The mental horizon of the German-Austrian was comparatively broad. His commercial interests comprised almost every section of the heterogeneous Empire. The conduct of almost all important undertakings was in his hands. He provided the State, for the most part, with its leading technical experts and civil servants. He was responsible for carrying on the foreign trade of the country, as far as that sphere of activity was not under Jewish control, The German-Austrian exclusively represented the political cement that held the State together. His military duties carried him far beyond the narrow frontiers of his homeland. Though the recruit might join a regiment made up of the German element, the regiment itself might be stationed in Herzegovina as well as in Vienna or Galicia. The officers in the Habsburg armies were still Germans and so was the predominating element in the higher branches of the civil service. Art and science were in German hands. Apart from the new artistic trash, which might easily have been produced by a negro tribe, all genuine artistic inspiration came from the German section of the population. In music, architecture, sculpture and painting, Vienna abundantly supplied the entire Dual Monarchy. And the source never seemed to show signs of a possible exhaustion. Finally, it was the German element that determined the conduct of foreign policy, though a small number of Hungarians were also active in that field...

...The Bolshevization of art is the only cultural form of life and the only spiritual manifestation of which Bolshevism is capable.

Anyone to whom this statement may appear strange need only take a glance at those lucky States which have become Bolshevized and, to his horror, he will there recognize those morbid monstrosities which have been produced by insane and degenerate people. All those artistic aberrations which are classified under the names of cubism and dadism, since the opening of the present century, are manifestations of art which have come to be officially recognized by the State itself. This phenomenon made its appearance even during the short-lived period of the Soviet Republic in Bavaria. At that time one might easily have recognized how all the official posters, propagandist pictures and newspapers, etc., showed signs not only of political but also of cultural decadence.

About sixty years ago a political collapse such as we are experiencing to-day would have been just as inconceivable as the cultural decline which has been manifested in cubist and futurist pictures ever since 1900. Sixty years ago an exhibition of so-called dadistic 'experiences' would have been an absolutely preposterous idea. The organizers of such an exhibition would then have been certified for the lunatic asylum, whereas, to-day they are appointed presidents of art societies. At that time such an epidemic would never have been allowed to spread. Public opinion would not have tolerated it, and the Government would not have remained silent; for it is the duty of a Government to save its people from being stampeded into such intellectual madness. But intellectual madness would have resulted from a development that followed the acceptance of this kind of art. It would have marked one of the worst changes in human history; for it would have meant that a retrogressive process had begun to take place in the human brain, the final stages of which would be unthinkable.

If we study the course of our cultural life during the last twenty-five years we shall be astonished to note how far we have already gone in this process of retrogression. Everywhere we find the presence of those germs which give rise to protuberant growths that must sooner or later bring about the ruin of our culture. Here we find undoubted symptoms of slow corruption; and woe to the nations that are no longer able to bring that morbid process to a halt.

In almost all the various fields of German art and culture those morbid phenomena may be observed. Here everything seems to have passed the culminating point of its excellence and to have entered the curve of a hasty decline. At the beginning of the century the theatres seemed already degenerating and ceasing to be cultural factors, except the Court theatres, which opposed this prostitution of the national art. With these exceptions, and also a few other decent institutions, the plays produced on the stage were of such a nature that the people would have benefited by not visiting them at all. A sad symptom of decline was manifested by the fact that in the case of many 'art centres' the sign was posted on the entrance doors: For Adults Only.