(The Guardian) Hundreds of churches in England have closed and even been demolished over the last few decades, but one such church built in the 1950s with no significant architectural significance is being given special preservation status by the government:
A stunning mural created in a Catholic church by a Jewish refugee from the Nazis has been saved from destruction, decay and vandalism after being granted Grade II-listed status by the UK government.
The Crucifixion, by the leading 20th-century artist George Mayer-Marton, is a rare combination of mosaic and fresco standing almost 8 metres (26ft) high, taking up an entire wall inside the Holy Rosary church in Oldham.
A six-year campaign to protect the mural, led by the artist’s great-nephew Nick Braithwaite, gained extra urgency after the artwork was damaged as a result of vandalism in recent weeks.
The Department for Digital, Culture, Media and Sport listed the mural – described by the V&A director, Tristram Hunt, as a “dazzling beauty” – and the church on the advice of Historic England.
The Historic England report states: “The mural is highly unusual and possibly unique in this country in its striking aesthetic combination of neo-baroque mosaic and modernist Cubist-influenced fresco inventively applied to traditional Christian iconography in a deeply personal evocation of suffering and redemption.”
It also praised “the transcendent spiritual nature of Christ … heightened by the use of glittering mosaic for the figure and golden mandorla, contrasting with the figures of Mary and St John in earthbound, monochrome blue fresco”.
It added that it was “a major work in [Mayer-Marton’s oeuvre, much of which has been lost. The quality of execution and craftsmanship is superb, creating a piece of considerable power.”
The mural, created in 1955, is one of only two ecclesiastical murals by Mayer-Marton to survive in situ. The depiction in stone and glass tesserae of Jesus on the cross is flanked by frescoes of Mary and St John, which were painted over in the 1980s by a local priest.
Mayer-Marton, a Hungarian Jew, was a significant figure in the interwar Viennese art world. But in 1938, following the Anschluss – the annexation of Austria by Nazi Germany – he fled to the UK. After his departure, a decree was issued by the Nazis declaring him barred from the National Chamber of Fine Arts because investigations had shown he “did not possess the necessary commitment and reliability to promote German culture”.
He established himself in St John’s Wood, north London, but his studio containing his life’s work was destroyed in the blitz. After the war, he taught at Liverpool College of Art, establishing a mural decoration department, and took commissions for murals in Catholic churches and schools. One of them, The Pentecost, is on display in Liverpool’s Metropolitan Cathedral.
In 2017, the Roman Catholic diocese of Salford closed the Holy Rosary and more than 20 other churches as part of a restructuring. The building has been used as a store.
Nigel Huddleston, the heritage minister, said: “This stunning mural in the Church of the Holy Rosary deserves to be listed at Grade II. This will protect the one of a kind mural and serve as an important reminder for future generations of Hungarian artist George Mayer-Marton’s escape from Nazi persecution.”
Braithwaite said he was delighted at the listing. “I’m now keen to see the necessary steps taken properly to secure the church and to preserve George Mayer-Marton’s masterpiece for the enjoyment and inspiration of future generations.”
Marcus Binney, the executive president of Save Britain’s Heritage, which supported the campaign for the mural to be listed, said the decision “averts the possible loss of a major religious work which has been causing huge concern in the art world and beyond”.
Let’s be clear — despite all the nauseating hype here by so-called “experts” — George Mayer-Marton is not — and never was — a “leading 20th century artist” — nor is there anything essentially “British” about his work that should be construed as preservation-worthy.
There have been historic pubs in Britain that have received more deserving higher preservation status than this mural by an obscure Jewish refugee.
George Mayer-Marton’s work is not particularly original or even noteworthy — which is why you and 99% percent of people who know anything about the art world have not even heard of him before this article appeared.
In fact, you can look at recent auction results of his different works — and see that you can still buy an original oil paining by Mayer-Marton for less than $1,000 — whereas others from his generation sell in the tens of millions.
The church thought so much of the mural that they painted over two-thirds of it — but the macabre third that wasn’t painted over should have been.
The church itself is just an ugly utilitarian brick box — in that bland Soviet-inspired post-war style — that no one would miss if it were torn down — there are thousands of historic churches in England deserving protected status — this is not one of them.
And who is going to pay for this building to be preserved and maintained just so the mural can be preserved? The British taxpayer, that’s who.
And who will actually want to go out of their way to see this ugly mural inside an abandoned church now used as storage? No one. Maybe a few elderly Jews in this area of Manchester.
If this “artist” Mayer-Marton weren’t Jewish — and didn’t escape the “evil Nazis” — there is no way this mural or building would be preserved.
What’s being preserved here is the Jewish Holocaust Narrative — not a significant piece of British history or art.
‘Christians for Truth’ need to add this to their handle…
‘Exposing the anti Christ’
Matt wrote, “Cromwell married into the Pallavicini family from Genoa smart guy. If you dont know who they are, I suggest you look into it.”
Oliver Cromwell married Elizabeth Bourchier who was of ancient English and Norman descent, not “Genoan” as you claim, nor was she a “crypto-Jew” through any Genoan lineage.
