greatly exaggerated. The exhibit was designed to promote the idea that modernism was a conspiracy by people who hated German decency, frequently identified as Jewish-Bolshevist, although only six of the 112 artists included in the exhibition were in fact Jewish.[15]

A few weeks after the opening of the exhibition, Dr. Goebbels ordered a second and more thorough scouring of German art collections; inventory lists indicate that the artworks seized in this second round, combined with those gathered prior to the exhibition, amounted to some 16,558 works.[16]

Coinciding with the Entartete Kunst exhibition, the Grosse deutsche Kunstausstellung (Great German art exhibition) made its premiere amid much pageantry. This exhibition, held at the palatial Haus der deutschen Kunst (House of German Art), displayed the work of officially approved artists such as Arno Breker and Adolf Wissel. At the end of four months Entartete Kunst had attracted over two million visitors, nearly three and a half times the number that visited the nearby Grosse deutsche Kunstausstellung.[17]

800px-Degenerate-Hitler-ZieglerAdolf Hitler and Adolf Ziegler visit the Degenerate Art exhibition, 1937.

Ausstellung_entartete_kunst_1937Dr. Goebbels views the Degenerate Art exhibition

The fate of the artists and their work

Avant-garde German artists were now branded both enemies of the state and a threat to German culture. Many went into exile. Max Beckmann fled to Amsterdam on the opening day of the entartete Kunst exhibit.[19] Max Ernst emigrated to America with the assistance of Peggy Guggenheim. Ernst Ludwig Kirchner committed suicide in Switzerland in 1938. Paul Klee spent his years in exile in Switzerland, yet was unable to obtain Swiss citizenship because of his status as a degenerate artist.

Other artists remained in internal exile. Otto Dix retreated to the countryside to paint unpeopled landscapes in a meticulous style that would not provoke the authorities.[20] The Reichskulturkammer forbade artists such as Edgar Ende and Emil Nolde from purchasing painting materials. Those who remained in Germany were forbidden to work at universities and were subject to surprise raids by the Geheime Staatspolizei in order to ensure that they were not violating the ban on producing artwork; Nolde secretly carried on painting, but using only watercolors (so as not to be betrayed by the telltale odor of oil paint).[21] Although officially no artists were put to death because of their work, Jews who did not escape from Germany in time were sent to concentration camps.[22] Some, if mental ill, were handled in the Action T4 (see for example Elfriede Lohse-Wächtler).

After the exhibit, paintings were sorted out for sale and sold in Switzerland at auction; some pieces were acquired by museums, others by private collectors. National-Socialist officials took many for their private use: for example, Hermann Göring took fourteen valuable pieces, including a Van Gogh and a Cézanne. In March, 1939, the Berlin Fire Brigade burned approximately 4000 works which had little value on the international market.[23][24]

A large amount of ‘degenerate art’ by Picasso, Dalí, Ernst, Klee, Léger and Miró was destroyed in a bonfire on the night of July 27, 1942 in the gardens of the Galerie nationale du Jeu de Paume in Paris.[25]

After the collapse of Third Reich and the invasion of Berlin by the Red Army, some artwork from the exhibit was found buried underground. It is unclear how many of these then reappeared in the Hermitage Museum in Saint Petersburg where they still remain.

In 2010, as work began to extend an underground line from Alexanderplatz through the historic city centre to the Brandenburg Gate, a number of sculptures from the degenerate art exhibition were unearthed in the cellar of a private house close to the “Rote Rathaus”. These included, for example, the bronze cubist style statue of a female dancer by the artist Marg Moll, and are now on display at the Neues Museum.[26][27][28]

Degenerate-AuctionA confiscated self-portrait by Vincent van Gogh is auctioned at Gallerie Fisher, Lucerne, in 1939. The winning bid was $US 40.000 by Dr. Frankfurter.[18]

