The Apocalypse has Begun – The Whore of Babylon

Due to the astounding find of the billions of dollars of Nazi looted art revealed this week by Bavaria, found in a grungy apartment of an eighty year old, caught for tax evasion, and now disappeared, who was the son of one of Hitler’s four major aides, Hildebrand Gurlitt,  whose purpose was the looting all  of Europe of its art,  the only apt article to publish this week was what Albrecht Dürer had to say in the Apocalypse concerning the plan of world domination by the Germans during his time and of which he was a pawn in their plans.  The Bavarians today, primarily Nuremberg and Munich, had covered up their discovery of this cache of astonishing artworks, which included a Durer, for 1.5 years before it was “wikileaked” to the world, with flimsy excuses that add up to trying to retain the artworks and not repatriate them to the heirs of the owners, primarily Jews and the French.  The art world, including auctions houses, art fair promoters, dealers, museums, and German industrialists have all been complicit in this activity, thus begins the implosion of the art world.

Since the Holocaust was an extension of what the Germans had planned to do in the 1400’s using Durer as their propaganda machine, we will look at the message Dürer gives to us about the Whore of Babylon, his commentary on the merchants of Europe and the Patricians of Nuremberg, who were doing the same thing then as they did in World War II.

  THE WHORE OF BABYLON

The 1497 Whore of Babylon
The 1497 Whore of Babylon

Let us read what the story of Revelations-Rev 17-19 has to say about the Whore of Babylon:

Rev 17 The Great Whore and the Beast

 “Then one of the seven angels who had the seven bowls came  and said to me, “come, I will show you the judgment of the great whore who is seated on many waters, which the kings of the earth have committed fornication, and with the wine of whose fornication and the inhabitants of the earth have become drunk.  So he carried me away in the spirit into a wilderness, and I saw a woman sitting on a A SCARLET BEAST THAT WAS FULL OF BLAPHEMOUS NAMES, and it had seven heads and 10 horns.”

Dürer places the angel who had had one of the seven bowls directly in the middle of the upper composition.  This angel has wings and arms widespread showing Dürer’s selected depiction of the story to the sides and down below.  What is peculiar about his angel is that it is wearing a headband and the angel is staring directly at the viewer.

The Whore woman was clothed in PURPLE AND SCARLET AND ADORNED WITH GOLD AND JEWELS AND PEARLS, HOLDING IN HER HAND A GOLDEN CUP FULL OF ABOMINATIONS AND impurities of her fornication;

It is not by accident that THAT THIS Whore is clothed in purple and scarlet and gold and jewels and pearls in the Revelations storyline.  It is well known that these particular materials were reserved to the wealthy power classes when the story was written down through the ages.  However, except for the specific omission of the color turquoise, a color that was obtained only from the Middle East (and probably not available to the whomever wrote the Revelations story), ALL of these very specific colored materials are directly specified in the JEWISH Torah Book of Exodus 35-39.  These are the materials and specific colors, along with other precious objects (copper, gold, silver, special woods) with which the Jews in their Exodus were to erect their TABERNACLE. Exodus 35-39 is completely dedicated to God’s commandments and specifications for erecting this tabernacle.

What we see occurring in the story of Revelations is direct plagarism of the Jewish Old Testamant. The clothing of the Whore of Babylon is one example.  She is clothed in exactly the very precious materials reserved specifically for the Tabernacle-the Holy of Holies.

 And on her FOREHEAD WAS WRITTEN A NAME, A MYSTERY “Babylon the great, mother of Whores and of earth’s abominations”.  The writing of a name or a marking of a sign upon a forehead (and in some cases, on a hand) IS EXTREMELY important in the story of Revelations, for it marks  those who are doomed or saved.  This whore  in THIS composition HAS NO MARK UPON HER FOREHEAD, the mark of her selection for destruction.  Dürer indicates to us that THIS Whore, whomever this Whore represents, is going to live by the lack of a mark on her forehead designating her for destruction.

