#Baron La Croix

[conjuremanj]

Some Pictures I Took From Fet Gede.

I enjoyed this years Fet Gede. This Sosyete not only celebrates the spirits here in the city. But respects and honors others Day of the Dead traditions also.

Fet Gede in Haiti is just such a past-honoring event. Known as the Festival of the Ancestors, Fet Gede ( = The Sacred Dead) is the Vodou equivalent of Mardi Gras, the Mexican Day of the Dead, and Halloween, all in one. So everyone dresses up.

But here are some pics I took while I was there. Check back for the video.

Spirit Statue. Gede Statue

Baron Altar. Baron La Croix

Some kind of death mermaid statue.

It's cool.

One of the children of the spirits dancers in the Oufo. Dressed as a spirit of the Dead. Gede.

🖕Me and Ghanaian Priest & Master Drummer Osofo Andrew.

🖕 Me & Mambo Sally.

Taja Nicholle is a Afro-Indigenous Certified Death Doula/Grief Support Counselor. She's does death healing, cleansings readings, Sound Healing, etc.

https://www.therisingroseco.com/

I meet these women and though there costumes were cool.

🖕 the top is of a Haitian Oungan he and Andrew and some others released the Gede spirits after the Fet Gede was over. We told them thank you and then we all sayed a prayer.

This is the Haitian Oungan with the white powder on his face he was dancing and smoking cigarettes the spirits came and jumped a few people that night.

[9blackroses]

[kemetic-dreams]

Baron Samedi (English: Baron Saturday), also written Baron Samdi, Bawon Samedi or Bawon Sanmdi, is one of the lwa of Haitian Vodou. He is a lwa of the dead, along with Baron's numerous other incarnations Baron Cimetière, Baron La Croix and Baron Criminel.

He is the head of the Gede family of lwa; his brothers are Azagon Lacroix and Baron Piquant and he is the husband of Maman Brigitte. Together, they are the guardians of the past, of history, and of heritage

Baron Samedi is usually depicted with a top hat, black tail coat, dark glasses, and cotton plugs in the nostrils, as if to resemble a corpse dressed and prepared for burial in the Haitian style. He is frequently depicted as a skeleton (but sometimes as a black man that merely has his face painted as a skull), and speaks in a nasal voice. The former President-for-Life of Haiti, François Duvalier, known as Papa Doc, modeled his cult of personality on Baron Samedi; he was often seen speaking in a deep nasal tone and wearing dark glasses.

He is noted for disruption, obscenity, debauchery, and having a particular fondness for tobacco and rum. Additionally, he is the lwa of resurrection, and in the latter capacity he is often called upon for healing by those near or approaching death, as it is only the Baron that can accept an individual into the realm of the dead.

Due to affiliation with François Duvalier, Baron Samedi is linked to secret societies in the Haitian government and includes them in his domain.

Baron Samedi spends most of his time in the invisible realm of vodou spirits. He is notorious for his outrageous behavior, swearing continuously and making filthy jokes to the other spirits. He is married to another powerful spirit known as Maman Brigitte, but often chases after mortal women. He loves smoking and drinking and is rarely seen without a cigar in his mouth or a glass of rum in his bony fingers. Baron Samedi can usually be found at the crossroads between the worlds of death and the living. When someone dies, he digs their grave and greets their soul after they have been buried, leading them to the underworld.

Baron Samedi is the leader of the Gede, lwa with particular links to magic, ancestor worship and death. These lesser spirits are dressed like The Baron and are as rude and crude but not nearly as charming as their master. They help carry the dead to the underworld

As well as being the master of the dead, Baron Samedi is also a giver of life. He can cure mortals of any disease or wound, so long as he thinks it is worthwhile. His powers are especially great when it comes to Vodou curses and black magic. Even if somebody has been afflicted by a hex that brings them to the verge of death, they will not die if The Baron refuses to dig their grave. So long as The Baron keeps them out of the ground, they are safe.

In many Haitian cemeteries, the longest standing grave of male is designated as the grave of Baron Samedi. A cross (the kwa Bawon, meaning "Baron's cross") is placed at a crossroads in the cemetery to represent the point where the mortal and spiritual world cross. Often, a black top hat is placed on top of this cross.

