Month: May 2020

Christians believing that Noah’s Ark is real

Is there really any proof the ark actually existing or is it just some kids fairytale story? There is no exact proof of the ark existing. In the many years this world has existed, it has never been found so obviously the ark has never really existed. Some want to claim that it was found, a team of evangelical Christian explorers claim to say that they have found the ark. When I saw this picture, I was thinking that it didn’t really look like anything at all.

 I mean if it was really found, wouldn’t there be actual proof of it existing?

I guess that is something that you will have to decide for yourself if it is actually real or not.

If you want to believe in a silly fairytale then that is your choice.

-Luciferi Baphomet 

Morning Star (Lucifer) – Paul Fryer

The Holy Trinity Church in Marylebone, Westminster, built specifically to celebrate the defeat of Napoleon, hasn’t been used as a place of worship since the 30’s, but that didn’t stop artist Paul Fryer from making a religious statement by hanging this terrifying statue of Satan inside.

The piece, titled “Lucifer (Morningstar)” is a wax sculpture depicting the devil snared in a set of power lines. The statue is equal parts grotesque and beautiful, showing Lucifer as an oily, black creature with immense white wings (created from real feathers). Even creepier in the fact that it’s lit via the church’s stained glass windows, an ironic juxtaposition that won’t be lost on many.

Feyer hasn’t come out and said exactly what kind of statement he was trying to make at the Holy Trinity Church, but his certainly wasn’t the first. Earlier in 2008, the building (which is now being considered as a shopping center) hosted an art display that featured a crucified ape as the centerpiece.

The Violin Sonata in G minor – L. Boilly

The Violin Sonata in G minor, B.g5, more familiarly known as the Devil’s Trill Sonata (Italian: Il trillo del diavolo), is a work for solo violin (with figured bassaccompaniment) by Giuseppe Tartini (1692–1770). It is the composer’s best-known composition, notable for its technically difficult passages. A typical performance lasts 15 minutes.

Tartini allegedly told the French astronomer Jérôme Lalande that he had dreamed that the devil had appeared to him and had asked to be Tartini’s servant and teacher. At the end of the music lesson, Tartini handed the devil his violin to test his skill, which the devil began to play with virtuosity; delivering an intense and magnificent performance. So singularly beautiful and executed with such superior taste and precision, that the composer felt his breath taken away. The complete story is told by Tartini himself in Lalande’s Voyage d’un François en Italie:

One night, in the year 1713 I dreamed I had made a pact with the devil for my soul. Everything went as I wished: my new servant anticipated my every desire. Among other things, I gave him my violin to see if he could play. How great was my astonishment on hearing a sonata so wonderful and so beautiful, played with such great art and intelligence, as I had never even conceived in my boldest flights of fantasy. I felt enraptured, transported, enchanted: my breath failed me, and I awoke. I immediately grasped my violin in order to retain, in part at least, the impression of my dream. In vain! The music which I at this time composed is indeed the best that I ever wrote, and I still call it the “Devil’s Trill”, but the difference between it and that which so moved me is so great that I would have destroyed my instrument and have said farewell to music forever if it had been possible for me to live without the enjoyment it affords me.

Source: Wikipedia

Satan Presiding at the Infernal Council – John Martin

British artist John Martin created between 1823 and 1827 to illustrate a new edition of Milton’s Paradise Lost. It was described by in The Guardian in 2011 as “Satan holding court in what looks like a solo performance in the Albert Hall (decades in advance)”. Popular success of John Martin’s religious paintings, particularly Belshazzar’s Feast (first exhibited at the British Institution in 1821, and published as engravings in 1826), led to a commission in 1823 from London publisher Septimus Prowett for Martin to illustrate a new edition of Milton’s Paradise Lost. Martin made mezzotint engravings of 24 subjects in two sizes, 48 plates in all, with large prints measuring 8 by 11 inches (20 cm × 28 cm) and small prints 6 by 8 inches (15 cm × 20 cm).

John Martin, Belshazzar’s Feast, c.1821

The engraving of Satan Presiding at the Infernal Council illustrates the debate among Satan’s “Stygian Council” in the council-chamber of Pandæmonium at the beginning of Book II of Paradise Lost. In the engraving, Satan is depicted enthroned at the heart of the hall of his Palace of Pandæmonium, at the centre of a rotunda filled with onlooking throngs of fallen angels, illuminated by the new technology of gaslight. His throne is placed atop a black hemisphere. The composition may be inspired by an illustration in the 1782 edition of William Beckford’s novel Vathek.