“And I saw that the woman was drunk with the blood of the saints and the blood of the witnesses to Jesus.”  There is no sign of blood in this composition, either connected to the Whore or with any other part of the storyline. Neither is THIS Whore “drunk with the blood of saints.”  She is in full control, posed sober, holding up an elaborately fashioned goblet.

 “When I saw her, I was greatly amazed.  But the angel said to me, “Why are you so amazed? I will tell you the mystery of the woman, and of the beast with seven heads and ten horns that carries her. The beast that you saw was, and is not, and is about to ascend from the bottomless pit and go to destruction.

If we take a very close look at the Whore, there is one salient oddity about this Whore-she is dressed in A TOTALLY ITALIAN STYLE DRESS.  This is our clue as to which one of the  Patricians this Whore really represents: Jakob Welser I, the exceptionally rich merchant of Augsburg, who bought his way into the Nuremberg City Council.  The name Welser is the word for “Italian” in the Nuremberg dialect, so Dürer achieves a double slur by dressing the Whore in an Italian dress: he singles out Jakob Welser as ultimate Evil and he indicates the merchants who are going to suffer the wrath of the story are those connected with trade in Italy, primarily Venice, where the German Trading Compound (Fondaccio dei Tedeschi) was located.  Venice was the merchant center of the Holy Roman Empire in Durer’s time so if merchants of the Revelations story were to be punished, they would be the German merchants plying trade in Venice and at home and all over Europe. Venice would be the substitute for the city of Babylon.

 

durer albrecht Apocalypse whore of babylon beasts
Closeup of the Cup of Abominations in the Apocalypse Whore of Babylon

The second way we know the Whore is representing Jakob Welser is the cup “of fornication” that the Whore holds on high.  This cup is highly ornately decorated and it is covered.  However, on the top of the cup is a palm tree.  There were only two Patricians that had cornered trade in the New World, where palm trees would be found, and Jakob Welser was one of these Patricians.  This is where the goblet that the Whore is holding comes into play as an encoded message.

The goblet is very ornate and is COVERED.  It is hard to be unleashing abominations onto the earth or for anyone to be drinking abominations from a covered cup.  There are three clues in this goblet: at the base, the stem is TWO twisted parts, on the goblet itself it has a twist in it (it takes two things to twist) and on the top of the covered portion of the cup is a palm tree.  Palm trees don’t grow in Nuremberg, only in the Middle East and in the New World (the Americas).

Dürer is making an inference to two Patricians: Jacob Welser the Italian (the Whore) and another Patrician who was connected to a palm tree.  The only other Patrician connected with a palm tree (what had monopolies from the New World) is Jakob Fugger from Augsburg, the wealthiest Patrician of them all, and who bought his way into the Nuremberg government also.  The Fuggers were detested by all because of their enormous wealth but there was nothing the Nuremberg Patricians could do about it.  To make an overt inference to such a powerful magnate might be easily detected but it was unlikely anyone would figure out the clue of the palm tree.

So, Dürer represented the extreme opulence and wealth of the Fuggers with an incredibly ornate cup of abomination, lets us know that there are two Patricians involved by the twisted base and the twist in the body of the goblet, and the palm tree makes the final identification-the only two Patricians who had already cornered monopolies in the New World-the two foreigners-Jakob Welser, the Whore and Jakob Fugger, the cup of abominations.

We will skip describing the beast the Whore rides since I have explained this often in other articles other than to say this beast is supposed to be FULL OF BLASHPHEMOUS NAMES and there are NO blashpermous names that we can find on this beast.

“And you said to me “The waters that you saw, where the whore is seated, are peoples and multitudes and nations and languages. And the ten horns that you saw, they and the beast will hate the whore; they will make her desolate and naked; they will devour her flesh and burn her up with fire.  For God has put it into their hearts to carry out his purposed by agreeing to give their kingdom to the beast, until the words of God will be fulfilled.  The woman you saw is the great city that rules over the kings of the earth.”

