accident, but nevertheless it is a fact.[853]

I have already referred in an earlier chapter to the question of
degenerate art defined in a circular to the _New York Herald_ as "the
deification of ugliness."[854] The originators of this cult are here
described as a group of Satan worshippers in Paris, and the dealers by
whom the movement was propagated as "Germans," but we note amongst the
lenders to the exhibition at which these "works of art" were displayed
several Jewish names. Of one well-known Jewish artist a critic has
written:

Were these works the product of a man who had imperfect control
over his material, who, in stumbling towards the light, dwelt
inevitably upon much darkness, who sought for beauty and found
ugliness, who looked for purity and found filth--even then one
might be silent and hope for better things to come. But here,
apparently, unless my whole reading is ludicrously wrong, he
delights in deformity and glories in degradation.... He brings to
the world of art a new gospel, a black gospel, a gospel in which
everything is to be inverted and distorted. Whatsoever things are
hideous, whatsoever things are of evil report, whatsoever things
are sordid: if there be any unhealthiness or any degradation: think
on these things.

What better resume could be given of that tendency to perversion
denounced by the prophet Isaiah in the words: "Woe unto them that call
evil good, and good evil; that put darkness for light, and light for
darkness"? An organ of the Jewish press, with that sense of solidarity
which always rallies Jews to the defence of their compatriots however
culpable, immediately detects in the critic's expression of opinion the
insidious work of "anti-Semitism." A more enlightened Jew, Mr. Frank L.
Emanuel, however, having come to the support of the Gentile critic, the
Jewish journal is obliged to admit the justice of his contention that
"it is lamentable to think of the undue proportion of young Jews" who
"have joined the Revolutionary or sham 'Modern Art' movement in this
country."

The same influence will be noticed in the cinema world, where, as has
already been pointed out, history is systematically falsified in the
interests of class hatred, and everything that can tend, whilst keeping
within the present law, to undermine patriotism or morality is pressed
upon the public. And the cinema trade is almost entirely in the hands