The prints were published by subscription from 1825 to 1827, with two prints and accompanying text published each month, to be bound together by the subscriber. The engravings were also available to buy separately as sets or single prints. The book and the engravings were considerable critical and commercial success, with Martin’s original compositions praised for their invention and power. Martin was encouraged to start work on engraved illustrations of the Bible, and published a further large format print of Satan Presiding at the Infernal Council in 1831, measuring 24 by 32 inches (61 cm × 81 cm). According to musicologist Edward Lockspeiser, this engraving had a singular effect and a lasting influence on the composer Hector Berlioz.

The bold iconography and design of Martin’s engravings were inspirations for scenes in D. W. Griffith’s films Birth of a Nation and Intolerance, for the design of the Galactic Senate in Star Wars: Episode I – The Phantom Menace].

Source: Wikipedia

Lilith – John Collier

Lilith is an 1887 painting by English artist John Collier, who worked in the style of the Pre-Raphaelite Brotherhood. The painting of the Jewish mythological figure, Lilith, is held in the Atkinson Art Gallery in Southport, England.

The Fall of the Rebel Angels – John Martin

Lucifer and his fellow angels are cast out of Heaven, falling into a deep chasm with sheer rock walls textured by what appears to be tree roots. The chasm is illuminated by light from the opening through which the angels fall, but it is otherwise in deep shadow. The angels grasp their spears and shields as they plummet into the seemingly bottomless pit, simultaneously stuck by falling stones.

John Milton’s Paradise Lost (published for Septimus Prowett in 1827 and for Charles Tilt in 1833)

Thor Battering the Midgard Serpent – Henry Fuseli

Thor Battering the Midgard Serpent is a 1790 painting by the Swiss artist Henry Fuseli. It depicts one of the most popular myths in Germanic mythology, Thor’s fishing trip, which was known to Fuseli through P. H. Mallet’s 1755 book Introduction à l’histoire du Dannemarc, translated to English by Thomas Percy in 1770 as Northern Antiquities. The nude and muscular Thor stands in Hymir’s boat with the Jörmungandr on his fish hook.

The painting was Fuseli’s diploma work for his election to the British Royal Academy of Arts in 1790. The subject has been interpreted in relation to Fuseli’s support for the French Revolution, where the serpent could represent the Ancien Régime.

Source: Wikipedia

The Fall of the Titans – Cornelis van Haarlem

The Fall of the Titans is an oil painting of the Titanomachy by the Dutch painter Cornelis van Haarlem in 1588–1590. It measures 239 × 307 cm (94 × 121 in). The work is in the collection of the Statens Museum (the national art gallery) in Copenhagen, Denmark. It is an ambitious work of the Haarlem Mannerists, and a display of the artist’s ability to devise and depict a large number of varied poses for the male nudes.

In Greek mythology, the Titans were members of the second generation of divine beings, descending from the primordial deities and preceding the Olympians. Based on Mount Othrys, the Titans most famously included the first twelve children of Gaia (Mother Earth) and Uranus (Father Sky). They ruled during the legendary Golden Age, and also comprised the first pantheon of Greek deities.

Just as the Titan Cronus overthrew his father Uranus, the Titans were overthrown by Cronus’s children (Zeus, Hades, Poseidon, Hestia, Hera and Demeter), the core Olympian deities, in the Titanomachy (or “War of the Titans”), at the end of which they were imprisoned in Tartarus, a Greek version of Hell. Their arrival there is depicted in the painting.

The painting was bought by King Christian IV of Denmark in 1621, and followed most of the royal collection into public ownership in the Statens Museum in the 19th century.

Source: Wikipedia

Minos, Judge of the Damned – Gustave Doré

In Greek mythology, Minos (/ˈmaɪnɒs, -nəs/; Greek: Μίνως, Minōs) was the first King of Crete, son of Zeus and Europa. Every nine years, he made King Aegeus pick seven young boys and seven young girls to be sent to Daedalus’s creation, the labyrinth, to be eaten by the Minotaur. After his death, Minos became a judge of the dead in the underworld.

The Lament for Icarus – Herbert James Draper

The Lament for Icarus is a painting by Herbert James Draper, showing the dead Icarus, surrounded by lamenting nymphs. The wings of Icarus are based on the bird-of-paradise pattern. In 1898, the painting was bought from the Royal Academy exhibition through The Chantrey Bequest, a public fund for purchasing modern art bequeathed by Sir Francis Leggatt Chantrey, R.A.. The Lament for Icarus was subsequently awarded the gold medal at the Exposition Universelle of 1900 in Paris.