Here we have a very interesting situation.  Extremely pertinent parts of the Revelations storyline has been omitted and ignored by Dürer-it is NOT part of his message while it IS a very important part of the Revelations message. The scarlet Whore as represented is calmly riding the back of the beast.  While the beast is stepping over water (a small stream, a riverlet), the Whore is supposed to be SEATED ON MANY WATERS, and what is depicted in no way is indicative of these many waters-the peoples and multitudes and nations and languages.  Again, it is the WHORE who is supposed to be seated on many waters; the beast is supposed to be “about to be ascending from the bottomless pit of destruction.”  Instead this beast is performing as a steed for the Whore.  So the Whore  is “carrying” Welser and Fugger and other secrets.

Next, the Whore is supposed to be depicted as desolate and naked and burning up in fire.  Instead we have a elaborately clothed Whore, richly and ornately clothed in Italian dress and headdress.  There are large flames that are behind the Whore and the beast, but the flames are not touching either figure.  THIS Whore and beast are walking across some small body of water AWAY from the flames that is supposed to be the cause of her destruction; the Whore and the beast are ESCAPING these flames.  This gives us an indication that whomever the Whore represents is living and going to continue to live, carrying on with her her abominations-in this case, the abominations of merchants and specifically Nuremberg merchants.

Once again Durer has represented the passages backwards and incomplete.

“After this is another ANGEL coming down from heaven, having great authority; and the earth was made bright with his splendor.  He called out with a mighty voice” Fallen, fallen is Babylon the great! It has become a dwelling place of demons a haunt of every foul spirit, a haunt of every foul bird, a haunt of every foul and hateful beast. For all the nations have drunk of the wine of the wrath of her fornication, and the kings of the earth have committed fornication with her, and the merchants of the earth have grown rich from the power of her luxury.”

As the storyline continues, there is supposed to be THREE different angels: The first who had the seven bowls and is showing the viewer what is going to happen (this angel is in the upper center of the picture), the second angel,  who is supposed to have great authority making the earth bright with his splendor, and a third angel we meet later on in Rev 18:21 with a supposed millstone.  The second angel is completely omitted from the composition, which is odd.  This second Angel is supposed to be crying out very important information about how horrible the nations and the kings have become, and yet there IS NO angel making these declarations.

“Then I heard another voice of Heaven saying “Come out of her, my people, so that you do not take part in her sins and so that you do not share in her plagues; for her sins are heaped high as heaven and God has remembered her iniquities “And the kings of the earth, who committed fornication and live in luxury with her, will weep and wail over her when they see the smoke of her burning; they will stand far off, in fear of her torment, and say “Alas, alas, the great city! Babylon, the mighty city! For in one hour your judgment has come.”

This third voice, again is not depicted. It calls out to “Come out of her, MY PEOPLE.” What Dürer depicts in the lower left hand corner is a cross section of the Nuremberg population, as he does in the Martyrdom of St. John the Evangelist, these are his people.

What is very intriguing is whom Dürer chose to depict  as “MY PEOPLE”-a phrase from the storyline. Dürer DOES NOT DEPICT the merchants in ANY PART OF  THIS COMPOSITION, an exceptionally odd situation since the merchants are the villains of Durer’s storyline.  NO, Dürer CHOOSES to depict the populace who is supposed to hear the message. What almost everyone fails to notice is that the crowd of people are basically ignoring the entire scene of the beast with 7 heads, the Whore, the angels in the sky and the rider known as Faithful and True. They really don’t appear concerned AT ALL with the message from the Voice, the impending doom that is supposed to occur, the Whore or the beast, anything happening up in the sky of the Faithful and True Army in the sky.  They merely appear to be intent on what the Oriental wealthy person is saying or doing.

 

durer albrecht whore of babylon apocalypse beast dragon
The People listening to the message-from the oriental potentate

The group  consists of three main figures in the foreground, one with an oriental headdress, a rich robe with a fur mantle, a huge metal chain surrounding the back of his mantle with a huge trefoil type ornament showing prominently.  We’ve met him before.  He is the Oriental Potentate represented in the The Martyrdom of St. John the Evangelist, none other than Eustachius Rieter, the richest Patrician man in Nuremberg, who liked to dress up as this oreintal potentate and hold bazaars in his gardens.  Eustachius Rieter was the embarrassment of the whole Rieter Patrician clan. SO, we have the three top richest men in Nuremberg represented as going down in doom, Jakob Welser, jakob Fugger, the outsiders, and Eustachius Rieter.