He also ensures that all corpses rot in the ground to stop any soul from being brought back as a zombie. What he demands in return depends on his mood. Sometimes he is content with his followers wearing black, white or purple clothes or using sacred objects; he may simply ask for a small gift of cigars, rum, black coffee, grilled peanuts, or bread. But sometimes The Baron requires a Vodou ceremony to help him cross over into this world

[rockofeye]

Hello! I found out recently that Baron La Croix owns my head but I can't find much about him online. Is there anything you know about him?

Hello!

Unless you passed through some kind of ceremony done by a houngan or manbo, you did not find out that a particular lwa owns your head. That information can only be determined when you are taking part in specific rituals within Haitian Vodou. It can't be determined by spiritualists outside the religion, via a casual reading, or anything else.

Moreover, all of the Barons are aspects of death and putting death on someone's head as their head spirit is inviting them to enter death quickly. We don't do that; the Bawons and various Gede are not put on heads or named as the met tet because we don't want people to die before God determines it is time.

Evdn further, the ceremonies that assign a master of the head are ceremonies of life where death can have no place; none of the Barons or Gede are allowed to have a presence so they certainly wouldn't be placed to the head.

I am happy to discuss the specifics of how this was communicated to you privately, if you'd like. Feel free to send me a message.

[mr-laveau]

I just found you and your YouTube channel today so I'm going on a spamming spree for all the lore I can find on here so I apologise for all the notifications 🥲 I really love your art and your voice !!

no problem at all hon, I'll let you work your way through the lore but here's some lore as a treat for you:

In NeXus, some characters are named after deities not because they are those actual deities but because in their world, they are the closest embodiment to them. Adonis says that he used to be known as Baron La Croix (a loa from Voudou), but he himself is not actually that spirit.

Typically people are given these names by those in authority as a status symbol to denote their exceptionalism in magic. If you've been paying attention then you'll also know that Asteroth is named similarly to Astaroth, a great duke of Hell and one known for his abilities of foresight and strategy. This name was given to him by his grandfather Asteroth Sinclair Senior.

That's all, happy lore hunting!

[the-girl-who-didnt-smile]

BARON SAMEDI vs. PAPA GUEDE

Why and how the two are confused for each other

Companion piece to: https://the-girl-who-didnt-smile.tumblr.com/post/761164319058739200/the-whitewashing-of-maman-brigitte 

In the original version of this post, I accused Maya Deren of being the source of the claim that Baron Samedi and Papa Guede are one in the same. Upon researching this further, I do not think this was a fair accusation. Similar comments can be made towards Zora Neale Hurston. I revisited this essay to address this issue, as it is possible that Deren and Hurston’s comments reflect a real regional difference that exist(ed) in Haitian Vodou.

This should also be obvious, but I have no Haitian heritage, nor am I an expert on this topic. In the past, I was really ignorant about the differences between Baron Samedi and Papa Guede. This essay represents my attempt to research this subject. I apologize in advance for any mistakes that may be present.

Many Westerners like myself believe that Baron Samedi and Papa Guede are the same, or two aspects of a single lwa. Where does this notion come from?

One of the most important foreign authors in changing the public perception of Haitian Vodou is Maya Deren. Although other Westerners published books about Vodou before her, she was able to balance factual accuracy with a degree of eloquence that reached a mass audience. It comes as little surprise to me that an author of Eastern European heritage could resonate so easily with the remarkably brutal history of Haitian Vodou.

That being said, she has been criticized from an anthropological standpoint regarding some of the assertions she makes in Divine Horsemen. It is in this book that Deren states the following:

“As Death, he is the keeper of the cemetery, guardian of the past, of the history and heritage of the race. The cross of Baron Samedi (as Ghede is sometimes called) is in every cemetery; and the graves that are under the special protection of his female counterpart, Maman Brigitte, are marked by a mound of stones.”

SOURCE: Deren, Maya. Divine Horsemen: The Living Gods of Haiti. United Kingdom, McPherson, 1983. p. 103. https://archive.org/details/divinehorsemenli00dere/page/102/mode/2up  

Because Divine Horsemen was taken as authoritative in the West, this quote has been reproduced in several other foreign works.

Deren herself cites the American novelist Harold Courlander, who traveled to Haiti many times and produced an early trove of songs from Haitian Vodou.

