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The National Gallery: Expositions of Europe’s Christian Heritage
The National Gallery defies the historical relativism for which British galleries have become infamous.
The National Gallery defies the historical relativism for which British galleries have become infamous.
In Hannah’s Children, Catherine Pakaluk argues that tinkering and technocracy won’t save the West from its demographic decline.
Until the conversation orbits the sacrality of what Roger Scruton called ‘homecoming,’ we will be stuck with a politics of empty promises.
Smartphones and modern architecture enable and embody an endless supply of ersatz worlds with which to distract ourselves. We must resist the urge to flee from God into a multiverse of distractions, and learn to stand still in the presence of God.
The difficulty that a Jordan Peterson or an Andrew Tate have articulating faith in God is paradigmatic of the West’s decline.
Let us avoid talk of a ‘culture war’ when what we are engaged in is nothing less than a lethal spiritual conflict.
Europe does not share the American ‘faith and flag’ correlation between religion and politics.
“After this research I had a much more visceral, almost literal, sense of religion and religious practice.”
Today’s prototypical Westerner is unlikely to think of nationality when he thinks of Judaism. In many cases, one even encounters the denial of Judaism’s national character.
In rejecting its Christian heritage, Sir Geoffrey and his ilk have degraded Lincoln’s Inn to the level of knee-jerk myopia that characterises oikophobic Western liberals.
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