Original Images for
Devils of Democracy
During its early conception, I had thought of Devils of Democracy as being a work with pictures, since those who work with demons or devils produce delightfully lurid and strange images that can be difficult to describe. I was told this might be impractical, since the detail of some images might not show up well. Instead, I've gathered them here so that you can reference them as you go through the book. If you found your way here apart from the book, enjoy!
Chapter 1
Image of the lines outside of The Courage Tour in Monroeville, PA. Image taken by author.
J.D. Vance speaking at the Courage Tour meeting in Monroeville, PA. Image taken by author.
Lance Wallnau speaking at the Courage Tour in Monroeville, PA. The political nature of the gathering is apparent from the Trump-Vance insignias behind him. Image taken by author.
The Lion of Judah booth, one booth among many, set up at the Courage Tour in Monroeville, PA. Note that the second starred element contains the idea of the "Mountain of Government," part of the Seven Mountain Mandate that has demonic underpinnings. Image taken by author.
Chapter 2
In the image at right, demons bear Anthony aloft over the landscape, suggesting their bodies have the same consistency as Anthony's. The Temptation of Saint Anthony (c. 1487–88), by the young Michelangelo, copying Martin Schongauer's engraving. Oil and tempera on panel, 47 × 35 cm (18+1⁄2 in × 13+3⁄4 in). Kimbell Art Museum, Fort Worth, Texas.
Below, note the similarity of the two images: the first a depiction of the Devil, while the second is depicting what the Christian artists believed was occurring in Hindu worship. Left: Detail of Giovanni da Modena’s The Inferno (Basilica di San Petronio, Bologna: 1410); Right: Woodcut of the Devil in Calicut by Jörg Breu, in Lodovico di Varthema, Die Ritterlich and Lobwirdig Rays (Augsburg: Hans Miller 1515) Bayerische Staatsbibliothek.
Faithful reproductions of two-dimensional, public domain works of art.
Chapter 3
Two images of the so-called "Whore of Babylon" from Revelation 17. These were developed by Lucas Cranach the Elder and found their way into Luther's Bible. Note the two different papal crowns that mark the feminine figure in each image, a signifier that we are supposed to understand these images as images of the Papal Beast.
Left: Colorized version of illustration from Luther's 1534 translation.
Right: Woodcut from Luther's 1522 translation.
Faithful reproductions of two-dimensional, public domain works of art.
Chapter 4
Three images created by Paul Revere, all of which feature diabolical imagery to condemn political situations.
Top: "A Warm Place - Hell" - Seventeen members of the Massachusetts's House that voted against a letter critical of the Townshend Acts are forced into Hellmouth by two demons with pitchforks.
Bottom Left: "A New of the Year 1765" - A dragon (a popular image of the Devil) grips the Magna Carta as an anthropomorphized Boston attempts to wrench it away. Demons figures attempt to pour out the Vials described in Revelation.
Bottom Right: "The Massachusetts's Calendar" - The Devil or a demon points to a litany of crimes against Thomas Hutchison - loyalist governor of MA - at the hour of his death.
Faithful reproductions of two-dimensional, public domain works of art.
Chapter 6
Images that make use of the "Witch of Endor" trope. The first (left) is Salvador Rosa's "The Shade of Samuel Appears to Saul" (1668), held at the Department of Paintings in the Louvre Room 717. The image displays the kind of transformation that the Woman at Endor has undergone. Like many typical depictions of the witch, Rosa has depicted her as old, her breasts sagging and empty, an expression of crazed glee on her face. Though Samuel's shade has appeared, his countenance is dark and the skeletal entities that flit behind the Witch suggest he is something other than what he appears.
Below, the frontispiece of Daniel's Spiritualism Versus Christianity. The imagery is clearly of the Gerasene Demoniac, but the caption reads "A Fully Developed Medium Eighteen Hundred Years Ago."
Faithful reproductions of two-dimensional, public domain works of art.
Chapter 8
Left, a political cartoon created by Thomas Nast. In his February 17, 1872 political cartoon entitled “Get Thee Behind Me, (Mrs.) Satan!”, Nast depicts Victoria Woodhull - first female presidential candidate, Spiritualist, Free Lover, etc. - as an austere diabolical figure, complete with menacing bat wings and horns. She holds a poster suggesting that salvation can be found in Free Love. This salvation is being offered to a haggard wife carrying multiple children and a drunkard husband shouting at the heavens. To the Woodhull-Satan, the “Wife (with heavy burden)” replies “I’d rather travel the hardest path of matrimony than follow your footsteps.”
To the middle, the author lays the cause of the "Great Rebellion" (i.e., the Civil War) at the feat of spiritualists for consorting with the Devil. The pamphlet makes clear in its second page (right) that demons are responsible for the gradual rise of abolitionism.
Faithful reproductions of two-dimensional, public domain works of art.
Chapter 9
Two political cartoons signaling Abraham Lincoln's diabolical associations. At left, “The Emancipation Proclamation" by Adalbert John Volck. Note the demonic imagery that has been built into the scene in the inkwell, curtains, chair, and desk. Lincoln’s foot rests on a copy of the U.S. Constitution as he signs the Proclamation. At right, Artist unknown. ‘Masks and Faces: King Abraham Before and After Issuing the Emancipation Proclamation’. Wood engraving, published in Southern Illustrated News, November 8, 1862. Lincoln's face turns out to be nothing more than a mask to hide his demonic nature.
Faithful reproductions of two-dimensional, public domain works of art.
Chapter 10
At right, one of the pages for US Patent 446,054, the patent for the Ouija Board. The first portion of the text of the patent reads:
To all whom it may concern:
Be it known that I, ELIJAH J. BOND, a citizen of the United States, residing at Baltimore, in the State of Maryland, have invented certain new and useful Improvements in Toys or Games; and I do declare the following to be a full, clear, and exact description of the invention, such as will enable others skilled in the art to which it appertains to make and to use the same, reference being had to the accompanying drawings, and to the letters and figures of reference marked thereon, which form a part of this specification.
My invention relates to improvements in toys or games, which I designate as an "Ouija or Egyptian luck-board;" and the objects of the invention are to produce a toy or game by which two or more persons can amuse themselves by asking questions of any kind and having them answered by the device used and operated by the touch of the hand, so that the answers are designated by letters on a board.
Below, Norman Rockwell's rendering of Ouija Board use for The Saturday Evening Post on May 1, 1920. Rockwell depicted typical scenes of American lives in these images, a testament to how influential and popular the Ouija Board had become.
Faithful reproductions of two-dimensional, public domain works of art or publicly available patents.