Below are quotes from Courlander’s (1944) “Gods of the Haitian Mountains”:

“…Some Haitians feel that BARON SAMEDI and GEDE NIMBO are the same…” (p. 356)

“...In some parts of Haiti GEDE NIMBO is thought to be identical with BARON SAMEDI…” (pp. 361-362)

SOURCE: Courlander, Harold. “Gods of the Haitian Mountains.” The Journal of Negro History, vol. 29, no. 3, 1944, pp. 339–72. JSTOR, https://doi.org/10.2307/2714821. Accessed 22 Dec. 2024.

Similar comments are made in Courlander’s (1960) The Drum and the Hoe:

“...Gede Nimbo, also known as Baron Samedi…” (p. 56)

“...In some parts of Haiti, Gede is thought to be identical with Baron Samedi…” (p. 323)

“...They are so closely identified that some Haitians feel that Baron Samedi is merely another name for Gede Nimbo…” (p. 323)

SOURCE: Courlander, Harold. The Drum and the Hoe: Life and Lore of the Haitian People. United States, University of California Press, 1960. Retrieved from: https://archive.org/details/drumhoe0000unse/mode/2up 

Further context is provided in Courlander’s (1973) Haiti Singing: 

“Gede Nimbo , also known as Baron Samedi. (Rada loa.) Athough Gede is inferior to Baron la Croix, he is still one of the most important of all the family. In fact, he is one of the most powerful deities of the whole Haitian pantheon. He guards the cemetery and protects the graves, especially those of children. But Gede Nimbo is not simply another loa, he is sometimes a personification of death itself. He is always spoken of as “dressed all in black.” While people may give “pitit lament” or small money to the other loa, they pay heavily to Gede Nimbo. He is not pleasant when aroused. (In Mirebalais, Dr. Herskovits received the impression that Gede Nimbo and Baron Samedi are different loa. In the south they are considered the same.) Dr. Elsie Clews Parsons, who visited the south coast of Haiti on a folk tale collecting trip some years ago, recorded the following impressions of Gede: “He is like Ogun [Ogoun], but ‘worse,’ he is a grande diable. He makes all kinds of motions to make you laugh, but you must not laugh at him, for if you do, he makes you ‘stop laughing,’ which means inversely that he makes you go on laughing forever against your will. Anything you touch, he takes and never returns, and you have to give him more and more. He smokes cigarettes, not cigars. He wears a coat and a hat, and carries a stick. He can make himself short or tall, ‘as tall as a mast.’ ” (p. 34)

SOURCE: Courlander, Harold. Haiti Singing. United States, Cooper Square Publishers, 1973. Originally published in 1939. Retrieved from: https://archive.org/details/isbn_0815404611/page/34/mode/1up 

Although Courlander claims that Gede Nimbo and Baron Samedi are considered the same in Southern Haiti, this is contradicted by the source he provides.

Where George Simpson studied Vodou in Northern Haiti, Dr. Elsie Clews Parsons reported his observations from “a recent folk-tale collecting trip to the south coast of Hayti”. He clearly differentiates between Baron Samedi and Gede Nibo, like so:

"On this higglety pigglety pantheon my notes read: Loi Gede or Gede-nibo talks through his nose (i.e. when he takes possession of any one). He eats only casaba and peppers and herring. He "ties his jaw" just like the dead, with cotton in the nostrils, for he is «master of the cemetery» mait' e cimetière). He is the "head loi". At the capital, Port-au-Prince, "most people have the loi Gede..." His papa loi (devotee) wears habitually (?) a white handkerchief around the head…." (p. 158)

“Loi Ba-un-Samedi (? gives or for Saturday). He is like Ogun, but "worse", he is a grande diable. He makes all kinds of motions to make you laugh, but you must not laugh at him, for if you do, he makes you "stop laughing", which means inversely that he makes you go on laughing forever against your will. Anything you touch, he takes and never returns, and you have to give him more and more. He smokes cigarettes, not cigars. He wears a coat and hat, and carries a stick. He can make himself short or tall, "as tall as a mast…."” (p. 162)

SOURCE: PARSONS, Elsie Clews. “SPIRIT CULT IN HAYTI.” Journal de La Société Des Américanistes, vol. 20, 1928, pp. 157–79. JSTOR, http://www.jstor.org/stable/24720068. Accessed 22 Dec. 2024.

Still, it is possible that Courlander correctly observed a regional difference in Haiti – that some Haitians consider(ed) Baron Samedi and Gede Nibo to be the same. If this is a true regional difference, this would explain why many foreign authors either equate the two, or describe them as being very similar to each other.

