By Arturo Graf
"The satan holds the strings which movement us!" (Charles Baudelaire, The flora of Evil, 1857.) devil, Beelzebub, Lucifer... the satan has many names and faces, all of that have regularly served artists as a resource of idea. usually commissioned through non secular leaders as photographs of worry or veneration, looking on the society, representations of the underworld served to educate believers and lead them alongside the trail of righteousness. For different artists, comparable to Hieronymus Bosch, they supplied a way of denouncing the ethical decrepitude of one's contemporaries. within the comparable method, literature facing the satan has lengthy provided notion to artists wishing to exorcise evil via photographs, specifically the works of Dante and Goethe. within the nineteenth century, romanticism, attracted via the mysterious and expressive strength of the topic, endured to glorify the malevolent. Auguste Rodin's The Gates of Hell, the huge, tormented paintings of an entire life, completely illustrates this ardour for evil, but in addition unearths the cause of this fascination. certainly, what might be extra eye-catching for a guy than to check his mastery by means of evoking the wonderful thing about the gruesome and the diabolic?
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Additional resources for Art of the Devil (Temporis Collection)
Such was the physical nature of the Devil; of his moral nature I will not speak now, for we shall see that nature expounded in the following chapters. I will only say, in passing, that—contrary to the opinion of Thomas Aquinas, who charged him with no other sin than pride and envy—, popular belief attributed to the Devil all of the seven deadly sins. The Number, Abodes, Qualities, Orders, Hierarchy, Knowledge and Power of Devils Anonymous, Hell and the Seven Deadly Sins, published by La Bonne Presse, end of 19th century.
To Saint Birgitta there once appeared a devil having a head like a pair of bellows furnished with a long pipe, his arms like serpents, his feet like grappling irons. But who could ever describe this new Chimaera under all its aspects? The belief that each individual demon must have a peculiar form of his own, befitting his peculiar character, his rank and the nature of his infernal office, tended to multiply these strange fancies and increase their confusion. qxp 2/16/2009 3:26 PM Page 43 members joined in the bodies of demons with members of human shape; not seldom the brute predominates over the human, and in such a case we find, for instance, a beast with the head of a man, like Dante’s Geryon;27 sometimes the brute excludes the human altogether, and then we meet a diabolic beast, which also may be composite, made up of portions taken from this creature and from that, a monster that does violence to nature, a living symbol of falsehood and confusion.
In that of Greece, the Titans are the enemies of Zeus, and for this reason Dante places them in Hell. Dante likewise makes his Lucifer of gigantic size;24 and in the French epopees of the Middle Ages the giants are quite often devils, or sons of devils. In the Vision of Tundal, composed about the middle of the twelfth century, the prince of the demons, who is roasting eternally on a gridiron, is not only of gigantic dimensions but, like Briareus, he has a hundred arms; and like Briareus, with a hundred hands and a hundred feet, he was seen in the fourteenth century by Saint Birgitta (1303-1373).