BLACK COFFEE VOL. 5
“Black Coffee” is a coffee inspired by the True Norwegian Black Metal culture. It was launched in the Norwegian town called Hell, during " Fashion Week in Hell". Supplier Solberg & Hansen have sourced a powerful coffee that captures darkness.
Vol. 5 is a Heirloom variety with beans from Chelba Cooperativ in Ethiopia. The coffee has an aroma of strawberry, ripe apples, vanilla and with light acidity. Round, sweet and fruity! Order through our webstore here or come by our store in Kristian Augusts gate 13, Oslo. This coffee is a great way to wake up from the dead.
Vol. 5 is a Heirloom variety with beans from Chelba Cooperativ in Ethiopia. The coffee has an aroma of strawberry, ripe apples, vanilla and with light acidity. Round, sweet and fruity! Order through our webstore here or come by our store in Kristian Augusts gate 13, Oslo. This coffee is a great way to wake up from the dead.
PUBLISHED 20.02.2013
ENTERS THE DEVIL
ENTERS THE DEVIL
The Representation of the Devil in Medieval (in short)
Theology
"No, the serpent did not
Seduce Eve to the apple.
All that's simply
Corruption of the facts.
Adam ate the apple.
Eve ate Adam.
The serpent ate Eve.
This is the dark intestine.
The serpent, meanwhile,
Sleeps his meal off in Paradise -
Smiling to hear
God's querulous calling."
- Ted Hughes
Evil, as a part of everyday human life within the most civilized communities, has been a part of us, the individuals since the first day of creation. Both arising out of the individual and acting upon the individual, it became the core of a diabolical movement in the process of human history. The personified form of evil, the Devil, the powerful evil force and the enemy of God in Christianity and Judaism has played a great role in the religious beliefs and social lives of humans. As a source of fear, the pushing force behind the fallible victims who become sinners due to his seductive and deceptive manner, wickedness, the Devil has found a place for himself in the field of literature and the drama. Until the Enlightenment, evil was linked to the Devil in drama while the drift away from the Devil as either a major element or a minor subtext in the drama has had a massive influence on the presentation of evil. The belief in hell and the fear of death in the western world have been a part of this influence especially with the disappearance of faith and a moral corruption. Therefore, in a world that was created by God, the moral goodness was the basic element that signified our sole being, and in order to indicate a moral goodness, only two things have been essential: the actuality of choices between good and evil, and the freedom of will. The existence of the Devil, which was an evidence of the divine and the deity “Sine diabolo nullus Deus,” was rejected in a moral sense mostly for the fact that it had a bad influence on us. Therefore, the concept of “the Devil” designated the personification of evil, which had a hostile outcome, and over which we had no control, encouraged the religious emotions of wonder, fear and dismay. As a result of this, the Devil, as a sign of the religious perception, managed to capture our souls while embodying an intentional harm that was an immense power over the human spirit. Eventually, its existence in our world has been a part of European life since the Middle Ages, and guided all the major religious and political changes in history such as the ongoing wars and plagues, whereas its dark shadow wandering in the background of the Western civilizing process did not become a religious matter only, but a social fact. Accordingly, Christian theology asked the question of evil and the Devil sharper than any other religion. The image of Satan in the New Testament was definite only when it was seen as the equivalent of Christ. Theologians, for centuries, rejected the Devil and demons as superstitious relics of minor importance to Christianity until the New Testament writers took evil in hand. Therefore, the Devil was not a secondary figure that could be ignored easily without doing harm to the core of Christianity since he appeared at the centre of religion and taught man that he had his own kingdom and was at war with the Kingdom of God, and he, who was the principle of evil, was presented as a fallen angel and the head of demons.
