This chapter deals with the two main sources of inspiration for Hitler’s religiosity, namely Houston Stewart Chamberlain and Dietrich Eckart. The latter was the man who acted as his ideological and religious teacher and father figure during the early 1920s, the self-proclaimed Catholic Dietrich Eckart. I argue that it was Eckart who was largely responsible for having introduced Hitler to the religious views that he came to have and express for the rest of his life. I focus on the fictive dialogue between Hitler and Eckart as laid out in Eckart’s book Der Bolschewismus von Moses bis Lenin (Bolshevism from Moses to Lenin) from 1923, which presents the National Socialist idea of Jesus in great detail. I argue that the reason why Eckart knew Hitler’s religious beliefs, including his views of Jesus, so well was that he in fact was the source of these beliefs. Furthermore, Houston Stewart Chamberlain’s ideas about the Aryan Jesus gave Hitler the foundation for his belief in Jesus as a viscious antisemite who became the role model for himself personally and for the National Socialist movement as a whole.

Wagner’s project for the Festspielhaus in Bayreuth also established ‘the Bayreuth idea’, in which festival visitors were to participate directly in the performances. Initially, an explicit separation of art and politics anchored this separation, yet later ideologies came to influences the Bayreuth circle, and in turn, the Festival itself. Two are examined in this chapter, Houston Stewart Chamberlain (in relation to Cosima), and Adolf Hitler (in relation to Winifred), alongside the Festival in the aftermath of the Second World War.