Another important Western author on Haitian Vodou is the anthropologist Zora Neale Hurston. One of the most insidious aspects of American history is the manner in which African Americans were turned against their own heritage by racist misconceptions. Where Deren reached a large white audience, Hurston was instrumental in changing the perception of Hoodoo and Vodou within the African American community. Although she has several critics, it is important not to diminish what she was able to accomplish as an African American woman anthropologist from the early 20th century. 

Hurston’s Tell My Horse is generally considered a less reliable source than Divine Horsemen, criticized for descriptions like the following:

“Guedé has another distinction. It is the one loa which is entirely Haitian. There is neither European nor African background for it…” (p. 219)

SOURCE: Hurston, Zora Neale. Tell my horse . United Kingdom, HarperCollins, 2008. Originally published in 1938.

The above is false for two reasons: (1) Guede is derived from a Dahomean vodun, with a clear African background (2) There are many other lwa that originate in Haiti. 

Consider now her description of Baron Samedi: 

“Papa Guedé is almost identical with Baron Cimeterre, Baron Samedi and Baron Croix, who is one god with three epithets, and all of them mean the Lord of the dead…” (p. 223)

SOURCE: Hurston, Zora Neale. Tell my horse. United Kingdom, HarperCollins, 2008. Originally published in 1938.

Her description echoes Courlander’s claim that Gede Nibo (Gede Nimbo) and Baron Samedi are “so closely identified that some Haitians feel that Baron Samedi is merely another name for Gede Nimbo”.

One of two things could be true: 

All of these American authors spoke in error, mistaking Baron Samedi for Papa Gede due to their shared association with the cemetery. 

These Americans correctly identified a true regional difference that exist(ed) in Haiti.

Without a time machine, it is not possible to determine whether this is correct. With this in mind, I previously erred in accusing Deren and Hurston of spreading a misconception. 

Equally important is to recognize that Baron Samedi and Papa Gede are not considered the same lwa by many Haitians. Every person of Haitian descent that I have corresponded with echoed Paul C. Mocombe’s description, where Baron is clearly differentiated from Gede. According to Mocombe, Baron symbolizes the concept of ‘Death’, while Gede symbolizes the ‘Spirits of the ancestors.’

SOURCE: Mocombe, Paul C. “Practical Reason in Haitian Idealism: Anti-Dialectics, Reciprocal Justice, and Afeminism Epistemology.” Race, Gender & Class 25, no. 1–2 (2018): 31–47. https://www.jstor.org/stable/26649532.

In Haitian Vodou, many of the lwa typically have something akin to a "first name" and a "last name". The "first name" is the family name (fanmi), while the "last name" indicates the spirit in that family (nom). 

There are multiple Legba: “Legba Atibon”, “Legba Gran Chemin”...

There are multiple Ogou: “Ogou Feray”, “Ogou Balendjo”...

There are multiple Erzulie: “Erzulie Dantor”, “Erzulie Freda”...

And so on.

Sometimes, the “last name” is dropped, and an additional title (e.g., "Papa" as in “Papa Legba”, “Papa Guede”, "Papa Ogou"...) is added in front of the “first name”.

In the Gede rite, the Barons (Bawons) and Guede (Gede) belong to two different fanmi. Of the Guede, Guede Nibo is the most well-known. Of the Barons, Baron Samedi is the most well-known. 

SEE: Beauvoir, Max. Lapriyè Ginen. Haiti, Edisyon Près Nasyonal d'Ayiti, 2008. pp. 187-196. https://archive.org/details/beauvoir-max-g.-lapriye-ginen-2008/page/n97/mode/2up

Because he rules over the Guede, who refer to him as “papa”*, Baron Samedi is often confused with Papa Guede. 

*see: Marcelin (1950) Mythologie Vodou, Vol. II

Here is Papa Guede: 

You can tell him apart from Baron Samedi by his purple, informal clothes. Even when he dresses in black, he can be recognized by his style and demeanor, which is mischievous, playful, and very sexual.

Papa Guede’s personality is described in a section of Karen McCarthy Brown’s Mama Lola: A Vodou Priestess in Brooklyn. There are vivid descriptions of his behavior and manner of speech. He is often lewd, in a way that makes people laugh. He can be likened to a clown, in the truest sense, where he indulges in taboos to mock social norms.