One the back of the Eustachius Rieter is a very prominent trefoil pendant, which tells us exactly who were the targets of Durer’s messages in the Apocalypse: the Marrano Portuguese.  A symbol of this trefoil was a known Jewish symbol that has been found in the archaeological sites in Portugal as a tombstone, an example of which you see below at the following website.

http://ladina.blogspot.com/search/label/ARCHEOLOGY  (please copy this link and post into your browser)

His back is to us and his right hand is outspread as if in conversation; this hand points to the beast of the Whore, but the beast is really NOT attacking these people.  One head of the beast is very NEAR the Oriental who appears to be looking at this head, but the Oriental is depicted in a calm position merely holding his hand outstretched towards the beast.  No fear is depicted among the group. And this same Oriental prince is lighted from the opposite direction from the rest of the scene. This type of “wrong”  lighting in the print is Dürer’s way of indicating a personage who is VERY important or is an indication that this figure was traced from one of Dürer’s sketch books, unlikely in this situation, for there aren’t any backward facing Orientals known to be existent in Dürer’ drawings.

Facing the Oriental man are two figures, one wearing a thick fur hat tilted on his head with a jowly face and under this hat is some sort of head covering.  This headdress is extremely similar to the face found in the crowd in the Martyrdom of St. John the Evangelist, probably Willibald Pirkheimer.

The third man faces forward and we can see almost his entire costume. This man is not wearing wealthy type clothes, certainly not the clothes of a merchant; these clothes are more akin to what a free-man would wear, and since almost all Nurembergers were clean shaven, this would probably be a man who is not from Nuremberg.

The Oriental man is looking at the beast and holding out his hand towards it. Everyone else is watching what the Oriental man is going to do regarding the beast remaining quite unconcerned.  The rest of the group depicted are different versions of the same; average type Nurembergers or visitors with total disregard to the Whore or the Beast but waiting for the Oriental man to indicate what will occur, a total of 13 figures in the grouping, 12 of whom are listening to the rich Oriental speaking.  The group is standing in front of a very large plant that is dead center in the lower foreground.  13 would be the number of the Catholic disciples but that has to include the Oriental man as part of the group.  Excluding the Oriental man, we have 12 figures, the number of tribes of Israel.

“And the merchants of the earth weep and mourn for her, since no one buys their cargo anymore, cargo of gold, silver, jewels and pearls, fine linen, purple, silk and scarlet, all kinds of scented wood, all articles of ivory, all articles of costly wood, bronze, iron, and marble, cinnamon, spice, olive oil, choice flour and wheat, cattle and sheep, horses and chariots, slaves-and human lives (or chariots and human bodies and souls). The fruit for which your soul longed has gone from you and all your dainties and your splendor are lost to you, never to be found again! The merchants of these wares, who gained wealth from her, will stand are off, in fear of her torment, weeping and mourning aloud, “Alas, alas, the great city clothed in FINE LINEN, IN PURPLE AND SCARLET, ADORNED WITH GOLD, WITH JEWELS AND PEARLS. 

The merchant’s lives were about to implode.

“And all the ship masters and seafarers, sailors and all whose trade is on the sea, stood far off and cried out as they saw the smoke of her burning. “What city was like the great city?” And they threw dust on their heads as they wept and mourned, crying out, where all who had ships at sea grew rich by her wealth! For one hour she had been laid waste. Rejoice over her, O heaven, you saints and apostles and prophets!  For God has given judgment for you against her.”

Let’s look at the scene in the upper right corner where the ships in this story are located.  There are three ships that are shown: a large wide masted sailing ship, a small boat that appears to hold two people, and another masted ship that is powered by oars.  All three of these ships are near the coastline.  On the coastline we have TWO cities.  One is obviously on fire with huge flames rising into the sky.  Behind that city, we see a peaceful landscape and buildings of the second city, which is peacefully undisturbed.  Only THIS city-the supposed Babylon,- is on fire and in the process of destruction, but all other “land” is unscathed.

