satan – Page 2 – The Book of Faustus

55th Anniversary of the Church of Satan

On this day in 1966, Walpurgisnacht, Anton LaVey formally founded the Church of Satan. Today his religion has spread around the world as a hidden cabal of movers, shakers, artists, and accomplished beings. Satanism naturally attracts artists and creatives. From time to time, their talents are curated and merged such as during the Devil’s Reign series of art installations. You can find some amazing artwork in the now four volumes of The Devil’s Reign from Howl Books. This year for the 55th anniversary of the founding of the CoS, a 3D virtual gallery featuring highlights from previous installations can now be enjoyed at BlackFlowers.

Baphomet Rising – A Stained Glass Original

This one of a kind stained glass framed window, “Baphomet Rising” was designed and created by me under my studio Faustus Glass, over the course of 8 months of the pandemic. Over 240 individually hand cut pieces of exquisite Italian glass are joined together in this piece to the glory of the Horned One himself.

This dynamic and vibrant framed work of art features beautiful crystal clear bevels, deep red jewels, and a combination of decadent cathedral and opaque glass fashioned in the Tiffany technique–a gorgeous and lasting statement for the serious collector.

Available for sale in the lower 48 states, for the price of $666.
Update: SOLD. Congrats to the new owner.

Lil Nas X – Montero (Call Me By Your Name)

Lil Nas X has just broken the internet by making the gayest, most fabulous and sexual music video where he pole dances down to Hell and gives the Devil a very hot lap dance, ultimately dethroning Him and transforming into a new dark angel. We 100% approve.

Satanists Next Door

“In this episode, Ciaran meets Australian Satanist David Sinclair Smith and learns what the Church of Satan is really about, and attends a satanic ritual deep inside a forest. Our camera captures it all. Is it as controversial as most people believe it to be? Watch now and decide for yourself.”

De Civitate Dei Contra Paganos

VICE on El Culto del Angelito Negro

A relatively new syncretic religion in Mexico has been growing as an off-shoot of the cult of La Santa Muerte. In their practice, those devotees of the angel (i.e. the Devil) can approach his worship in a less aggressive way, and more openly. In Pachuca at the cathedral of La Santa Muerte, worshippers of El Angelito Negro can offer devotions, make deals and ask help of the Devil. Some may ask for healing, others for blessing, and others for cursing. His favors may come with the cost of their own blood.

The Sorceress, Jan van de Velde, 1626

Quantum malorum clausa nullo limite Cogit libido, quamque dulci carmine Purissimas mortalium mentes rapit Furias in omnes, sed cito quam fallimur. Vitam brevem breve gaudium Mors occupat momentulum quod ridet, aeternum dolet.

“How many evils does Lust command, in the small secluded margins; who with enchanting spell the pure minds of mortals does subdue, and in everyone induces rage, but quickly each is deceived. Death, seizes fleeing Life and brief joy. He laughs for a moment, and forever despairs. “

This engraving by Jan van de Velde depicts a witch as thought of during the height of witchcraft hysteria in Europe. The bare-breasted wild woman stands proudly in her Circle of Art, while demons surrounding her wait to do her bidding to summon some misfortune. All around her are the tools of her craft: the grimoire, the diviner’s cards, flasks of potions, a horn of herbs and a wand, and the goat which she undoubtedly flew in on.

The witch at her cauldron, sets upon some foul brew with the aid of her demon familiars.

Zeal & Ardor Returns

Zeal & Ardor have returned with new music which they are releasing every couple of weeks!

The Highest Holiday

The most sacred and important holiday of the year is upon me. My birthday! This year’s festivities were scaled down due to the pandemic but they were no less decadent than in the past. My small chosen-pandemic social group got together to assist a Black Mass to celebrate my LIFE (and what a life it’s been so far).

This year’s altar was in stark contrast with the severe torch-lit ceremonies of the past. To celebrate indulgence and all the pleasures of the world, we built an altar to Faustus, the god who is ME–covered in gold, jewels, and all sorts of glittering trinkets which glowed in purple light. My favorite music filled the air as I offered (myself) choice incenses and an oil of frankincense, cinnamon and violet. Our holy communion was a delicious goat cheese with raw honey, and the “Elixir of Life”, Veuve Clicquot with a hearty splash of Chartreuse.

The Faustus candle was lit and bedecked with all the treasures of the altar, where its flame will continue to burn for many days, fortifying ME in my renewed hunger for LIFE.

Hail Faustus! Hail Satan!

The Fall of the Damned, 1468

The figuration of the damned crowded in the middle of demonic creatures is common in the XV ^th century to represent Hell. The painter innovates by associating it with the representation of various abuses, such as those described in the Purgatory of Saint Patrick , text which relates the voyage of the knight Owein in Paradise and in Hell. He associated it with the idea of the fall, made even more legible by the composition, built around a vertical line. In the lower half of the image, the damned, battered by monsters, sink into the depths of the earth. The conflagration of bodies combined perfectly reflects the terrible aspect of the scene.
The visual contrast with the very clear panel of Paradise, by the same artist, is accentuated by a radically different palette: here brown and gray tones, and to a lesser extent cold tones dominate. The artist’s masterpiece, this supernatural vision undoubtedly inspired the very suggestive works of Bosch.
Hell and Paradise are perhaps the shutters of a triptych representing the Final Judgment. They have sometimes been identified with elements of a composition produced for the town hall of Louvain in 1468.
Each detail of the work has been the subject of great attention from the painter. The anatomy of the suffering bodies, the textures of the scales of the monsters and their gleaming eyes are dramatically represented, making the horror of the scene even more palpable before our eyes.
The characters’ pain in the brazier manifests itself in their grinning attitudes and faces. The liveliness of the flames is rendered by means of a very opaque paint, as well as the eyes of the demons, which makes it possible to create striking contrasts.