Artists in the 1937 Munich show

  • Jankel Adler
  • Ernst Barlach
  • Rudolf Bauer
  • Philipp Bauknecht
  • Otto Baum
  • Willi Baumeister
  • Herbert Bayer
  • Max Beckmann
  • Rudolf Belling
  • Paul Bindel
  • Theo Brün
  • Max Burchartz
  • Fritz Burger-Mühlfeld
  • Paul Camenisch
  • Heinrich Campendonk
  • Karl Caspar
  • Maria Caspar-Filser
  • Pol Cassel
  • Marc Chagall
  • Lovis Corinth
  • Heinrich Maria Davringhausen
  • Walter Dexel
  • Johannes Diesner
  • Otto Dix
  • Pranas Domšaitis
  • Hans Christoph Drexel
  • Johannes Driesch
  • Heinrich Eberhard
  • Max Ernst
  • Hans Feibusch
  • Lyonel Feininger
  • Conrad Felixmüller
  • Otto Freundlich
  • Xaver Fuhr
  • Ludwig Gies
  • Werner Gilles
  • Otto Gleichmann
  • Rudolph Grossmann
  • George Grosz
  • Hans Grundig
  • Rudolf Haizmann
  • Raoul Hausmann
  • Guido Hebert
  • Erich Heckel
  • Wilhelm Heckrott
  • Jacoba van Heemskerck
  • Hans Siebert von Heister
  • Oswald Herzog
  • Werner Heuser
  • Heinrich Hoerle
  • Karl Hofer
  • Eugen Hoffmann
  • Johannes Itten
  • Alexej von Jawlensky
  • Eric Johanson
  • Hans Jürgen Kallmann
  • Wassily Kandinsky
  • Hanns Katz
  • Ernst Ludwig Kirchner
  • Paul Klee
  • Cesar Klein
  • Paul Kleinschmidt
  • Oskar Kokoschka
  • Otto Lange
  • Wilhelm Lehmbruck
  • Elfriede Lohse-Wächtler
  • El Lissitzky
  • Oskar Lüthy
  • Franz Marc
  • Gerhard Marcks
  • Ewald Mataré
  • Ludwig Meidner
  • Jean Metzinger
  • Constantin von Mitschke-Collande
  • László Moholy-Nagy
  • Margarethe (Marg) Moll
  • Oskar Moll
  • Johannes Molzahn
  • Piet Mondrian
  • Georg Muche
  • Otto Meuller
  • Erich(?) Nagel
  • Heinrich Nauen
  • Ernst Wilhelm Nay
  • Karel Niestrath
  • Emil Nolde
  • Otto Pankok
  • Max Pechstein
  • Max Peiffer-Watenphul
  • Hans Purrmann
  • Max Rauh
  • Hans Richter
  • Emy Röder
  • Christian Rohlfs
  • Edwin Scharff
  • Oskar Schlemmer
  • Rudolf Schlichter
  • Karl Schmidt-Rottluff
  • Werner Scholz
  • Lothar Schreyer
  • Otto Schubert
  • Kurt Schwitters
  • Lasar Segall
  • Friedrich Skade
  • Friedrich (Fritz) Stuckenberg
  • Paul Thalheimer
  • Johannes Tietz
  • Arnold Topp
  • Friedrich Vordemberge-Gildewart
  • Karl Völker
  • Christoph Voll
  • William Wauer
  • Gert Heinrich Wollheim

Status Today

Degenerate art has become far worse today from people making “art” with urine, period blood, and feces to women shoving objects up their bodily cavities, dropping them on a canvas and calling it art. Often urine and excrement are put on Christian religious symbols (e.g. the Piss Christ degenerate “art”) but put them on a Muslim or Jewish art piece and it’s not allowed. This is often done as performance art too.[29]

In 2014, 27-year-old jewish artist Lana Newstrom invented a scam called “invisible art” where gullible goyim pay millions of dollars to buy “invisible art” which is really just absolutely nothing at all.[30]

Artistic movements of degenerate art

  • Bauhaus
  • Cubism
  • Dada
  • Expressionism
  • Fauvism
  • Impressionism
  • New Objectivity
  • Performance art
  • Surrealism
  • Parasitic art

Degenerate artists

Main article: List of degenerate artists


What we are seeing are sick products of madness, impertinence and lack of talent. I would need Several freight trains to clean our galleries of this trash.” (Adolf Ziegler, House of Culture of the Third Reich, Munich 1937).

