The Course of Empire, The Voyage of Life and the America we have lost
Meditation on a forgotten genius, the artist Thomas Cole, or,
A paradise that was hope of the world destroyed by the perversion of the Jews
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TO GET THE WHOLE MESSAGE)
We have been taught how not to see. The blindness that envelops us today leaves us helpless on the eve of multiple disasters that most of us will not survive. Once, long ago, America was a vision that was the hope of the world. Today, America is the world's worst nightmare as the darkness closes in on everyone with depressing finality, and from all directions.
The clearest vision of this hope that was the dream of America was painted on canvas and distributed widely throughout the U.S. in those hopeful days before the Civil War began the rot that has led us to the eve of destruction we confront today.
The creator of this vision was a far-seeing artist, famous worldwide, named Thomas Cole. In 1842 he designed his wish for the future of humanity with prescient foresight, measured optimism and profound wisdom.
What has happened to us since is the tragic result of not seeing what he showed us, or truly hearing in our minds what his visions told us.
Are you too lazy to save your own life?
Sure, you can titillate yourself with authentically dire predictions about this catastrophe or that deception, and wind up as a heap of quivering Jello bemoaning your own pathetic fate. Or, you can understand where America was headed before it was derailed by a sinister force that beguiled us into greed and trickery, that coerced us into believing that we should act only for ourselves and ignore the eternal truth that without honest neighbors, we will forever have no decent place to live.
This is your choice: to click up some scary YouTube and cower from a disaster you may not avoid, or, try to comprehend what has really happened to us, and take the necessary steps — which are not very complicated at all — toward restoring simple honest lives with the highest values as goals that all of us — except a very few truly evil men — seek to live by.
For once in your truncated, diseased life, develop some discipline and understand the components of what a good life requires. Study these pictures — muse over them — stop looking for a quick fix or some magical force to save you, and understand the work and the knowledge it will take to rescue the world from this consensus insanity that has been imposed upon us by the Jews.
Cole devised the formula with sublime clarity in the mid-19th century, and it would work today, had we but the good hearts and sincere consciences to accept its timeless counsel.
'The Course of Empire'
Although this was never taught to you in any school you attended, Thomas Cole chronicled America's noble spirit that infused the world with its majestic hope.
Cole was best known as the founder of the Hudson River School of art that kindled the spirit of boundless freedom with sublimely inspiring vistas of nature's beauty. In an era that saw the works of Thoreau, Emerson and Melville enlarge the scope of human hope with their grand visions of thoughtful consciousness, Cole's translucent landscapes combined a firm knowledge of history with an understanding of the passages in life that apply to every person who calls himself an authentic human being.
At the center of Cole's philosophy was the notion that each of us has an angel who guides us, whether we want to acknowledge it or not.
Cole first captured the world's attention in a series of five grand philosophical dreamscapes titled "The Course of Empire", which charted the predictable lifespans of all great civilizations. These archetypal scenes melded the tragic history of the Roman Empire with a prescient prediction of what would happen to America — In Cole's time, still rising toward world pre-eminence — if it followed the accursed path to empire.
Of “The Course of Empire,” James Fenimore Cooper said it was “the work of the highest genius this country has ever produced.”
If you value your future — and the future of your country — at all, take a moment to examine and savor the articulate detail of Cole's lucid geopolitical chronicle, as his dream empire evolves through predictable stages of primitive savagery, the taming of its wilderness, and its lavish victory over barbarism and chaos. It then devolves sharply as its triumphs erode and die. What follows is its unavoidable fate into destruction and desolation.
Ponder this relevant glimpse into your own future that was painted 171 years ago.
Be sure and click the enlarge button at the lower right of each portrait and let the full force of Cole's vision resonate in your heart. Don't toss it off as some hasty YouTube to be sampled but not swallowed. Understand what it means, and how it so appropriately prefigured what is in store for us today as we continue on this rampaging path to ruin.
Grand as this vision was, it was only a warmup for what is perhaps the most transcendent series of images any artist of any time ever created by putting a brush to canvas.
Inauthentic Jewish critics have hijacked humanity's artistic sensitivities over the past century and a half with meaningless drivel soberly explaining senseless abstractions, and swindled us into confusing the bizarre with the beautiful. These disingenuous shills never choose to mention Cole in their breathless endorsements, not only because he's not Jewish, but because he preaches ultimate freedom from every kind of terror except our own consciences, which is exactly the opposite of what the Jews want the rest of the world to believe.