His names in Christianity reflected the background of Hellenism and Apocalyptic Judaism. Mostly he was “Satan,” or “the Devil;” he was also “Beelzeboul,” “the enemy,” “Belial,” “the tempter,” “the accuser,” “the evil one,” “the ruler of this world,” or “the prince of demons.” His relationship to the demons was paralleled by his connection with the fallen angels which resembled the fallen stars. Consequently, the name Lucifer, meaning “the light-bearer,” and the “Morning Star,” already given to the leader of fallen angels in Apocalyptic literature, was not used in the New Testament, since the “bearer of the light” was Christ. Therefore, his role in Christianity was an opposition to Christ and God, and in a good world that was created by God, the harm was believed to be caused first by the Devil and his demons and later by man’s freewill, as represented by Adam and Eve. In short, the Devil, who was accepted by early Christians as the Prince of this World, was regarded as the chief enemy of humanity. He became more prestigious in the eighth and ninth centuries with the growing fear of his existence and the belief in the weakness of humanity against the power of his attraction. As the Devil’s fall was ascribed to pride and ambition, so were the advancement and the spirit of inquiry condemned as Devil’s work. Any inquiry into the mysteries of nature was regarded as magic, therefore, sinful. Middle Ages was a time when people surrendered themselves to the Devil while dreaming that they were in close relationship with the Evil One. Thus, the Devil became a greater power and was respected even more by his followers. For instance, being the prince of the dark world, he could grant the most excessive wishes, or would voluntarily put himself forward when a follower promised to be his for good. Contracts were made with him in which men yielded their souls for various services on his part, and even popes were said to have made a contract with him. Concisely, the Devil, who always demanded for having his rights insured by an absolute promise even though he was considered a liar. As he became powerful in Western culture, he gained real importance in representations and practices by the twelfth and thirteenth centuries in the medieval world, and the demonology of the Middle Ages had a considerable reputation. The Devil was believed to serve the higher purposes of the powerful God, who used him for his wise and cunning personality. Hence, it was the reason for the people of the Middle Ages to consider the Devil as defeated, in spite of his smartness, and as a material of ridicule since he was the intriguer, harlequin or the fool in the mysteries, Easter and Christmas plays. As Lucifer was changing the Western civilization not through religious developments only, but through a social and political perspective in every possible way, Europe was earning unifying factors other than Christianity by the fourteenth and fifteenth centuries even though these periods were regarded as a time of crisis with the wars, overpopulation, epidemic diseases and the famine. Eventually, the social ties between people were growing stronger, often expressed in the language of religion or culture. The main theme was power, whether through religious or political ambitions. Europe’s development was able to be found in new ways of seeing the world, the human body and the ways in which the societies were bound together. Far from withdrawal, the metamorphosis of the Devil’s image was part of this expanded movement in Europe, and the Devil indeed was changing with time. While theology was displaying less about the Devil, representational and literary art were dramatizing and substantiating him like the artists who made choices for aesthetic rather than for theological or figurative causes such as portraying the Devil in a specific colour or position for the cause of composition rather than cult. However, no picture of the Devil survived from before the sixth century except an early representation which is a mosaic in San Apollinare Nuovo in Ravenna dating from about 520 with “Christ having seated in judgement; at his right hand stands a red angel below whom sheep are gathered, and on his left is a blue-violet angel standing above the goats” representing the Devil. Thus, literature, drawing the Devil more precisely than representational art upon theology, popular religion, and folklore, made declarations and amplifications for aesthetic dramatic grounds while portraying the poignancy and fury of his revolt and destruction more realistically than ever before. Such improvements were visible in the vernacular literature which was mostly written by intellectual authors for an audience who could not speak Latin, and later for the highly educated readers who were appealed by the ideas taken in hand by authors. The earliest important vernacular literature was in Old English. The Old English and the “Harrowing of Hell” presented rough images of Lucifer. As a result, the literature of supernatural imagery created the future of artistic and intellectual portraits of the Devil. He turned into a more colourful, instant, present, and a popular character while becoming more foolish and comic in expressions of art, exempla, literature, and finally drama. As the representations of the Devil became usual after the ninth century, the artistic expression on demonic figures grew rapidly with the popularity of sermons and stories of saints’ lives in which the influence of evil played important roles. Therefore, early medieval art made little variation between the Devil and his demons, and Hell with Death were also portrayed as individuals like the Devil. Artists preferred to colour him to black, but sometimes blue, red or violet, since he was compared with darkness, lower air, and ethereal