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This artist needs no introduction. Gustave Doré was the preeminent illustrator of the 19th century. Although he became rich and successful, he was a workaholic, who took joy in his work rather than riches. He never married and lived with his mother until he died unexpectedly of a brief severe illness.

Doré illustrated everything from the Bible, to Nursery Rhymes, to Dante (one of my friends decided to become an artist upon looking at Doré’s version of Dante’s hell). Likewise he provided images for the great poetry and novels of his time. We could write a whole novel about Doré’s life (well we could if it wasn’t entirely spent sitting at a drafting table creating astonishing visual wonderment), but let’s concentrate instead on three especially dark images from his great oeuvre. First, at the top is an image of the end of the crusades. Every paladin and holy knight lies dead in a colossal heap. Collectively they grasp a great cross with their dead limbs as a glowing dove surrounded by a ring of stars ascends upward from the carnage. It is a powerful image of religious war–made all the more sinister by Doré’s apparent approval (and by the fact that it looks oddly like an allegory of the present state of the EU.

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Next we come to a picture from European fairy tales: a traveler bedecked in sumptuous raiment stands surrounded on all sides by writhing corpses trapped inside their caskets by bars. The coffins rise high above the lone man in an apparently endless architecture of death. Strange tricky spirits dance at the edges of his sight as he takes in his ghastly location. This is clearly an image of…I…uh…I have no idea…what the hell sort of nightmare fairy tale is this? How did Doré think of this stuff?

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Here finally, from Revelations, the final book of the New Testament, is an image of Death himself leading forth the horsemen of the apocalypse and the dark angels. This disturbing posse is descending from the sky to harrow the world of all living things and usher in a static and eternal era of divine singularity (which is the upsetting and unexpected end to a book about a kindly young rabbi who teaches people to be compassionate). Look at Death’s proud cold mien, which alone is composed and immutable in a desperate jagged composition of moving wings, scrabbling claws, ragged clouds, and blades of every sort.

Baphomet, the Templars, and some sort of absurd Victorian Charlatan

Baphomet, the Templars, and some sort of absurd Victorian Charlatan

In 1307, Philip IV of France was deeply in debt to the Poor Fellow-Soldiers of Christ and of the Temple of Solomon (a military order more commonly known as the Knights Templar).  The Templars had originated during the first crusade as a monastic order dedicated to helping pilgrims reach Jerusalem.  They soon became a powerful military presence in Outremer (the Christian-held lands within the Middle East) and because of an extra-national network of knights, they amassed immense power and wealth around Europe.  Since they had a financial infrastructure which stretched through many different countries, the Templars began acting as bankers (imagine if you deposited gold in England, and then withdrew it in Jerusalem without having to carry it through all the bandit-infested areas between).  They took over and managed the estates of noblemen who took up the cross and went to fight in the crusades, and, as Philip could attest, they leant money.  Some historians regard them as the first multinational corporation of Europe.

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Philip IV really liked money and he hated repaying debts.  In 1306 he had exiled France’s Jews so that he could take over the loans which had been made by them.  When rumors started cropping up about the profane nature of the Templar’s initiation rituals, the French king made sure the rumors spread widely and gained credence.  He used his influence over Pope Clement V (a weak pope who was almost entirely under Philip’s control) to squelch the order.  On October 13th 1307, hundreds of French Templars were rounded up and arrested.  They were then subjected to intense torture in order to find out the truth of their heresies.  Unsurprisingly, under torture, the imprisoned Templars confessed to all sorts of heresies (and other sins).  One of the things which Templars confessed to was worshipping the dark god Baphomet.  Baphomet had originated as a mispronunciation of Mohammed among untutored French soldiers during the First Crusade, however he was about to transcend his roots and become a deity in his own right.

Philip IV contemplates a group of Templars who have been tied to stakes and surrounded with flammable materials for some reason

Philip IV contemplates a group of Templars who have been tied to stakes and surrounded with flammable materials for some reason

With inspiration supplied by torturers the Templars came up with all sorts of examples of how they worshipped Baphomet idols and committed enormities in his name.  Philip’s purpose was to destroy the Templars not to find out truth and the Baphomet story worked very well.  Other imprisoned Templars were questioned about the entity, and when the rack and iron and pinchers were applied, they suddenly confirmed their fellow prisoners’ stories about the dark demon-god.

Baphomet, a hitherto nonexistent deity was literally born from the pain and fear and misinformation of the torture chamber.   During the 19th century, there was a burst of historical interest in the destruction of the Templars (I have left the ghastly details out of this post, but Philip IV was entirely effective in crushing the order for personal gain: the grandmaster of the Templars was burned at the stake in the middle of Paris in 1314).  Various authorities of the occult (which is to say fabulists) became interested in Baphomet and started providing further information about him.  Baphomet came to be pictured as a “Sabbatic Goat” a winged androgynous being with a pair of breasts, a goat’s head, and various evil supernatural accessories and emblems.

Baphomet as imagined by Victorian Occultists

Baphomet as imagined by Victorian Occultists

This image of Baphomet was seized on by Aleister Crowley, the influential English occultist, whose works had such an influence on modern neopaganism.  As a result, Baphomet has become popular.  You can buy devotional books and resin statues of him more easily than you can for almost any deity from my “deities of the underworld” category.   The fact that this deity has always been entirely a fraud, a bowdlerization of the medieval devil, and a complete invention (created under torture) seemingly has little bearing on the deitiy’s popularity.  Indeed it is a good origin story for a dark god and possibly has helped Baphomet to prominence.

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