Here are some excerpts: 

“When asked to describe Gede, Vodou spirit of death, Alourdes said, “Papa Gede is a cemetery man. He live in the cemetery, but that not mean he’s bad. He very good man. He love children a lot. He love women a lot. He a very sexy man. Sometime he say a bad word, but…he love everybody. He love to help people. When people sick – all kind’a sickness – that’s his job to help.”

“Papa Gede, as Alourdes usually calls him, is a trickster spirit. Through his randy, playful, childish, and childlike personality Gede raises life energy and redefines the most painful situation – even death itself – as one worth a good laugh.” 

“No spirit, not even Ogou, Alourdes's met tet, rides her more frequently than Papa Gede.”

SOURCE: Brown, Karen McCarthy. Mama Lola: A vodou priestess in Brooklyn. Vol. 4. Univ of California Press, 2010.

Often, “Papa Gede” actually refers to Gede Nibo, who is sometimes called “Papa Gede Nibo”. There is a famous song that goes: “Papa Guédé bel gason! Guédé Nibo bel gason!...”

SOURCE: Marcelin, Milo. Mythologie vodou (rite arada). Vol. 2. Éditions Canapé-Vert, Pétionville, Haiti, 1950. p. 145. Retrieved from: https://ufdc.ufl.edu/AA00005044/00002/images/144 

 That being said, there are many Gede lwa; in isolation, the phrase “Papa Gede” doesn’t actually indicate which lwa he is.  

It is important to keep this quote from Melville Herskovits in mind:

"Some of the inconsistencies and individual variations in the naming of the gods as demonstrated in these lists may be specified. Outstanding are the differences found in the manner of naming a single god, as when General Ogun is called Ogun Gallone or Papa Ogun, or when Aizan Damballa is listed as two loa, Mait' Damballa and Mait' Aizan..."

SOURCE: Herskovits, Melville Jean. Life in a Haitian Valley. New York, Octagon Books Inc., 1964. pp. 309-319. Retrieved from: https://archive.org/details/lifeinhaitianval0000hers/page/308/mode/2up 

Contrast with Baron Samedi:

Baron Samedi dresses as the undertaker, wearing a formal black suit. Sometimes it has purple accents, but his suit is either entirely or predominantly black. He is not playful, but an intimidating hot spirit. A fearsome and powerful lwa, he is Lord over the Dead and the Supreme Judge of the Earth.

As described by Andre Pierre:

“It’s Baron Samedi who punishes and pardons on earth. Neither the living nor the dead can escape Baron Samedi. They must be judged by him.”

A lengthy section of Milo Marcelin’s Mythologie Vodou, Vol. II describes Baron Samedi’s personality. In this section, Marcelin describes how an angered Baron Samedi interrupts a service. He is foul-mouthed as he takes the offerings from the altar and throws them violently into the courtyard. He threatens everyone before he leaves. Nobody smiles or laughs at this; the faithful are afraid of him:

“Han-Han! fit Baron, vous ne pouvez pas nous recevoir aujourd'hui! Eh bien, foutre, je gâte le service!

Il se dirigea vers le pè ou autel du temple, prit toutes les offrandes et les jeta violemment dans la cour. Puis il prononça de sinistres menaces et se retira.

Les fidèles, craignant qu'il n'y ait de conflit entre Baron et les autres loas ou dieux, lui consacrent, ainsi qu'à son escorte, un hounfô-r ou temple à l'écart.”

SOURCE: Marcelin, Milo. "Mythologie vodou (Rite Arada), Volume II." Pétionville: Éditions Canapé Vert (1950). p. 156

Here is how he is described by Brown in Mama Lola: A Vodou Priestess in Brooklyn:

“As Baron Samdi (Baron Saturday), head of all the Gede, he arrives as a corpse; his body falls to the ground, stiff. In a mood of solemnity and sadness, the people surround him, bind his jaw with a white cloth, stuff his nostrils and ears with cotton, and powder his face to reproduce the pallor of a cadaver. When Baron Samdi possesses Alourdes, which he does infrequently, the tense psychodrama of death ends only when time doubles back on itself, when Ti Malis displaces Baron and a childish giggle escapes from the mouth of the corpse. Then, and only then, does the tension snap and the fun begin.”

SOURCE: Brown, Karen McCarthy. Mama Lola: A vodou priestess in Brooklyn. Vol. 4. Univ of California Press, 2010.