fire. Brown was another colour to portray him because he was a symbol of sickness and death since he was visible in death, and was met in the gigantic forms of popular traditions or the theatre. Animalistic and monstrous demons followed the shapes implied by Scripture, theology and folklore, such as snakes, dragons, lions, goats, and bats. Later in history, defeated by Christ, he became almost human, and he was just ugly, miserable or scornful. The Devil with human features appeared as “an aged man in a tunic, with short tail, smooth and muscular legs, and human hair and face; or as a large, naked, dark, muscular man with human hands but clawed feet and a tail; or as a giant with human features; or as a white-robed humanoid angel with feathered wings and hair to his shoulders” on Medieval stage. In the moralities, both the good and bad angels had important roles and resembled each other with their wings except for the fact that bad angels generally adopted the forms of animals as mentioned above or appeared in grotesque costumes of dark and bleak colours with cloven hooves or claws. Sometimes they had goat legs; sometimes they wore a mask and appeared on stage in an exaggerated outlook in order to scare the audience. They were mostly huge, however at times very small since the roles of the devils in plays like Wisdom were played by boys. He was usually naked, though sometimes clothed under the waist and was covered with hair, mostly winged, and feathered like those of birds and of angels, and of bats from the twelfth century on. The symbolism, therefore, meant to portray the Devil as stripped of beauty, harmony and reality. The didactic aim was visible as artists and writers chose to show the Devil this way in order to terrify sinners with fear of torture and hell. By the fourteenth century when the negative and horrific features of the Devil flourished, the representation stood for something more than a metaphorical meaning. For instance, the fear of death and committing sins started to drag Christians to confession under the protective power of the churches. However, the Devil underwent the movements of fail and resurgence in the central and late Middle Ages, and as a result of that, his fading in the theology became a counterpart of a growth of drama based on secular interests like feudalism and courtly love. Yet, many important writers and works handled the Devil in a stereotyped fashion and a figurative way to stand as a symbol for the vices or evil in general.
An exquisite excerpt about the Devil from Jeffrey Burton Russell’s Lucifer: The Devil in the Middle Ages pp 44-49
For the absolute dualists, the Devil was a god of darkness and evil independent of the God of goodness and light. For the mitigated dualists, the Devil was subordinate to God yet still exercised enormous and quasi-independent powers over the earth. According to one view, the true God, a God of spirit very remote from this material cosmos, has two sons, the elder being the Devil and the younger being Christ. The elder son, Satanael, existed before Christ. Created good like all the other angels, he was highest in merit and sat at the right hand of the Father as the Lord’s steward. But Satanael was an unjust steward and grew dissatisfied with his subordinate position. In his pride he longed to set his throne as high as God’s and to this purpose he rebelled. A third of the angels joined him out of respect for his high dignity and because they were used to following his command. He also promised them freedom from the tiresome liturgical duties they were obliged to perform before the throne of the Lord. As a result of their rebellion, God thrust Satan and his followers out of heaven.
Aping God’s creation, he declared that “Since God made heaven and earth, I will now make a second heaven like a second God.”
This “second heaven” is this cosmos. Satanael, creator of the universe in which we live, is the Creator God of the Old Testament, for any entity perverse enough to create this material world with its grossness, misery, and suffering, must be evil.
Surveying his creation and finding it satisfactorily repellent, Satanael proceeded to made a sentient being, Adam, which he fashioned out of earth and water. But when he stood the thing upright, Satanael was annoyed to find it defective. Life was trickling out of Adam’s right foot and forefinger in the shape of a serpent. Satanael breathed spirit into Adam, but again it trickled out, this time becoming the serpent itself. Desperate, Satanael was obliged to turn to his old enemy, the Lord, for that if he cooperated he would be allowed to share in their governance. The Lord agreed.
After Adam, the Lord also helped the Devil to create Eve. Satanael, assuming the form of the serpent, had intercourse with Eve with his tail, begetting twins, Cain and his sister Calomena. Later, in a natural union with Adam, Eve conceived Abel, whom Cain slew, thereby introducing murder into the world. The Lord punished Satanael for debauching Eve by depriving him of his divine form and his power to create, so that now he became dark and ugly. Even so, the Lord left Satanael with dominion over the material universe for seven ages. Satanael gave the Law to Moses as a means of retaining his control over humanity. The Lord and the Devil are locked in a terrible struggle for the control of the cosmos, and humanity is their chief battleground. The Devil seeks to persuade us to worship and adore him rather than the Lord and assigns demons to dwell in each human soul in order to keep us bound in the shadows. Satanael’s oppression of humankind was so great that we were rendered incapable of rising up out of our material integument and refilling the empty ranks of the angels, as the Lord had intended when he agreed to help Satanael create us.