American society has been wrecked by Jewish pitchmen breathlessly extolling the blatant inferiority of Jewish art, which has had the effect of dulling the American mind. As a result, most Americans can no longer can perceive what genuine beauty and wisdom — such as Thomas Cole's grasp of the higher lessons of life — really are.
What this principled artist produced next stands as the very highest point ever reached by any master painter, and his sterling achievements have been buried by Jewish poseurs such as Picasso, Gauguin and all the other kosher psychos mindlessly spewing the garbage contents of their warped minds while Jewish reviewers call it genius.
'The Voyage of Life'
Cole created his four-part "The Voyage of Life" series twice. The first set he finally sold, after a European tour, to a collector who initially refused show it to the public. This being the case, Cole created a second set of the same series with the same theme and nearly identical executions, only ramped up with the improvements editing produces, and which I recently had the privilege to experience as it is now the centerpiece of the National Gallery of Art collection at the Smithsonian Institution in Washington, D.C.
If you have never looked carefully at paintings by masters to feel the full force of their power, then this would be them.
The Voyage of Life series, painted by Thomas Cole in 1842, is a series of paintings that represent an allegory of the four stages of human life: childhood, youth, manhood, and old age. The paintings follow a voyager who travels in a boat on a river through the mid-19th-century American wilderness. In each painting, accompanied by a guardian angel, the voyager rides the boat on the River of Life. The landscape, corresponding to the seasons of the year, plays a major role in telling the story. In each picture, the boat's direction of travel is reversed from the previous picture. In childhood, the infant glides from a dark cave into a rich, green landscape. As a youth, the boy takes control of the boat and aims for a shining castle in the sky. In manhood, the adult relies on prayer and religious faith to sustain him through rough waters and a threatening landscape. Finally, the man becomes old and the angel guides him to heaven across the waters of eternity.
Open each link separately, and then enlarge it to full screen to absorb the elegant detail of each unique but familiar visual description of the major passages in the human lifespan.
An infant guarded by an angel begins the voyage on the river of life. Note the angel on the prow holding an hourglass.
When the mind leaves the angel behind and elevates the ordinary into the magnificent as it approaches the rocky rapids of life.
Facing the trials of life, man no longer sees the angel, but prays anyway. The sunlight of youth gives way to ominous skies, grass has turned to rock, as the voyage heads toward a waterfall from which there is no return.
Man and the angel, alone in the boat, as the river flows toward the waters of eternity. The hourglass is gone.
Who are we as people? The sky is permanently gray in Beijing, permanently milk white in Washington. Mothers abandon their children and take karate lessons. Men get lost in the camaraderie of strangers, obsess over meaningless sports spectacles, and prefer thoughtless addictions to consciousness. In fact the people of the world prefer illusions to consciousness, because the latter contains questions that have not yet been answered, and might never be answered.
People don't want the simple things; they want the tantalizing thrills, and forget what it takes to maintain their health as they strive feverishly to stay high. People don't want the vegetables; they want the exotic fruits and fancy dishes, then wonder why they get mysterious diseases. Same with politics: they want something for nothing, and then act surprised when they realize that what they have is . . . nothing.
We can't dress wild game or make our own clothes, two things we will need to do very soon, when the supermarkets close and all the food trucks stop running up and down the empty interstates.
Thomas Cole died early, at age 47, of pleurisy on a cold February day, but his work lived on in the minds of those who had seen it, as well as in the other great artists of the Hudson River School, such as his protege Frederic Church, plus a handful of other now forgotten names. Cole was so famous and his work so widely reproduced that versions of his paintings could be found hanging in many American homes throughout the late 1800s.
The hopeful beauty Cole so graciously depicted marked the high point not only in American art but also in the American attitude, which a mere decade later was wiped out by the ominous approach of the American Civil War, fomented by the same force that besieges us today.
The Cole era really ended at a wedding in London at which Benjamin Disraeli recounted a conversation between the two Rothschild brothers, Lionel and Nathanael, plotting to fund different sides in the Civil War to split the fledgling Western republic into two less powerful parts.