Donald Cosentino contrasts the Barons (Bawons) against the Guede (Gede), like so:

“Descended from these fearsome elders are a limitless band of capricious children, known collectively as the Gede spirits, who are as beloved as the Bawons are feared. The Gede are tricksters who cavort in opposition to the senior Bawons. The Gede always laugh, but Bawon never does. Bawon kills, but the Gede heal. Bawon is a skeleton, but the Gede are rotting flesh. Bawon is boss, but the Gede are bums. Bawon imposes harsh order, but the Gede blow it off. Bawon has secrets, the Gede always tell the truth. Bawon tends to dress conservatively, often in a top hat and dress coat, the attire of an undertaker. His face is powdered white and he needs sunglasses because his eyes can’t take the light after his underground work. Typically one lens is missing. His colors are purple and black. In art and action the Gede lwa morph into louts, rock stars, black-gowned college graduates, hipsters—whatever’s new on the social horizon.”

SOURCE: https://fowler.ucla.edu/wp-content/uploads/2021/08/InExtremis_CRU.pdf 

While Baron Samedi can be frightening, he is not evil. He is actually described as a paternal figure.

“Gede is the secretary of the Bawon, who is the judge. Bawon is the father of the family. Andre Pierre.”

SOURCE: Cosentino, Donald. Sacred Arts of Haitian Vodou. United States, UCLA Fowler Museum of Cultural History, 1995. p. 406 https://archive.org/details/sacredartsofhait0000unse/page/406/mode/2up 

“Bawon Samdi is Adam. Guardian of the cemetery. Guardian of all the dead. Everyone's father. And Gran Brijit is Eve. Andre Pierre“

SOURCE: Cosentino, Donald. Sacred Arts of Haitian Vodou. United States, UCLA Fowler Museum of Cultural History, 1995. p. 407 https://archive.org/details/sacredartsofhait0000unse/page/406/mode/2up 

This is probably my favorite modern rendition of Baron Samedi and Maman Brigitte, which is why I plagiarized the shit out of it.

Before I had this context, I just liked this one because I think they look really cool here. But as it turns out, this is also one of the most accurate depictions!

Baron Samedi’s personality and style of dress are both accurately portrayed. In fact, I wonder if this artist referred to the following painting of Andre Pierre’s: 

Could be a coincidence, but his glasses and cigar are noteworthy details.

This is also a rare instance where Maman Brigitte’s ethnicity is accurately depicted, although she is younger than traditionally portrayed… Then again, this might be an Angela Bassett situation, where she looks better than college students, but is actually 66 years old.

…Unfortunately, many other renditions are a lot worse than this. What is often passed off as “Baron Samedi” is actually a weird, evil version of Papa Guede, with random African looking shit on him. It’s pretty wack! 

This strange, bastardized version of Baron Samedi really is one of the most iconic things about New Orleans Voodoo…or am I wrong to describe him as such?

Is it possible that there is a different version of Baron Samedi worshiped in New Orleans, that is more similar to Papa Guede?

Previously, I had speculated whether Baron Samedi was worshiped in New Orleans prior to the revitalization movement: https://the-girl-who-didnt-smile.tumblr.com/post/760848084922155008/crackpot-theory-baron-samedi-was-worshiped-in-new 

If he was, we would expect him to appear similarly to the early descriptions found in the Haitian historical record. “Genealogies of Gede” (2012), Smith & Cosentino comment on these early descriptions like so: “None of the performative or ritual markers we associate today with Gede—the obscene and comic behavior—are present in the text.”

SOURCE: Smith, Katherine, and Donald Cosentino. "Genealogies of Gede." In Extremis: Death and Life in 21st-Century Haitian Art (2012): 84-99.

His physical appearance should also be something like this:

“...Most of the time, however, when going about on the earth, the Negro devil has the appearance of a gentleman, wearing a high silk hat, and a frock coat, and having an "ambrosial curl" in the center of his forehead to hide the single horn which is located there. Mrs. Viriginia Frazer Boyle tells me that when she was first taken to church by her father and mother she used to scan the congregation eagerly for a man with that "ambrosial curl" and one with the "evil eye", which her old Negro nurse had told her were to be found in every crowd, even in church. In most cases this Negro devil has cloven feet, a characteristic also credited to him in European circles. Possibly the black cat is the animal most chosen by the Negro devil for impersonation...Nevertheless the devil is not limited to this particular form but may appear as a rabbit, terrapin, serpent, housefly, grasshopper, toad, bat, or yellow dog at will. To the Mississippi Negroes he often appears as a black billy-goat; a view strictly in keeping with his custom at the English witches' Sabbath. In New Orleans it is thought by some that snakes and black cats are incarnations of the devil…” 

Source: Puckett, Newbell Niles. Folk beliefs of the southern Negro. University of North Carolina Press, 1926. https://archive.org/details/folkbeliefsofsou00puck/page/552/mode/2up?q=devil 

The physical description does not match how Baron Samedi is portrayed in popular media. As far as I know, it is doubtful that he was a feature of Louisiana Voudou prior to the revitalization movement.