So we do NOT have a representation of all the seamen standing off the coast and crying out, throwing dust on their heads, and mourning.  What we do have is ONE CITY prominently in the foreground burning in destruction with huge flames and what appears to be smoke arising. The city on fire is supposed to be representing the burning Babylon (Venice) and is an obvious medieval city, which could be attributed to Dürer’s choice of represention. So we have to ask ourselves WHY such calmness in this part of the depiction of the story? Dürer’s depiction of this part of the Revelations storyline makes NO sense.

“Then a mighty angel took up a stone like a great millstone and threw it into the sea, saying. “ With such violence Babylon the great city will be thrown down, and will be found no more; and the sound of HARPISTS AND MINSTRELS AND OF FLUTISTS AND TRUMPETERS will be heard in you no more; and the SOUND OF THE MILLSTONE will be heard in you no more; and the light of the a lamp will shine in you no more; and the voice of bridegroom and bride will be heard in you no more; for your merchants were the magnates of the earth, and all nations were deceived by your sorcery. And in you was found the blood of prophets and of saints, and of all who have been slaughtered on earth.”

Once again, Dürer does NOT depict any of this part of the Revelations story.  There is no sign of harpists, minstrels, flutists, and trumpeters, nor does Dürer indicate ANY sound occurring in the composition, especially from the millstone, if it is a millstone.  The Angel is still holding the “millstone” and has yet to throw it into the sea. In other words, all the violence that is supposed to occur from this Angel throwing the millstone into the sea hasn’t happened and isn’t going to happen in this composition.

The magnates are going to continue reaping their wealth, the musicians are going to keep on playing, people are going to get married, sorcery (forbidden to Jews by Jewish law) will continue.  The status quo will be maintained.  And Jakob Welser, the Whore, will continue to economically control Nuremberg along with his cohort, Jakob Fugger of Augsburg, also known as The Fuggers the Rich, and Eustachius Rieter. 

The enormous amount of fire and smoke that is exuding forth from the burning city in the upper right corner is the ONLY depiction of anything from this part of the Revelations storyline, possibly Dürer’s intent of depicting how truly evil Jakob Welser really was and the far reaching economic stranglehold the Welsers and Fuggers maintained over their economic empire.  Other than this, nothing about this storyline is pertinent enough for Dürer to depict. Two passages about the marriage supper of the Lamb to his bride are completely ignored by Dürer.  They are not represented in this print or in any of the other Apocalypse compositions.

 

durer albrecht Apcoalypses whore of babylon
the Knight Favorite and True

And so we finally get to the The Rider on the White Horse:  “Then I saw heaven opened, and there was a white horse! Its rider is called Faithful and True, and in righteousness he judges and makes war.  His eyes are like a flame of fire, and on his head are many diadems; and he has a name inscribed that no on knows but himself. He is clothed in a robe dipped in blood and his name is called The Word of God.  And the armies of heaven, wearing fine linen, white and pure, were following him on white horses.  From his mouth comes a sharp sword with which to strike down the nations, and he will rule them with a rod of iron; he will tread the wine press of the fury of the wrath of God the Almighty. On his robe and on his thigh he has a name inscribed, “King of kings and Lord of lords.

We now focus on what is occurring in the upper left hand corner.  There is a Knight on a horse (we will assume the horse is white) that is charging, who is in front of a multitude of people.  This Knight does not have eyes like a flame of fire, nor does he have any diadems on his head (he merely wears a helmet of a Knight) nor does he have a name inscribed on him that no on knows but himself.  He is not clothed in a robe dipped in blood and his name is NOT called the Word of God.  He does not have “King of kings and Lord of lords” on his robe and thigh either.  The second paragraph concerning the capture of the beast and the false prophet is completely ignored. If this Knight WAS depicted in these any of these ways, Dürer would be breaking Jewish law.  A Jew is NOT allowed to even pronounce the name of God, let alone have a name OF the Word of God. To a Jew, the only entity that has a name that no one knows but himself is God, so a mere Knight can’t carry this either.