No mention of “Pallavinci” heritage in her well-documented genealogy:
https://www.myheritage.com/names/elizabeth_bourchier
REVENGE OF THE JEWISH RABBIS OF SPAIN
In 1492 CE, Chemor, chief Rabbi of Spain, wrote to the Grand Sanhedrin, which had its seat in Constantinople, for advice, when a Spanish law threatened expulsion (after the fall of Muslim rule in spain).
This was the reply:
” Beloved brethren in Moses, we have received your letter in which you tell us of the anxieties and misfortunes which you are enduring. We are pierced by as great pain to hear it as yourselves. The advice of the Grand Satraps and Rabbis is the following:
1. As for what you say that the King of Spain obliges you to become Christians: do it, since you cannot do otherwise.
2. As for what you say about the command to despoil you of your property: make your sons merchants that they may despoil, little by little, the Christians of theirs.
3. As for what you say about making attempts on your lives: make your sons doctors and apothecaries, that they may take away Christians’ lives.
4. As for what you say of their destroying your synagogues: make your sons canons and clerics in order that they may destroy their churches. [Emphasis mine]
5. As for the many other vexations you complain of: arrange that your sons become advocates and lawyers, and see that they always mix in affairs of State, that by putting Christians under your yoke you may dominate the world and be avenged on them.
6. Do not swerve from this order that we give you, because you will find by experience that, humiliated as you are, you will reach the actuality of power.
(Signed) PRINCE OF THE JEWS OF CONSTANTINOPLE.”
https://snippits-and-slappits.blogspot.com/2010/08/interview-with-dr-frederick-toben.html?
“What’s being preserved here is the Jewish Holocaust Narrative” 👏🏻
Jews rewrote and grossly lowered the standards of what constitutes great art in the 20th century, and that’s why this dreck can be coronated as a “masterpiece” with a straight face by the brainwashed experts in the art world today.
Amen
What’s with the face who allowed this in the first place. To me the English are the worst of the white peoples besides our founding fathers that left England. The best sellouts
Phantom of the Opera mask on Jesus.
George Mayer-Marton’s works are not worth saving. http://www.mayer-marton.com. His artwork is crap.
Someone needs knock it over with a dozer.
The English haven’t been in charge of England for a looooong time.
https://www.thegatewaypundit.com/2022/08/british-royal-air-force-no-longer-offering-pilot-jobs-white-men-women-ethnic-minorities-may-apply-video/ And i just seen this one just now and your right
Yeah. I would guess that since the English have not been in charge of England since the times of King Charles I of England, Scotland and Ireland, that, indeed is a long time.
Yes, the Genoans and the Ventians Templars secretly backed Cromwell to take down Charles I and destroy the Catholic Abbeys and Catholic power in England at that time. Cromwell even married into to one of those families.
If you look at the flag of England and the flag of Genoa, they are identical. Also, the coat of arms for City of London and Genoa are very similar.
https://en.m.wikipedia.org/wiki/Genoa
https://en.m.wikipedia.org/wiki/City_of_London
As I understand it, they were also the power behind Henry VIII (first Cestui Que Vie Act ) and Elizabeth I. They migrated north first to the Netherlands and then to England and they’ve been in charge of both for the last 500 years or so. The Anglo-Dutch banking system we have now runs everything.
Matt writes, “The Anglo-Dutch banking system we have now runs everything.”
Seriously? Anglo-Dutch? Not the Rothschilds and their subsiearies who own most of the banks in the world?
You know the Rothschilds bankrolled the Dutch East India Co., don’t you?
Oh, and Cromwell was financed by Jews in Amsterdam, not “Genoans”. The quid pro quo for financing the “revolution” was that the Jews would be allowed back in England after the 300 year expulsion.
There are letters of correspondence between these Amsterdam Jews and Cromwell that are still in existence, I believe…..
@merchantfever
Cromwell married into the Pallavicini family from Genoa smart guy. If you dont know who they are, I suggest you look into it. And to let you know, the Genoans and Venitians had already set up shop in the Netherlands and were in control of it at the time of Cromwell. Ever heard of the Dutch East India Company? And when I speak of Genoans and Ventians I do mean Jews. You are not in the know.
I am quite aware that Jews were allowed into England after being banned for 300 years but thanks for stating the obvious.
Have you worked at a financial institution at a high level? I doubt it.
The Netherlands is one big tax shelter and money laundering operation for people in the know.
Tax Free Tour HD VPRO Backlight 2013
https://m.youtube.com/watch?v=9P057-k-hFY
TTIP: Might is Right – VPRO documentary – 2015
https://m.youtube.com/watch?v=j0LOwmwgkdA&list=PLuECoz9_QThRs5x5xPa7qIUmTBLwN2Rfu&index=5
Matt wrote, “Cromwell married into the Pallavicini family from Genoa smart guy. If you dont know who they are, I suggest you look into it.”
Oliver Cromwell married Elizabeth Bourchier who was of ancient English and Norman descent, not “Genoan” as you claim, nor was she a “crypto-Jew” through any Genoan lineage.
No mention of “Pallavinci” heritage in her well-documented genealogy:
https://www.myheritage.com/names/elizabeth_bourchier