The other possible introduction point would be the revitalization of the late 20th century. Louisiana Voudou of the 19th century either died out or went underground by the early to mid 20th century; it was later ‘revitalized’ in the late 20th century, where one of the major influences was Haitian Vodou. This is why iconography from Haitian Vodou is so heavily associated with the tourist industry of New Orleans, even when there is little evidence these were features of historical Louisiana Voudou.

Recall Courlander’s claim that Baron Samedi is equated with Gede Nibo in some regions of Haiti. If he was correct, it is possible that Haitian(s) from said region(s) introduced this version of Baron Samedi to Americans, who then introduced this to New Orleans.  

 When reporting his observations in Haiti, Melville Herskovits corresponded with three different sources. He wound up with three different lists of lwa that contradict each other, as previously quoted.

The point is, there are legitimate regional differences in Haiti. Are they called lwa (loa) or jany (zange)? What is the name of the child on Erzulie Dantor’s wrist? Does Erzulie Dantor make people homosexual? Two different credible sources can give you different answers to such questions, including the manner in which certain lwa are classified. This might explain the portrayal of Baron Samedi in New Orleans.

Still, there is a factor of uncertainty here, and concrete evidence is lacking. With this in mind, it is best to adhere to the descriptions provided by Haitians, where Baron Samedi is easily delineated from Papa Guede.

There is another misconception that associates Baron Samedi and (Papa) Gede Nibo with the LGBTI community. This is quite the offensive misrepresentation, which warrants its own essay: https://the-girl-who-didnt-smile.tumblr.com/post/770627900843098112/the-gede-rite-is-not-associated-with-the-lgbti

[pinturas-gran-guerra-aire]

1916 12 27 Von Richthofen's 15th victory - Thomas La Padula

Richthofen received credit for downing the DH.2n No, 5985 as his 15th victim. This victory was collaborated by artillery men on the ground. According to Richthofen in a head-on firing pass he went head-to-head with the British plane. The DH.2 flown by James Thomas Byford McCudden did not crash behind British lines, as Richthofen noted in the day's Combat Report. McCudden observed the German Squadron and attacked. The German combat version states that the enemy was pushed back. The British combat version is very different. McCudden notes, “I fired around 15 shots and drove him (MvR) off. He turned and came towards me, firing. I opened fire at 100 yards and after about 8 shots my gun stopped due to cross feed. As the hostile machine was engaging me at close range. I turned on my back and dived vertically in a slow spin and in this way regained our lines.” McCudden cleared his jammed guns and renewed the chase but due to the Barons superior aircraft the British pilot was already outdistanced. Richthofen under the assumption that McCudden had crashed, renewed his squadron, by rejoining his patrol that then withdrew.Richthofen learned from his mentor Oswald Boelke not to pursue an enemy too low over unfriendly lines. Ground fire and antiaircraft fire were not the airman’s friends. A heavy presence of British AA batteries gave MvR the reason to leave the area and resume his Staffel; having seen McCudden dive, Richthofen could only assume he had shot the British pilot down.Sergeant McCudden who would live to fight another day survived aerial combat and achieved 57 aerial victories. He was decorated with the Victoria Cross, the DSO and Bar, the MC and Bar and was awarded the Croix de Guerre by the French. In the last summer of the war McCudden died in a flying accident when his plane had an engine stoppage and he side slipped into the ground. He was 21 years old.