Commentaries on degenerate art: 

  1. You Call That Art?
  2. originally from but the current version lost the photos. Screencap of daily mail with photos
  3. Adam 1992, p.52
  4. Adam 1992, p.53
  5. Adam 1992, p. 53
  6. Adam 1992, p.56
  7. Grosshans 1983, p. 73-74
  8. Laqueur 1996, p. 74.
  9. Laqueur 1996, p. 73.
  10. Laqueur 1996, pp. 73-5.
  11. Adam 1992, p.123, quoting Goebbels, November 26, 1937, in Von der Grossmacht zur Weltmacht.
  12. Adam 1992, pp. 121-122
  13. Barron 1991, p.46
  14. Evans 2004, p. 106.
  15. Barron 1991, p.9.
  16. Barron 1991, pp.47-48
  17. Adam 1992, pp.124-125
  18. Hammerstingl, Werner (1998). “Entartete Kunst”, Retrieved December 31, 2007.
  19. Schulz-Hoffmann and Weiss 1984, p. 461
  20. Karcher 1988, p. 206
  21. Bradley 1986, p. 115.
  22. Petropoulos 2000, p. 217.
  23. Grosshans 1983, p. 113
  24. Entartete Kunst. (1937-07-19). Retrieved on 2010-08-12.
  25. Hellman, Mallory, Let’s Go Paris, page 84
  26. Hickley, Catherine (1946-09-27). ‘Degenerate’ Art Unearthed From Berlin Bomb Rubble. Bloomberg. Retrieved on 2010-11-10.
  27. Rescued pre-WWII ‘degenerate art’ on display in the Neues Museum in Berlin. Retrieved on 2010-11-10.
  28. Charles Hawley (11/08/2010). “Nazi Degenerate Art Rediscovered in Berlin”. Der Spiegel.


Source: Metapedia

Shylock as Judge, by Heinrich Härtle — part 8

Part 7

A veteran judge of the Moscow Show-Trials played an important role in determining procedure for the International Military Tribunal at Nuremberg.


The Law of Nikitchenko

From Freispruch für Deutschland by Heinrich Härtle

Translated by Hadding Scott, 2015

Jackson’s staunchest ally, both now in the preparation and later in the conduct of the trial, is Comrade Nikitchenko, vice-president of the Supreme Court of the Soviet Union, now Stalin’s representative in the negotiations at London, major-general of the Red Army, soon to be Soviet judge in Nuremberg. Nikitchenko sweeps away Sir David’s concerns about Norway with the pronouncement from the table that such a question would not even be allowed to be raised before the tribunal. The tribunal would simply deem it as “given” that the Germans wanted to attack Norway. Nikitchenko’s recommendations become law. Anti-Bolshevik and Bolshevik agree on a procedure whereby only such deeds as could be blamed on the conquered would be allowed to be discussed.

International Law, to which alone whoever claims the judgeship may appeal, must be accordingly stretched for the purpose, to be able to reach the goal of retribution. Sir David goes so far – and Nikitchenko hears this with amusement – that he dares to demand:

What we want to abolish at the trial is a discussion about whether the acts are violations of International Law or not. We declare what the International Law is so that there won’t be any discussion on whether it is International Law or not.[DoS publ. 3080, p.99]

Now all legal impediments seem to be eliminated. Only in one central question does considerable doubt occur to the French expert on International Law, Dr. André [Gros]. He opines that it would be morally and politically desirable to make the defeated statesmen and generals responsible for the war, “but that it is not International Law.” (DoS publ. 3080, p. 297)

But for Jackson this is not a problem. He bends International Law as needed and dares to require something that in itself would certainly have sufficed to expose his trial as a mockery of all principles of justice. Jackson responds that Professor André’s criticisms seem to leave the tribunal in such a position that it could be justly affirmed that there is no personal responsibility.