Bogomil beliefs persisted in folklore, especially among the Slavs, long after the disappearance of the Bogomil religion. God and Satan frequently appear as comrades, brothers, or associates. God creates Satan from his own shadow. God and Satan exist together before the creation of the world. Satan and God quarrel over who should create humanity, finally agreeing that the Lord should create the soul and the Devil the body; when we die our souls mount to heaven, but our bodies sink down into the clutches of the Devil.
Bogomil dualism is largely and exaggeration and distortion of Orthodox views, which it cloaks in bizarre mythology.
Gülay Onan-Labrande www.gulayonan.com
Check the gallery under by clicking on the picture:
The Representation of the Devil in Medieval (in short)
Theology
"No, the serpent did not
Seduce Eve to the apple.
All that's simply
Corruption of the facts.
Adam ate the apple.
Eve ate Adam.
The serpent ate Eve.
This is the dark intestine.
The serpent, meanwhile,
Sleeps his meal off in Paradise -
Smiling to hear
God's querulous calling."
- Ted Hughes
Evil, as a part of everyday human life within the most civilized communities, has been a part of us, the individuals since the first day of creation. Both arising out of the individual and acting upon the individual, it became the core of a diabolical movement in the process of human history. The personified form of evil, the Devil, the powerful evil force and the enemy of God in Christianity and Judaism has played a great role in the religious beliefs and social lives of humans. As a source of fear, the pushing force behind the fallible victims who become sinners due to his seductive and deceptive manner, wickedness, the Devil has found a place for himself in the field of literature and the drama. Until the Enlightenment, evil was linked to the Devil in drama while the drift away from the Devil as either a major element or a minor subtext in the drama has had a massive influence on the presentation of evil. The belief in hell and the fear of death in the western world have been a part of this influence especially with the disappearance of faith and a moral corruption. Therefore, in a world that was created by God, the moral goodness was the basic element that signified our sole being, and in order to indicate a moral goodness, only two things have been essential: the actuality of choices between good and evil, and the freedom of will. The existence of the Devil, which was an evidence of the divine and the deity “Sine diabolo nullus Deus,” was rejected in a moral sense mostly for the fact that it had a bad influence on us. Therefore, the concept of “the Devil” designated the personification of evil, which had a hostile outcome, and over which we had no control, encouraged the religious emotions of wonder, fear and dismay. As a result of this, the Devil, as a sign of the religious perception, managed to capture our souls while embodying an intentional harm that was an immense power over the human spirit. Eventually, its existence in our world has been a part of European life since the Middle Ages, and guided all the major religious and political changes in history such as the ongoing wars and plagues, whereas its dark shadow wandering in the background of the Western civilizing process did not become a religious matter only, but a social fact. Accordingly, Christian theology asked the question of evil and the Devil sharper than any other religion. The image of Satan in the New Testament was definite only when it was seen as the equivalent of Christ. Theologians, for centuries, rejected the Devil and demons as superstitious relics of minor importance to Christianity until the New Testament writers took evil in hand. Therefore, the Devil was not a secondary figure that could be ignored easily without doing harm to the core of Christianity since he appeared at the centre of religion and taught man that he had his own kingdom and was at war with the Kingdom of God, and he, who was the principle of evil, was presented as a fallen angel and the head of demons.