This Knight wields a somewhat short sword with a hilt that is exactly like the hilt of the one sword wielded by the upper right hand Angel in the 4 Avenging Angels of the Euphrates print.  The top of this sword is also elaborate as the one held by the Angel of the Euphrates.  What is strange is the HORSE the Knight rides is topped with a double crown on the horses’s head, which has no mention in the story.  These two crowns represent two kingdoms.  We will shortly see which Kingdoms those were. This Knight has a very elaborately long flowing cape billowing behind him.

Behind the Knight we find a man on a donkey or a mule (probably a donkey). This man has his head totally covered, he has a very long beard divided into two parts, he bears a moustache, he is wearing a long flowing robe and his arm is upraised wielding some sort of weapon which appears to be a type of club.  The club is short, what we can see is that the hilt is “three balled (it could be more) and appears to end in two parts (which actually could be one. This club could also be called a rod; the Hebrew word for “tribe” stems from the Hebrew word for “rod or staff.)

What is exceptionally important is that on this robe is a sideways “6,” directly besides this “6” is a “2” which is either sideways or upside down and then across on the other side on the donkey’s nose is another “6”.  These combinations identify who this man is and who he represents.  However, based up his garb and the fact he’s riding a donkey, he appears to be a Jewish man, possibly a priest.

Behind these two figures, we can actually make out 22 more people, although the ones in the far back are indicated by some mere lines.  The multitude behind them is represented by round balls.  This makes for a total of 24 figures within this scene, led by a Knight and probably a priest.  The two very special Jewish tribes out of the 12 Tribes of Israel were the Levites (Levis)-the warriors, and the Kohanim (Cohans, Cohens), the priests.

The entire tribes were united under King Saul, David and Solomon and was known as the Kingdom of Israel, but ultimately the Kingdom was split into two Kingdoms-Israel and the Kingdom of Judah (the tribe of Judah-signified by the Lion, was designated as the head tribe of the remaining 10 tribes).

The numbering identification on the priest of “6” “2” “6” makes sense within this context.  Each Kingdom of the Promised Land had six tribes, but two indigenous tribes in the conquered Promised land joined with the 12 tribes.  These were the Kenizzites (thought by some to be identical to the Edomite clan of Kenaz ) joined with Judah. The Kenites (the Midianite clan headed by Moses’ father in law, Jethro) also joined the Israelites.  When these two clans were absorbed together as one extra tribe, a “second” group, the original Canaanites, joined the Kingdom of Israel.  6-2-6: The original 6 tribes of Israel, the two (then one, then two) outside tribes, and the 6 tribes of Judah.

So, in summary, Dürer chose to take one of the most famous Revelations stories and turn it into a totally Jewish message at the same time that he was labeling the two most hated Patrician families of all as ultimate evil-the foreigners Welser and Fugger, and the Nuremberg family Rieter, who had built their mansions on desecrated Jewish land and planned on world domination-the blueprint for the Holocaust.

The names have just changed now: Hitler and Goering and now Gurlitt.

The Fugger family still lives in the Bavarian Administrative District of Swabia. The representatives of the lines Fugger-Babenhausen, Fugger von Gloett and Fugger-Kirchberg form the “Supervisory Board” for the Fugger Foundations – the “Fuerstlich und Graeflich Fuggersche Familienseniorat”. Perhaps they have been involved in the cover up of this staggering Nazi loot find.

Princess Eleonora Fugger von Babenhausen (October 4, 1864 in Bartenstein — March 1, 1945 in Vienna) was an Austrian socialite and chronicler of the Fugger family. She is also known as Nora Fuggerin her autobiography.

She was born Princess zu Hohenlohe-Bartenstein und Jagstberg, the third child of Prince Carl zu Hohenlohe-Bartenstein und Jagstberg (1837–1877) and his wife Rosa Karoline née Countess von Sternberg (1836–1918). She had two elder siblings: Princess Marie (1861–1933) and Prince Johannes (1863–1921), who was married to Archduchess Anna Maria Theresia of Austria, a daughter of Ferdinand IV, Grand Duke of Tuscany and sister of Luise, Crown Princess of Saxony, in 1901.