We must declare that they are answerable personally, and I am frank to say that International Law is indefinite and weak in our support on that…. [DoS publ. 3080, p. 331]

Now one understands why the Allies waited until four years after their Nuremberg Tribunal to publish the transcript of the preparatory negotiations about the principles of the charter; only in 1949 was it allowed to appear. On pages 104-106 of The Report of Robert H. Jackson, United States Representative to the International Conference on Military Trials, London 1945, published by the U.S. Department of State, is reported a demand by Nikitchenko that can only be designated as the juristic counterpart to Stalin’s Katyn-method. With unprecedented impudence Jackson’s colleague admits the fundamental law of Soviet class-struggle justice. Bolshevik partinost, partisanism, is set without any reservation as the legal foundation for the international court:

[GENERAL NIKITCHENKO.] … [W]ith regard to the position of the judge — the Soviet delegation considers that there is no necessity in trials of this sort to accept the principle that the judge is a completely disinterested party with no previous knowledge of the case. The declaration of the Crimea Conference is quite clear that the objective is to bring these criminals to a just and speedy trial. Therefore, the judge, before he takes his seat, already knows what has been quoted in the press of all countries, and it is well known about the criminal as accused and the general outline of the case against him. The case for the prosecution is undoubtedly known to the judge before the trial starts and there is, therefore, no necessity to create a sort of fiction that the judge is a disinterested person who has no legal knowledge of what has happened before. If such procedure is adopted that the judge is supposed to be impartial, it  would only lead to unnecessary delays….

… [I]t has been decided that they shall go through a process of trial, but the object of that trial is, of course, the punishment of the criminals, and therefore the role of the prosecutor should be merely a role of assisting the court in the actual cases. […] [T]he prosecution would assist the judge, and there would be no question that the judge has the character of an impartial person.

That is the classic method of the Bolshevik show-trials. The only totally new thing in it is the fact that legal representatives of cultured European nations themselves in their quest for vengeance lower themselves to the point of applying this anti-justice to a cultured nation. The delegates of English, French, and American justice have never proclaimed it so brutally. But then they accused, judged, and sentenced according to that Stalinist principle that Nikitchenko was permitted to demand from them in all openness:

GENERAL NIKITCHENKO. […] We are dealing here with the chief war-criminals, who have already been convicted and whose conviction has been already announced by both the Moscow and Crimea declarations by the heads of the governments, and those declarations both declare to carry out immediately just punishment for the offenses which have been committed. [DoS publ. 3080, pp.104-105]

That was on 20 June 1945. One month later, on 19 July 1945, Nikitchenko can again summarize his ideas about an international court in two sentences:

GENERAL NIKITCHENKO.The fact that the Nazi leaders are criminals has already been established. The task of the tribunal is only to determine the measure of guilt of each particular person and mete out the necessary punishment — the sentences. [DoS publ. 3080, p. 303]

That is Bolshevik legal philosophy from GenrikhYagoda to Hilda Benjamin. The only new part, we must repeat, is that proletarian class-justice is now adopted by the jurists of the Western democracies. No less a figure than the supreme representative of the English legal system, Lord Justice Geoffrey Lawrence, just four years later on 14 May 1949 praised the “competence and impartiality” of the juristic functionaries of Soviet partinost.

“One hand washes the other.” That is also a Russian saying. In exchange for the adoption of Russian trial-methods by the West, the East is ready to suppress a problem that is dangerous for the American and English justice-fanatics: the Anglo-American air-terror.

The silence about this was so complete that the debates about this conundrum are even prevented from being recorded in the transcript of the London negotiations. Only years later did Chief Justice Jackson admit that this question was discussed, and that it was agreed not to charge the Germans with the air-attacks upon civilian populations of which they were supposedly guilty. Otherwise, it would inevitably have been revealed in Nuremberg that the main guilt for terror-bombing, for the most brutal barbarity of the 20th century, belongs to those powers that play the accusers before the International Military Tribunal. With unsurpassable brazenness Jackson admitted:

“This subject would have immediately given rise to a demand for making counter-accusations, which would not have been useful in the trial.”

After they have indefatigably made their conception prevail, the Soviets savor the mockery of justice. Since 1943 they have already liquidated hundreds of thousands of German “Nazis and militarists”; now they begin the complementary “juristic” persecution and plan no less than 200,000 such “trials.”

Part 9

Source: National-Socialist Worldview