We get a beautiful look into Aarvoll's genius here:

https://www.youtube.com/watch?v=uQQqtiRQd6c

Apotheosis of the Arts, 1597, by Jan Muller 

In 1597, while the army of Rudolf II, the Holy Roman Emperor, was engaged in a drawn- out war with the Ottoman empire, Jan Muller engraved this astonishing, monumental allegory of Architecture, Painting and Sculpture. The three sister arts are shown as impossibly long-limbed, elegant female nudes, lifted up by the figure of Fame, and carried along a twisting ladder of clouds to reach the court of Zeus on Mount Olympus. In the lower, terrestrial portion of the composition is a troop of soldiers from the Rudolf’s imperial army, whose banners are visible above the billowing clouds. They are the defender of the Arts against the Ottoman troops, seen in the lower right corner. To further reinforce idea of a civilized and cultured European society, noble men and women and Christian church figures are pictured together at the lower left observing artists from the three fields at work.

"In Plato’s Phaedrus, Socrates argues paradoxically that ‘our greatest blessings come to us by way of madness’ […]. The four kinds of divine inspiration, or madness, are viewed as a divine gift provided by the Muses, Dionysus, Apollo, and Aphrodite (or Eros) respectively. In the same dialogue, the “divine banquet” is depicted as a metaphysical place of contemplation and vision. For Plato, the contemplation (theoria) of the eternal Ideas transcends our rational ability to comprehend and analyse these Ideas discursively."

Algis Uzdavinys, Orpheus and the Roots of Platonism

“It is not the critic who counts, not the one who points out how the strong man stumbled or how the doer of deeds might have done them better. The credit belongs to the man who is actually in the arena, whose face is marred with sweat and dust and blood; who strives valiantly; who errs and comes short again and again; who knows the great enthusiasms, the great devotions, and spends himself in a worthy cause; who, if he wins, knows the triumph of high achievement; and who, if he fails, at least fails while daring greatly, so that his place shall never be with those cold and timid souls who know neither victory nor defeat.”

—Teddy Roosevelt, Man in The Arena

"To see human beings in agony, to see them covered in blood and to hear their death groans, makes people humble. It makes their spirits delicate, bright, peaceful. It's never at such times that we become cruel or bloodthirsty. No, it's on a beautiful spring afternoon like this that people suddenly become cruel. It's at a moment like this, don't you think, while one's vaguely watching the sun as it peeps through the leaves of the trees above a well-mown lawn? Every possible nightmare in the world, every possible nightmare in history, has come into being like this."

—Yukio Mishima, The Golden Pavillion

"I had only one sorrow: that the news of the victory in the papers frightened me. The ranks of the German cavalry had already seen the towers of Paris; if this continued, what would be left for us? We still wanted to hear the whistle of bullets and experience moments that can be called the true baptism of men."
~ Ernst Jünger

"Our conviction is that such a beginning could take place only with the union of the two Eagles: the German Eagle and the Roman Eagle. Lenin once said: ‘The Roman-Germanic world constitutes the greatest obstacle to the fulfilment of the new proletarian ideal’. This admission is precious for us."

- 𝑷𝒂𝒈𝒂𝒏 𝑰𝒎𝒑𝒆𝒓𝒊𝒂𝒍𝒊𝒔𝒎, 𝒃𝒚 𝑱𝒖𝒍𝒊𝒖𝒔 𝑬𝒗𝒐𝒍𝒂

“A Western knight was fighting equally for his Fatherland whether in battle against the Slav or the Turk on the Eastern Marshes of Germany, against the Moor in Spain, Italy, or Sicily, or against the Saracen in the Levant. The outer forces recognized as well this inner unity of the West. To Islam, all Westerners whatever were lumped together as Franks, giaours.” - Francis Parker Yockey, “The Proclamation of London”

"To have spoken, just now, of the “race of man” and “race of woman” is not an entirely gratuitous extension of the concept. We believe, in fact, that those who really want to understand the reason for things should not completely ignore the observations made in a well-known work by Otto Weininger, especially in two points. First of all, in the determination of the type of pure man and pure woman, as the basis for measuring the “quantities” of the one and the other that are found in each individual and therefore to be able to adjust accordingly. Secondly, in the bold idea that the relations between true man and true woman correspond analogously to those that exist between the Aryan race and the Semitic race.

For Weininger, man is to woman as the Aryan is to the Semitic. Weininger devoted himself to researching the feminine qualities, which appear as a precise match of those typical for the Semite and the Jew. Such research, to a large extent, is tendentious; half-Jew as he was, Weininger, even unwittingly, was essentially led to demean and degrade – he did not seek the true value of woman where he had to seek it. Nevertheless, the idea, in his view, remains valid that, from the point of view of a normal and differentiated conception of the sexes, man and woman appear almost as the expression of two different, if not opposing, races. It is therefore a serious defect of denoscriptive and typological racism not to take this into account in its efforts to identify and describe the characteristics of each race and thus of not asking itself whether certain qualities, normal for the male type of a given race, continue to be so when it comes to its female type." -- Julius C. Evola, The Synthesis of the Doctrine of Race

"In summary, the meaning of all this, esoterically speaking, is that the woman (i.e., the vivifying force, the power, the transcendent knowledge) represents a danger only when she is yearned after; only as such does she substantiate the Luciferian temptation and cause the wound in Amfortas's 'virility,' which degrades and paralizes him. She is the woman who, in Kalki's myth, never marries anyone but the restoring hero, since all other men, as soon as they lust after her, are transformed from men into women, or in other words, like Amfortas, they lose their spiritual virility. When considered as a craving, or as an uncontrolled desire, the heroic eros is a danger. In this context chastity signifies control, limit, antititanic purity, overcoming of pride, and immaterial unshakability, rather than a moralistic and sexuophobic precept. There is a significant saying of Trevrizent to Percival: 'There is only one thing that the Grail and its secret virtues will never tolerate in you: countless desires.' "

- Julius Evola, The Mystery of the Grail

"The 'triumphal peace' corresponds to the Olympian state that is regained by the hero: 'By fighting on you have pacified your soul.' Asceticism of power; the overcoming of both the wild, virile element and of desire; and purity in victory: only when these characteristics are present does the unshakable, sidereal, and purified virile nucleus develop in a human being. This nucleus makes one fit to assume the Grail, to enjoy the full view of it without being blinded, destroyed, or incinerated on the spot."

- Julius Evola, The Mystery of the Grail