Eleonora married Karl, 5th Prince Fugger von Babenhausen (1861–1925) on January 8, 1887 in Vienna. Her husband was chamberlain to the emperor Franz Joseph I of Austria.

Their children together:

  • Countess Friederike (October 27, 1887 in Klagenfurt – July 4, 1949), who married Adrian Carton de Wiart (1880–1959)
  • Georg, 6th Prince Fugger von Babenhausen (1889–1934), who married Countess Elisabeth Plessen (1891–1976)
  • Countess Sylvia (May 8, 1892 in Enzersdorf – April 13, 1949), who married (then divorced in 1928) Count Friedrich zu Münster (1891–1942)
  • Count Leopold (1893–1966), who married (then divorced in 1936) Countess Vera Czernin (1904–1959)
  • Countess Maria Theresia (March 1, 1899 – June 28, 1994 in Munich), who married Count Chlodwig von und zu Daun (1860–1931)
  • Countess Helene (June 21, 1908 – 1915 in Babenhausen)

Her memoirs are filled with stories around the upper classes of the Austro-Hungarian empire and left a living testimony to a world that has since disappeared. http://en.wikipedia.org/wiki/Princess_Eleonora_Fugger_von_Babenhausen

In the family counsel at present are:

I. E. Maria Elisabeth Graefin Thun-Fugger
S. D. Hubertus Fuerst Fugger-Babenhausen
S. E. Albert Graf Fugger von Gloett

And now for the companies well known to us that you may not realize collaborated with the Nazi


  • The 12 Nazi collaborating companies featured in this article.

    Kodak. During World War Two, Kodak’s German branch used slave laborers from concentration camps. Several of their other European branches did heavy business with the Nazi government.

    And Wilhelm Keppler, one of Hitler’s top economic advisers, had deep ties in Kodak. When Nazism began, Keppler advised Kodak and several other U.S. companies that they’d benefit by firing all of their Jewish employees. (Source: The Nation)

  • Hugo Boss. In the 1930s, Hugo Boss started making Nazi uniforms. The reason: Hugo Boss himself had joined the Nazi party, and got a contract to make the Hitler Youth, storm trooper and SS uniforms.That was a huge boon for Hugo Boss… he got the contract just eight years after founding his company… and that infusion of business helped take the company to another level.The Nazi uniform manufacturing went so well that Hugo Boss ended up needing to bring in slave laborers in Poland and France to help out at the factory.In 1997, Hugo’s son, Siegfried Boss, told an Austrian news magazine, “Of course my father belonged to the Nazi party. But who didn’t belong back then?” (Source: New York Times)

 

  • Volkswagen. Ferdinand Porsche, the man behind Volkswagen and Porsche, met with Hitler in 1934, to discuss the creation of a “people’s car.” (That’s the English translation of Volkswagen.)Hitler told Porsche to make the car with a streamlined shape, “like a beetle.” And that’s the genesis of the Volkswagen Beetle… it wasn’t just designed for the Nazis, Hitler NAMED it.During World War Two, it’s believed that as many as four out of every five workers at Volkswagen’s plants were slave laborers. Ferdinand Porsche even had a direct connection to Heinrich Himmler, one of the leaders of the SS, to directly request slaves from Auschwitz. (Source: The Straight Dope)

 

  • Bayer. During the Holocaust, a German company called IG Farben manufactured the Zyklon B gas used in the Nazi gas chambers. They also funded and helped with Josef Mengele’s “experiments” on concentration camp prisoners.IG Farben is the company that turned the single largest profit from work with the Nazis. After the War, the company was broken up. Bayer was one of its divisions, and went on to become its own company.Oh… and aspirin was founded by a Bayer employee, Arthur Eichengrun. But Eichengrun was Jewish, and Bayer didn’t want to admit that a Jewish guy created the one product that keeps their company in business. So, to this day, Bayer officially gives credit to Felix Hoffman, a nice Aryan man, for inventing aspirin. (Source: Alliance for Human Research ProtectionPharmaceutical Achievers)