According to Dr. Justine Hopkins, Draper identifies Icarus “with the other heroes of the Pre-Raphaelites and symbolists, who, like James Dean half a century later, manage to live fast, die young and leave a beautiful corpse”. (The last half of that comment is based on a line in the 1947 novel Knock on Any Door by Willard Motley and its film adaptation.)

 The composition:

Draper’s preparatory sketch of Icarus

In 1890s Draper was focused mainly on ancient Greek mythological subjects. Frederic Leighton had depicted Icarus in 1869, but while Leighton showed the preparations for the flight, Draper depicted the tragic ending of the flight. For the composition Draper adopted Leighton’s method of depicting separate figures, for which he employed four young professional models (Ethel Gurden, Ethel Warwick, Florence Bird and Luigi di Luca).

The use of the male body as a vehicle for the projection of subjective emotion, as in The Lament for Icarus, is a feature of late-Victorian painting and sculpture, and in The Lament for Icarus the body appears to melt within the arms of one nymph. Draper applied liquid light effects without abandoning form and used mainly warm colours. The tanned skin of Icarus refers to his close approach to the Sun before falling down. The rays of the setting sun on distant cliffs emphasize the transience of time. Moralizing, sentimental and sensual, The Lament for Icarus ultimately became a well-composed image of epic failure. However, somewhat surprising, Icarus has his wings fully intact, contrary to the myth where the wax melted and Icarus fell flapping his bare arms. The image of a “winged creature” is likely utilized to create a more symbolic, romantic and elegant appearance.

What’s the point of God’s plans?

Does god really have plans for everyone? If he did have plans for those then why are those people suffering? Many Christians say god has plan for you that will lead you through the steps through life and through eternity after you die. If he did have a plan then why would he let people get cancer, diseases, and viruses? What kind of god would let his people get sick. Also, they say god has a purpose for us in life. If he did then why does he let bad things happen to them? Why does he let them get raped, tortured, hit, beaten up till they have bruises all over themselves, starve to death, and etc.

For example, if Christians say that Satan “Burns people in hell” then why does god let that happen? If he cared enough he wouldn’t want that to happen to his people. So god doesn’t really care for his people. In general, if he cared he would have been watching out for his people but instead he watches people suffer while he just sits there doing nothing. In reality, Lucifer DOES NOT burn people, he doesn’t throw people in a pit of fire. That is all lies from the holy bible. It is only said to make them fear Lucifer; so they can stay with god.

-Luciferi Baphomet

Les Oréades [The Oreads] – William-Adolphe Bouguereau

The Oreads are the nymphs of mountains and grottoes (the most well known is Echo), who were said to come out in joyful, lively groups to hunt deer, chase wild boar and bring down birds of prey with their arrows. At Diana’s signal, they would come running to join her, forming a dazzling retinue behind her. The 1902 catalogue for the Salon gave this lengthy commentary after the title of the painting: “The shadows are dissipating; dawn appears, radiant, and colours the mountain tops pink. Then a long procession soars up into the sky: it is the joyful band of nymphs who, during the night, frolicked in the shadow of the forests and by the still waters of the river; they take to the air, watched by the astonished fauns, to return to their own realm and the ethereal regions inhabited by the gods”. With this painting, Bouguereau shows himself to be firmly attached to his ideal of academic painting. As in another painting at Musée d’Orsay, The Assault, the mythological subject here is a pretext to demonstrate his outstanding drawing skills, capable of capturing all the attitudes and expressions of the human body. The mythological subject also enables him to introduce an erotic element without lapsing into bawdiness (the lust in the eyes of the Satyrs is, in this respect, unambiguous). With this flight of female figures, Bouguereau boldly produced a painting that was highly imaginative and suffused with poetry, perceptible in the twilight landscape of the background, worthy of Corot, and tinged with Symbolist tones.

Source: https://www.musee-orsay.fr

Saturn or Saturn Devouring His Son – Peter Paul Rubens

Saturn or Saturn Devouring His Son is a 1636 painting by the Flemish artist Peter Paul Rubens, now in the Museo del Prado.

It was commissioned for the Torre de la Parada by Philip IV of Spain and shows the influence of Michelangelo on Rubens, which he had picked up on his journey to Italy. The three stars at the top of the painting represent the planet Saturn as described by Galileo a few years before its painting. The central star is the planet itself, whilst the two others represent what he thought were two stars aligned with the planet. In reality, these were the rings around the planet, which his telescope was not powerful enough to distinguish.

