The model of diffusion of “archaeological cultures,” each corresponding to a given “people,” is both naturalist and directly inspired by the nation s… - Jean-Paul Demoule

The problematic therefore becomes obvious: Which of the two peoples are the Indo-Iranians, the Andronovo people or the BMAC people, keeping in mind that their material cultures, as well as their economic systems, were radically different? Both answers have, of course, been proposed, each with acceptable arguments, and we will not even attempt to sum up the highly technical debates—ongoing and nowhere near resolution—between the proponents of the BMAC option52 (incidentally, this is where Adolphe Pictet located the original Cradle in 1859) and proponents of the steppic option.53 In reality, the archaeological arguments needed to certify the “Indo-Iranian-ness” of a given site are highly debatable.54 Reference is made to the existence of a “fire cult,” to the crushing of plants to obtain an inebriating drink (the soma of the Indians and the haoma of the Iranians—of which we know nothing), the exposure and defleshing of corpses, and, in contrast, their cremation, etc. However, these activities do not leave unequivocal and specific traces within the archaeological record. Cremation occurs no earlier on the steppes than in the BMAC area, and, in any case, it is not a particularly strong marker of ethnicity, regardless of the period in question.55 The iconography found on luxury goods associated with the BMAC does not share any themes with the ancient Indo-Iranian texts. We encounter a goddess, a bird of prey hero, a dragon, and an ibex-god, which evoke both a shared Eurasian background and clear influences from Elam; only a small number of silver vessels bear scenes that, according to Henri-Paul Francfort, might potentially find comparisons in Indo-Iranian mythologies.56

A closer reading of the issues of Nouvelle École and Éléments both reinforces and refines this impression. For example, in each issue, the section headed “Éphémérides” singles out important historical dates and rarely misses an occasion to evoke the atrocities committed by the Allied forces during the Second World War. The iconography employed highlights the work of artists affiliated with the Nazi regime, such as the sculptor Arno Breker, the painter Wilhelm Petersen, and the illustrator and lithographer Georg Sluyterman van Langeweyde.19 One of the illustrations used in Vue de droite is particularly telling in this regard: from the pen of Georg Sluyterman van Langeweyde, it represents a proud medieval knight armed with a lance and originally graced the cover of the August 1940 edition of Germanien, the journal of the SS Ahnenerbe’s “cultural” institute; Alain de Benoist is happy to simply invert the image from left to right and—a tiny detail—replace the swastika on the knight’s shield with a two-headed eagle. Other illustrations are lifted directly from Germanien to embellish the pages of Nouvelle École and the official magazine of the GRECE.

Without exaggeration and in a definitive reply to Momigliano (who paradoxically was a member of the Italian Fascist Party before having to flee Mussolini’s anti-Semitic laws) and Ginzburg, we can state that Dumézil was not a Nazi supporter in the 1930s. He was, however, a fascist in the precise meaning of the term.