 

  • Siemens. Siemens took slave laborers during the Holocaust and had them help construct the gas chambers that would kill them and their families.Siemens also has the single biggest post-Holocaust moment of insensitivity of any of the companies on this list. In 2001, they tried to trademark the word “Zyklon” (which means “cyclone” in German) to become the name a new line of products… including a line of gas ovens, Zyklon, of course, being the name of the poison gas used in their gas chambers during the Holocaust.A week later, after several watchdog groups appropriately freaked out, Siemens withdrew the application. They said they never drew the connection between the Zyklon B gas used during the Holocaust and their proposed Zyklon line of products. (Source: BBC)

 

  • Coca-Cola, specifically Fanta. Coke played both sides during World War Two… they supported the American troops but also kept making soda for the Nazis. Then, in 1941, the German branch of Coke ran out of syrup, and couldn’t get any from America because of wartime restrictions.So they invented a new drink, specifically for the Nazis: A fruit-flavored soda called Fanta.That’s right: Long before Fanta was associated with a bunch of exotic women singing a god-awful jingle, it was the unofficial drink of Nazi Germany. (Source: New Statesman)

 

  • Ford. Henry Ford is a pretty legendary anti-Semite, so this makes sense. He was Hitler’s most famous foreign backer. On his 75th birthday, in 1938, Ford received a Nazi medal, designed for “distinguished foreigners.”He profiteered off both sides of the War — he was producing vehicles for the Nazis AND for the Allies.I’m wondering if, in a completely misguided piece of logic, Allianz points to the Detroit Lions giving Ford the naming rights to their stadium as a reason why they should get the rights to the Meadowlands. (Source: Reformed Theology)

 

  • Standard Oil. The Luftwaffe needed tetraethyl lead gas in order to get their planes off the ground. Standard Oil was one of only three companies that could manufacture that type of fuel. So they did.Without them, the German air force never could’ve even gotten their planes off the ground.When Standard Oil was dissolved as a monopoly, it led to ExxonMobil, Chevron and BP, all of which are still around today. (But fortunately, their parent company’s past decision to make incredible profits off of war have not carried on.) (Source: MIT’s Thistle)

 

  • Chase bank. A lot of banks sided with the Nazis during World War Two. Chase is the most prominent.They froze European Jewish customers’ accounts and were extremely cooperative in providing banking service to Germany. (Source: New York Times)

 

  • IBM. IBM custom-build machines for the Nazis that they could use to track everything… from oil supplies to train schedules into death camps to Jewish bank accounts to individual Holocaust victims themselves.In September of 1939, when Germany invaded Poland, the “New York Times” reported that three million Jews were going to be “immediately removed” from Poland and were likely going to be “exterminat[ed].”IBM’s reaction? An internal memo saying that, due to that “situation”, they really needed to step up production on high-speed alphabetizing equipment. (Source: CNet)

 

  • Random House publishing. Random House’s parent company, Bertelsmann A.G., worked for the Nazis… they published Hitler propaganda, and a book called “Sterilization and Euthanasia: A Contribution to Applied Christian Ethics”.Bertelsmann still owns and operates several companies.Eleven years ago, they added the colloquial, softened definition of “a person who is fanatically dedicated to or seeks to control a specified activity, practice, etc.” (Think “Soup Nazi”.) to their dictionary.The Anti-Defamation League called that expanded definition offensive… especially when added by a company with Nazi ties… they said it, quote, “trivializes and denies the murderous intent and actions of the Nazi regime… it also cheapens the language by allowing people to reach for a quick word fix… [and] lends a helping hand to those whose aim is to prove that the Nazis were really not such terrible people.” (Source: New York ObserverADL)

The Apocalypse HAS begun.

 

 

BUY THE BOOK!  CRIMES IN THE ART: THE SECRET CIPHER OF ALBRECHT DÜRER

www.amazon.com/Crimes-Art-Secret-Cipher-Albrecht-ebook/dp/B00FNWKYMO

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