In turn, the painting influenced Goya’s painting of the same subject (1819–23).

Satanism isn’t about worshiping Lucifer.

Satanism isn’t about worshiping Lucifer. Satanism is about understanding who Lucifer is and learning what he teaches.

He doesn’t want our worship. He teaches that we are all inherently Gods and Goddesses.

Lucifer can guide but you need to put your heart and your will into this path. If you do not put any effort into wanting to work with him, then then nothing is going to work.

Luceafărul (poem) – Octavian Smigelschi

Luceafărul (originally spelled Luceafĕrul; variously rendered as “The Morning Star”, “The Evening Star”, “The Vesper”, “The Daystar”, or “Lucifer”) is a narrative poem by Romanian author Mihai Eminescu. It was first published in 1883, out of Vienna, by Romanian expatriates in Austria-Hungary. It is generally considered Eminescu’s masterpiece, one of the greatest accomplishments in Romanian literature, and one of the last milestones in Europe’s Romantic poetry. One in a family or “constellation” of poems, it took Eminescu ten years to conceive, its final shape being partly edited by the philosopher Titu Maiorescu. During this creative process, Eminescu distilled Romanian folklore, Romantic themes, and various staples of Indo-European myth, arriving from a versified fairy tale to a mythopoeia, a self-reflection on his condition as a genius, and an illustration of his philosophy of love.

The eponymous celestial being, also referred to as “Hyperion”, is widely identified as Eminescu’s alter ego; he combines elements of fallen angels, daimons, incubi, but is neither mischievous nor purposefully seductive. His daily mission on the firmament is interrupted by the lustful calls of Princess Cătălina, who asks for him to “glide down” and become her mate. He is persuaded by her to relinquish his immortality, which would require approval from a third protagonist, the Demiurge. The Morning Star seeks the Demiurge at the edge of the Universe, but only receives a revelation of mankind’s irrelevancy. In his brief absence, the Princess is seduced by a fellow mortal. As he returns to his place in the sky, Hyperion understands that the Demiurge was right.

Luceafărul enjoys fame not just as a poetic masterpiece, but also as one of the very last works completed and read publicly by Eminescu before his debilitating mental illness and hospitalization. It has endured in cultural memory as both the object of critical scrutiny and a strong favorite of the public. Its translators into various languages include figures such as Günther Deicke, Zoltán Franyó, Mite Kremnitz, Leon Levițchi, Mate Maras, Corneliu M. Popescu, David Samoylov, Immanuel Weissglas, Todur Zanet, and Vilém Závada. The poem left a distinct legacy in literary works by Mircea Eliade, Emil Loteanu, Alexandru Vlahuță, and, possibly, Ingeborg Bachmann. It has also inspired composers Nicolae Bretan and Eugen Doga, as well as various visual artists.

______________________________________________________________________________

Outline:

Luceafărul opens as a typical fairy tale, with a variation of “once upon a time” and a brief depiction of its female character, a “wondrous maiden”, the only child of a royal couple—her name, Cătălina, will only be mentioned once, in the poem’s 46th stanza. She is shown waiting impatiently for nightfall, when she gazes upon the Morning Star:

Din umbra falnicelor bolți

Ea pasul și-l îndreaptă

Lângă fereastră, unde-n colț

Luceafărul așteaptă.

Privea în zare cum pe mări

Răsare și străluce,

Pe mișcătoarele cărări

Corăbii negre duce.

From ‘neath the castle’s dark retreat,

Her silent way she wended,

Each evening to the window seat

Where Lucifer attended.

And secretly, with never fail,

She watched his gracious pace,

Where vessels drew their pathless trail

Across the ocean’s face.

—translation by Corneliu M. Popescu,

quoted in Kenneth Katzner, The Languages of the World, p. 113. London etc.: Routledge, 2002. ISBN 0-415-25004-8

___

Hyperion senses her attention and gazes back, and, although a non-physical entity, also begins to desire her company. Sliding through her window when she is asleep, he caresses Cătălina as she dreams of him. In one such a moment, she moans for him to “glide down upon a ray” and become her betrothed. Urged on by this command, the Morning Star hurls himself into the sea, reemerging as a “fair youth”, or “handsome corpse with living eyes”.

