Art Deco is the incarnation of civilizational energy—the spirit of Achilles and Tesla in architectural form.
The ultimate style for high civilization...
Kenneth Clarke said:
“Vigour, energy, vitality: all the civilizations—or civilizing epochs—have had a weight of energy behind them.”
Art Deco embodies this vitality.
He claimed civilization had 3 enemies:
"First of all fear — fear of war, fear of invasion, fear of plague and famine, that make it simply not worthwhile constructing things, or planting trees or even planning next year’s crops."
Does this look fearful to you?
Art Deco often features exotic materials, such as ebony and ivory, and exquisite craftsmanship.
The fruits of a culture unafraid to try new things.
The next enemy is a lack of self-confidence. A culture regrets its past, stifling its ability to progress.
Art Deco's blocky, muscular designs show a civilization secure yet determined. Its aura is simultaneously ancient and futuristic.
A timeless spirit of crushing grandeur.
So many Art Deco designs look like they could be 5,000 years old. It's an artistic style that appreciates a civilization's past.
Finally Clarke warns against exhaustion:
"the feeling of hopelessness which can overtake people even with a high degree of material prosperity."
Art Deco's imagery is all about vitalism. God-like men, exalted maidens, mythical beasts—dreams of a civilization with a vision.
Art Deco embodies faith in social and technological progress.
It fosters a belief that the best is yet to come.
We need to be Art-Deco-maxing as a civilization.
It's the architectural style of a people who've triumphed—and aren't done yet.
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What do Sun Tzu, Machiavelli, and Otto von Bismarck all have in common?
They knew that in order to rule effectively, one must shun ideology.
Instead, they embraced realpolitik: rule based on facts, not lofty ideals…🧵
So what is realpolitik?
Realpolitik, as it is understood today, is the approach of making political or diplomatic decisions based on the given circumstances of a matter, not on moral or ethical considerations.
It’s political pragmatism to the nth degree.
The 19th century German writer Ludwig von Rochau first coined the term. He described it as the implementation of the idea that “the law of power governs the world of states just as the law of gravity governs the physical world.”
If you like Greek or Roman classics, you can thank a monk.
Just as much as on any battlefield, Western civilization was safeguarded within the quiet confines of a monastery...🧵
In the 6th century, the fate of western Europe was uncertain.
Barbarians had deposed the Roman emperor; age-old institutions were left decaying; the flame of civilization almost gone…
But at a monastery in Calabria, a monk named Cassiodorus toiled to keep this flame alight.
Born into an aristocratic family, Cassiodorus’ early career was a far cry from his later vocation.
He rose through the ranks of the Roman political scene, ultimately reaching Praetorian Prefect, the highest administrative role in the empire directly under Theodoric the Great.
Despite wielding absolute power, they used their authority to maintain peace and stability throughout the Roman empire and ushered in an age of unparalleled cultural heights🧵
In order, they were:
Nerva (reign 96–98 AD)
Trajan (98–117)
Hadrian (117–138)
Antoninus Pius (138–161)
Marcus Aurelius (161–180)
Notably, they were not a bloodline. All were either adopted, or in Nerva’s case, raised to power by assassins of Domitian (the previous emperor).
Machiavelli coined the term the “good emperors,” claiming their quality as leaders was a direct result of them being adopted and not inheriting the throne via blood.
He maintained that those who were raised to power by virtue of mere blood usually ended up being poor leaders.
Rome was the preeminent engineering civilization. Its roads, bridges, and aqueducts ensured an unmatched quality of life for its citizens.
Yet its greatest engineering feat wasn’t about providing a comfortable life—the Colosseum was built for a dramatic death🧵
The Colosseum became famous for its gladiatorial contests, executions, reenactments of famous battles, and even mock sea fights.
It was a theater designed with two things in mind: death and spectacle.
Constructed between 72-80 AD under Vespasian, the Colosseum was the largest amphitheater in the Roman world. Holding a capacity of 65000 spectators, the building project required extraordinary human ingenuity.
Of course, such a massive undertaking required a lot of money…
In 1831, French aristocrat Alexis de Tocqueville traveled to the US to study democracy.
He saw some positives, but also noted a few flaws such as:
-tyranny of the majority
-isolated individuals
-materialism
He claimed religion was essential to prevent these dangers...🧵
Alexis de Tocqueville was a diplomat sent by the French government to learn about the prison system in America.
While abroad, he used the opportunity to investigate American society as a whole, penning his most famous work ”Democracy in America.”
Traveling during the height of the industrial revolution, he believed democracy and industrialization went hand-in-hand—American democracy was the embodiment of this unification.
De Tocqueville described America as “a democratic revolution caused by industrialization.”
We’ve all seen gargoyles before — ghoulish carvings set outside old churches.
But why pair such ugly images with sacred buildings?
Well, to protect something priceless, you need something *monstrous*.
They teach us a lesson about defending what we love…🧵
First off, what is a gargoyle?
The word gargoyle comes from the French gargouille meaning “gullet” or “throat.”
A gargoyle, then, is a decorated water spout. They were used for a utilitarian purpose: to prevent water from flowing down the sides of buildings, causing erosion.
Not all the monstrous sculptures outside of cathedrals are gargoyles, though. Many are technically grotesques since they don’t funnel any water. A grotesque is simply a fantastic stone carving that’s secured to the wall or roof of a building.