His names in Christianity reflected the background of Hellenism and Apocalyptic Judaism. Mostly he was “Satan,” or “the Devil;” he was also “Beelzeboul,” “the enemy,” “Belial,” “the tempter,” “the accuser,” “the evil one,” “the ruler of this world,” or “the prince of demons.” His relationship to the demons was paralleled by his connection with the fallen angels which resembled the fallen stars. Consequently, the name Lucifer, meaning “the light-bearer,” and the “Morning Star,” already given to the leader of fallen angels in Apocalyptic literature, was not used in the New Testament, since the “bearer of the light” was Christ. Therefore, his role in Christianity was an opposition to Christ and God, and in a good world that was created by God, the harm was believed to be caused first by the Devil and his demons and later by man’s freewill, as represented by Adam and Eve. In short, the Devil, who was accepted by early Christians as the Prince of this World, was regarded as the chief enemy of humanity. He became more prestigious in the eighth and ninth centuries with the growing fear of his existence and the belief in the weakness of humanity against the power of his attraction. As the Devil’s fall was ascribed to pride and ambition, so were the advancement and the spirit of inquiry condemned as Devil’s work. Any inquiry into the mysteries of nature was regarded as magic, therefore, sinful. Middle Ages was a time when people surrendered themselves to the Devil while dreaming that they were in close relationship with the Evil One. Thus, the Devil became a greater power and was respected even more by his followers. For instance, being the prince of the dark world, he could grant the most excessive wishes, or would voluntarily put himself forward when a follower promised to be his for good. Contracts were made with him in which men yielded their souls for various services on his part, and even popes were said to have made a contract with him. Concisely, the Devil, who always demanded for having his rights insured by an absolute promise even though he was considered a liar. As he became powerful in Western culture, he gained real importance in representations and practices by the twelfth and thirteenth centuries in the medieval world, and the demonology of the Middle Ages had a considerable reputation. The Devil was believed to serve the higher purposes of the powerful God, who used him for his wise and cunning personality. Hence, it was the reason for the people of the Middle Ages to consider the Devil as defeated, in spite of his smartness, and as a material of ridicule since he was the intriguer, harlequin or the fool in the mysteries, Easter and Christmas plays. As Lucifer was changing the Western civilization not through religious developments only, but through a social and political perspective in every possible way, Europe was earning unifying factors other than Christianity by the fourteenth and fifteenth centuries even though these periods were regarded as a time of crisis with the wars, overpopulation, epidemic diseases and the famine. Eventually, the social ties between people were growing stronger, often expressed in the language of religion or culture. The main theme was power, whether through religious or political ambitions. Europe’s development was able to be found in new ways of seeing the world, the human body and the ways in which the societies were bound together. Far from withdrawal, the metamorphosis of the Devil’s image was part of this expanded movement in Europe, and the Devil indeed was changing with time. While theology was displaying less about the Devil, representational and literary art were dramatizing and substantiating him like the artists who made choices for aesthetic rather than for theological or figurative causes such as portraying the Devil in a specific colour or position for the cause of composition rather than cult. However, no picture of the Devil survived from before the sixth century except an early representation which is a mosaic in San Apollinare Nuovo in Ravenna dating from about 520 with “Christ having seated in judgement; at his right hand stands a red angel below whom sheep are gathered, and on his left is a blue-violet angel standing above the goats” representing the Devil. Thus, literature, drawing the Devil more precisely than representational art upon theology, popular religion, and folklore, made declarations and amplifications for aesthetic dramatic grounds while portraying the poignancy and fury of his revolt and destruction more realistically than ever before. Such improvements were visible in the vernacular literature which was mostly written by intellectual authors for an audience who could not speak Latin, and later for the highly educated readers who were appealed by the ideas taken in hand by authors. The earliest important vernacular literature was in Old English. The Old English and the “Harrowing of Hell” presented rough images of Lucifer. As a result, the literature of supernatural imagery created the future of artistic and intellectual portraits of the Devil. He turned into a more colourful, instant, present, and a popular character while becoming more foolish and comic in expressions of art, exempla, literature, and finally drama. As the representations of the Devil became usual after the ninth century, the artistic expression on demonic figures grew rapidly with the popularity of sermons and stories of saints’ lives in which the influence of evil played important roles. Therefore, early medieval art made little variation between the Devil and his demons, and Hell with Death were also portrayed as individuals like the Devil. Artists preferred to colour him to black, but sometimes blue, red or violet, since he was compared with darkness, lower air, and ethereal fire. Brown was another colour to portray him because he was a symbol of sickness and death since he was visible in death, and was met in the gigantic forms of popular traditions or the theatre. Animalistic and monstrous demons followed the shapes implied by Scripture, theology and folklore, such as snakes, dragons, lions, goats, and bats. Later in history, defeated by Christ, he became almost human, and he was just ugly, miserable or scornful. The Devil with human features appeared as “an aged man in a tunic, with short tail, smooth and muscular legs, and human hair and face; or as a large, naked, dark, muscular man with human hands but clawed feet and a tail; or as a giant with human features; or as a white-robed humanoid angel with feathered wings and hair to his shoulders” on Medieval stage. In the moralities, both the good and bad angels had important roles and resembled each other with their wings except for the fact that bad angels generally adopted the forms of animals as mentioned above or appeared in grotesque costumes of dark and bleak colours with cloven hooves or claws. Sometimes they had goat legs; sometimes they wore a mask and appeared on stage in an exaggerated outlook in order to scare the audience. They were mostly huge, however at times very small since the roles of the devils in plays like Wisdom were played by boys. He was usually naked, though sometimes clothed under the waist and was covered with hair, mostly winged, and feathered like those of birds and of angels, and of bats from the twelfth century on. The symbolism, therefore, meant to portray the Devil as stripped of beauty, harmony and reality. The didactic aim was visible as artists and writers chose to show the Devil this way in order to terrify sinners with fear of torture and hell. By the fourteenth century when the negative and horrific features of the Devil flourished, the representation stood for something more than a metaphorical meaning. For instance, the fear of death and committing sins started to drag Christians to confession under the protective power of the churches. However, the Devil underwent the movements of fail and resurgence in the central and late Middle Ages, and as a result of that, his fading in the theology became a counterpart of a growth of drama based on secular interests like feudalism and courtly love. Yet, many important writers and works handled the Devil in a stereotyped fashion and a figurative way to stand as a symbol for the vices or evil in general.