Returning to Cătălina while she is awake, Hyperion proposes that they elope to his “coral castles” at the bottom of the sea; this horrifies the Princess, who expresses her refusal of a “lifeless” and “alien” prospect—although she still appears bedazzled by his “angel” looks. However, within days she returns to dreaming of the Morning Star and unconsciously asking for him to “glide down”. This time, he appears to her a creature of fire, offering Cătălina a place in his celestial abode. She again expresses her refusal, and compares Hyperion’s new form to that of a daimon. In this restated form, her refusal reads:

— „O, ești frumos, cum numa-n vis

Un demon se arată,

Dară pe calea ce-ai deschis

N-oi merge niciodată […]”

“You are as handsome as in sleep

Can but a d[a]emon be;

Yet never shall I take and keep

The path you show to me.”

—translation by Leon Levițchi, in Prickett, p. 237 (using “daemon”); in Săndulescu, p. 16 (has “demon”).

___

Cătălina is not interested in acquiring immortality, but asks that he join the mortal realm, to be “reborn in sin”; Hyperion agrees, and to this end abandons his place on the firmament to seek out the Demiurge. This requires him to travel to the edge of the Universe, into a cosmic void. Once there, the Demiurge laughs off his request; he informs Hyperion that human experience is futile, and that becoming human would be a return to “yesterday’s eternal womb”. He orders Hyperion back to his celestial place, obliquely telling him that something “in store” on Earth will prove the point.

Indeed, while Hyperion was missing, Cătălina had found herself courted, then slowly seduced, by a “conniving” courtly page, Cătălin. The poem’s “tragic denouement allots each of the three lovers their own sphere with frontiers impossible to trespass.”[1] As he resumes his place on the firmament, Hyperion catches sight of the happy couple Cătălin and Cătălina. She gazes back and calls on him, but only as a witness to, and good-luck charm for, her new love. The last two stanzas show Hyperion returning to his silent, self-absorbed, activities:

Dar nu mai cade ca-n trecut

În mări din tot înaltul

— „Ce-ți pasă ție, chip de lut,

Dac-oi fi eu sau altul?

Yet he no more, as yesterday,

Falls down into the sea;

“What dost thou care, o shape of clay,

If it is I or he?

Trăind în cercul vostru strâmt

Norocul vă petrece,

Ci eu în lumea mea mă simt

Nemuritor și rece.”

You live accompanied by weal

In your all-narrow fold,

Whilst in my boundless world I feel

Both deathless and dead cold.”

—translation by Levițchi, in Prickett, p. 249; in Săndulescu, p. 25.

___

Rest of the Info about this post https://en.wikipedia.org/wiki/Luceaf%C4%83rul_(poem)

Lucifer – Carl Schmidt-Helmbrecht

“Lucifer,” Carl Schmidt-Helmbrecht, 1896. Schmidt-Helmbrecht created this illustration to accompany Paul Althof’s poem by the same name, published in the August 1896 edition of Jugend magazine. The poem describes Lucifer, minding his own business on a beach, when a group of women show up, “screeching” and singing and just generally annoying him. One comes over and tries to kiss Lucifer, and he finds her beauty to be a mockery of him. So, “trembling between hatred and love,” he drowns her in the ocean, laughing and saying, “You angels, sing your praise chorales. The devil saves a human soul!” (Collection: Heidelberg University Library)

Fake vs The Real Occultist

When you think of an occultist you would think of them as someone who is a satanist, or some who practices witchcraft, or even someone who works with demons – Including with Satan/Lucifer – and with Lilith. But when a beginner satanist reads a book on the occult sometimes they would read one that was written by a Christian. That Christian would mix a lot of the things up and will try to convert many to Christianity.

I am pretty sure that some have converted to Satanism and read a book the was supposedly on the occult and then they ended up reading something that was against Lucifer. It sure would not surprise me for one to get scared and to leave satanism. Those who say they are an occultist and is a christian will deceive and even lie to the uneducated people that have convert to satanism.

If you are that kind of person that likes to read books on the occult then I would advise you to do the research about the author before you even read that book but that is your choice to do so.

-Luciferi Baphomet

Satan Exulting over Eve – William Blake

Year: 1795

Satan hovers in malevolent glory over Eve, who is entwined by his alter ego, the serpent of the Garden of Eden. The uneven, fibrous, opaque color of the ground under Eve distinguishes this area as printed, while the even sweep of the red washes shows that the flames behind Satan are mostly watercolor, a medium William Blake often used because he liked its transparent quality.

Graphite, pen and black ink, and watercolor over a color print