You see, the same evil force that encouraged the abolitionists also created and nurtured the practice of slavery, with its endless armada of slave ships that traded watered-down rum for kidnapped African innocents. Ever since, this same force has controlled both sides of every political argument, and lined them up against each other for maximum carnage and perpetual profits.
Jewish bankers supervised the passage of increasingly unfair currency laws and throughout the remainder of the 19th century, fabricated stock market crashes in order to steal land, businesses and people's lives. As Bill Still so meticulously documented in his "The Secret of Oz" video <http://www.youtube.com/watch?v=swkq2E8mswI>, Jews and their European stooges continued to steadily shrink the money supply, retarding America's economic growth and creating an endless robbery, diminishing the residents of a boundlessly rich land into abject poverty.
The creation of USA Inc. in 1871 and the passage of corporate personhood in 1886, plus the assassination of two American presidents who opposed this perpetual financial predation, continued the downward spiral.
From the 1880s on, the steady immigration of Jews from Russia and the Eastern European countries, necessitated by czarist pogroms that the Jews themselves initiated and then misreported to the Jewish controlled Western press, watered down the U.S. electorate with Talmudic radicals, much the same way that unrestricted immigration of Latinos enabled the tyrant Barack Obama to get elected by a seriously undereducated American electorate.
Epitomized by the Emma Lazarus poem on the Statue of Liberty ("Give us your tired and poor and hungry" etc.), these cynical ruses enabled totalitarian Jewish legislation that eventually led to the passage of laws by corrupt politicians bought off by Jews that ruined the American republic beyond repair.
This occurred exactly one hundred years ago, long after Thomas Cole was forgotten.
In the watershed year of 1913, the passage of the Federal Reserve act and the creation of the income tax guaranteed the puppet masters enough cash to engineer the start of World War I, the War to End All Wars. At the center of the Jewish scam was a document known as the Balfour Declaration, in which England gave Jews the right to colonize the criminal state that a half century later would become the outlaw state known as Israel.
Shortly after WW I came the Jewish murder spree known as the Bolshevik Revolution, the great theft of land from American farmers in 1921, the Great Depression of 1929, and the U.S. bankruptcy and Jewish declaration of war on Germany in 1933.
While 7 million American starved to death during the 1930s, German independence created unprecedented prosperity until the Jews in control of the U.S., acting as they had in 1913, decided to put a stop to Germany's financial success by creating the greatest unjust massacre in history, World War II, in which 60 million Europeans and Americans lost their lives in a needless conflagration engineered by Jewish president Franklin Roosevelt.
All of these disasters were devious Jewish enterprises, concealed from the American people by Jewish newspapers.
The subtext of both World Wars was to engineer the creation of the Jewish state, from where, as Adolf Hitler rightly predicted, the Jews could set up a base of operations from which to conquer the world, which by the year 2013 has largely already happened.
But this is not the worst of it.
In this Jewish takeover of the entire world, every single emotion that Thomas Cole itemized and portrayed so reverently in his 140-plus output of painted masterpieces had been wiped from the memory of man, so that the world's population, sickened and shrunken by Jewish control of every aspect of human existence, had been dulled and demented, and utterly unable to resist the herding of well-meaning people all over the world into camps where the only choices for their future existence were enslavement or extermination.
This was a far cry — in fact, the very opposite — from what Thomas Cole, the greatest American painter in existence before the Jews besmirched the entire sequence of art history with their counterfeit nonsense called modern art, had in mind.
Cole's work elevated human intent to a wise explanation of the reality of life, fit for all occasions.
The steps necessary for our redemption and recovery are not complicated. First and foremost it requires wrenching control of the money system from the greedy and homicidal hands of the Jews.
Second and equally important, we must recognize what life is — exactly as Thomas Cole saw it — and follow our guiding angels as calmly and kindly as possible to our inevitable destination, with the bonus prize being a substantial number of people expressing their gratitude for our existence.
We have been taught not to heed our own natures, nor the nature of natural world around us. Behaving like savages, it should come as no surprise why we are treated like savages.
But it all starts with we have been taught not to hear. We must learn to hear what we see before us, or perish.
They are those same timeless lessons that Thomas Cole heard so well, and reproduced for our eyes to see had we but the good sense to listen to what our eyes tell us is nothing but the wisdom of the ages.