An exquisite excerpt about the Devil from Jeffrey Burton Russell’s Lucifer: The Devil in the Middle Ages pp 44-49
For the absolute dualists, the Devil was a god of darkness and evil independent of the God of goodness and light. For the mitigated dualists, the Devil was subordinate to God yet still exercised enormous and quasi-independent powers over the earth. According to one view, the true God, a God of spirit very remote from this material cosmos, has two sons, the elder being the Devil and the younger being Christ. The elder son, Satanael, existed before Christ. Created good like all the other angels, he was highest in merit and sat at the right hand of the Father as the Lord’s steward. But Satanael was an unjust steward and grew dissatisfied with his subordinate position. In his pride he longed to set his throne as high as God’s and to this purpose he rebelled. A third of the angels joined him out of respect for his high dignity and because they were used to following his command. He also promised them freedom from the tiresome liturgical duties they were obliged to perform before the throne of the Lord. As a result of their rebellion, God thrust Satan and his followers out of heaven.
Aping God’s creation, he declared that “Since God made heaven and earth, I will now make a second heaven like a second God.”
This “second heaven” is this cosmos. Satanael, creator of the universe in which we live, is the Creator God of the Old Testament, for any entity perverse enough to create this material world with its grossness, misery, and suffering, must be evil.
Surveying his creation and finding it satisfactorily repellent, Satanael proceeded to made a sentient being, Adam, which he fashioned out of earth and water. But when he stood the thing upright, Satanael was annoyed to find it defective. Life was trickling out of Adam’s right foot and forefinger in the shape of a serpent. Satanael breathed spirit into Adam, but again it trickled out, this time becoming the serpent itself. Desperate, Satanael was obliged to turn to his old enemy, the Lord, for that if he cooperated he would be allowed to share in their governance. The Lord agreed.
After Adam, the Lord also helped the Devil to create Eve. Satanael, assuming the form of the serpent, had intercourse with Eve with his tail, begetting twins, Cain and his sister Calomena. Later, in a natural union with Adam, Eve conceived Abel, whom Cain slew, thereby introducing murder into the world. The Lord punished Satanael for debauching Eve by depriving him of his divine form and his power to create, so that now he became dark and ugly. Even so, the Lord left Satanael with dominion over the material universe for seven ages. Satanael gave the Law to Moses as a means of retaining his control over humanity. The Lord and the Devil are locked in a terrible struggle for the control of the cosmos, and humanity is their chief battleground. The Devil seeks to persuade us to worship and adore him rather than the Lord and assigns demons to dwell in each human soul in order to keep us bound in the shadows. Satanael’s oppression of humankind was so great that we were rendered incapable of rising up out of our material integument and refilling the empty ranks of the angels, as the Lord had intended when he agreed to help Satanael create us.
Bogomil beliefs persisted in folklore, especially among the Slavs, long after the disappearance of the Bogomil religion. God and Satan frequently appear as comrades, brothers, or associates. God creates Satan from his own shadow. God and Satan exist together before the creation of the world. Satan and God quarrel over who should create humanity, finally agreeing that the Lord should create the soul and the Devil the body; when we die our souls mount to heaven, but our bodies sink down into the clutches of the Devil.
Bogomil dualism is largely and exaggeration and distortion of Orthodox views, which it cloaks in bizarre mythology.
Gülay Onan-Labrande www.gulayonan.com
Check the gallery under by clicking on the picture:
PUBLISHED 22.05.2013