150 THE JAPANESE ADVANCE style for the eagles and standards of our various arms. What a fine thing it is, the war-flag of the Reich ! But it's used only by the Navy. Raeder knew that, when a ship hoists its colours, it's hoisting the colours of the nation. Fritsch, on the other hand, wanted to give the Army an independent personality, and that's why our regimental flags are, in a sense, the flags of an association. They emphasise whatever personifies each particular arm, whereas what should be accented is whatever recalls that they belong to the Reich. The Crusaders, in their struggle against the Saracens, all fought under the emblem of Christendom. The Romans, also, all had the same standard. 79 18th December 1941, noon SPECIAL GUEST: HIMMLER Had the British but understood—Dutch regrets—-Japan and the white races—Kiaochow. What is happening in the Far East is happening by no will of mine. For years I never stopped telling all the English I met that they'd lose the Far East if they entered into a war in Europe. They didn't answer, but they assumed a superior air. They're masters in the art of being arrogant ! I was moved when Mussert said to me: "You will surely understand me at this hour. Three centuries of effort are going up in smoke." Himmler intervened: "We must consider this much compensation, that in this way the Dutch people will maintain its integrity, whereas, before, it was running the risk of corrupting itself with Malayan blood" Hitler continued: The Japanese are occupying all the islands, one after the other. They will get hold of Australia, too. The white race will disappear from those regions. This development began in 1914, at the moment when the European powers authorised Japan to lay her hands on Kiaochow.
THE ART TRADE 80 Night of 23rd-24th December 1941 The Museum at Linz—Belittling of great paintings by Jewish critics—Incompetence of the bourgeois leaders— The Venus of Bordone. It occurs to me that already Linz Museum can bear comparison with no-matter-which museum in New York. In the years 1890 to 1900, one could still form great collections. After that, it became practically impossible to lay one's hand on the truly great works. The Jews mounted guard and monopolised the lot. If I'd had money sooner, I'd have been able to keep in Germany a number of works that have emigrated. It's lucky I got there finally. Otherwise we'd have nothing left but rubbish, for the Jews do their business in works of real value. They made use of literature to achieve this. What we should blame is, firstly, the cowardice of our bourgeoisie, and, next, the state of society (for which the bourgeoisie is equally responsible) whereby only a tiny fraction of the population is interested in art. The Jew was able to say to himself: "These Germans, who accept perverse pictures of the crucified Christ, are capable of swallowing other horrors, too, if one can persuade them that these horrors are beautiful!" The people was not concerned in such matters. It was all the affair of the so-called élite, who believed in their own competence, whereas in reality they were not capable of telling the difference between what was beautiful and what was ugly. This set-up was useful to me at the period when, although I still hadn't much money, I began to buy. Another thing that was useful to me, in England, was the fact that certain works, by reason of their subjects, did not fit in with the conformist morals of society. So it was that I was able to take possession of the admirable Venus by Bordone, which formerly belonged to the Duke of Kent. I'm delighted that I succeeded in obtaining in England some works of the highest level in exchange for some horrors boosted by the Jewish critics. Those are real forgers' tactics on the Jews' part, for they're perfectly well aware of the worthlessness of the works they're boosting. They've used this transvaluation of values to buy, surreptitiously and at a favourable price, the masterpieces they had depreciated.