[louisstephaneulysse]

Dans le vaudou, Baron Samedi (ou Baron Samdi, Bawon Samedi, Bawon Sanmdi) est avec ses autres incarnations Baron La Croix (symbole de l'individualité et de l'importance des petits plaisirs de la vie, puisque nous allons tous à la tombe), Baron Cimetière (protecteur des cimetières qui garde les morts dedans et les vivants dehors) et Baron Kriminel (vengeur, juge et punisseur des morts). Sa femme est Maman Brigitte.Il est représenté vêtu d'un chapeau haut de forme blanc, d'un costume de soirée, de lunettes de soleil dont un verre est cassé, avec du coton dans les narines.C'est l'esprit de la mort et de la résurrection, il se trouve à l'entrée des cimetières et se met sur le passage des morts Il sert également lors de l'approche du jour des morts à la vengeance des âmes errantes, des personnes persécutées, des sorcières et des consultantes des cultes vaudou. Il est invoqué avec l'aide de bourdons sur lesquels un charme est jeté sur leurs aiguillons selon la parole biblique « mort où est ton aiguillon ? ».Baron Samedi est considéré comme le maître de la mort, il décide qui peut rentrer ou non dans le monde des morts.

[megashadowdragon]

The Secret Mastermind of the Blackbeard Pirates

youtube comments

I always found it weird how Oda gave the name of arguably one of the most well-known and successful pirates to such a minor character, and always seemed to set him apart from the rest in the ways you mentioned. Also, if I had to guess a previous name for Lafitte, I would literally just go for Jean-Pierre, as that's a name in and of itself in French, and it references both the real life Lafittes by combining them together, much the same way the character of One Piece's Lafitte is a combination of the two.Show less

Jango who was also hypnosis, what did he do? He faked kuro's death by hypnotizing morgan! This definitely strengthens your idea.

The fact that he is able to go unnoticed by Hawk-Eye, the dude that is the reason Shanks probably learnt how to block Observation Haki, should terrify everyone honestly

The connections to the real life Lafitte are sick. The two death dates makes it seem like the character’ll be defeated at the fake age of 41/42, when he’s actually 94/95. Also, it’s entirely possible that someone with the Toshi Toshi no Mi used it on Lafitte at God Valley to make him ~3(?) years old, and then he had to grow up again in the West Blue (where God Valley was). Then that Devil Fruit user died before Bonney got the Toshi Toshi no Mi.

This theory actually crosses over with another theory I have jotted down somewhere. Have a look into "Baron Samedi" also known as "Baron La Croix". Laffitte's character design works really well with the Baron. Baron Samedi is also one of the Iwa of Haitian Vodou like "Joyboy".

I especially liked how you included Treble in the theory since I agree 100%. Oda often creates and older parent-like figure who influenced the villain to go down their dark path in the first place (Treble, Streusen, Higurashi and who knows, maybe even Gorosei).

Also, this works for me but I would take it farther than lafite. After seeing his arms, I think he's the model screech owl, screech owls were Hades sacred bird. And Cerberus his guardian. So I think lafite has been grooming black beard so that he can open the gate to Hades, or needs him to resurrect someone.

This would make a future Sanji fight a lot cooler. I've always felt like his opponent in the matchup was never very clear or satisfying, like him fighting Avalo or Burgess felt empty, but him fighting a major, big big deal former Rocks pirate with a bounty in the billions is hype. Also their roles are perfectly matched, as Sanji and Laffite are both the secret weapons, the 'spies' of their respective crew who go under the radar while the rest of the crew charges head on.

Lafitte having an interaction with St. Saturn after he gets downed by Luffy/Kuma/Bonney sounding even more likely now. Saint Saturn recognizing him or saying some shit like "I know who you really are." cause they both would've been at God Valley. I'm betting all my money on Lafitte being the one in that Blackbeard ship at egghead, I wonder how nobody has noticed the ship yet though.Show less

imagine if lafitte was the vice captain of the rocks pirates it would make him teachs rayleigh

@bottlepiecemuses

[christophe76460]

LA FUREUR EST CRUELLE, ET,

LA COLÈRE EST IMPÉTUEUSE, MAIS,

QUI RÉSISTERA DEVANT LA JALOUSIE ?

.

OUI, UN AMI BON ET FIDÈLE, QUI PEUT LE TROUVER ?

.

CES GENS-LÀ SONT PÉNIBLES, PITOYABLES ET PATHÉTIQUES.

.

(02 TIMOTHÉE 03 : 01 - 07)

.

LE PAIN DU MENSONGE,

LES ENNEMIS DE LA FOI,

LES ENNEMIS DE LA CROIX,

LES ENNEMIS DES GENS DE BIEN,

LA CONFUSION DU SERPENT ET LA HONTE DU SORCIER,

.

LA VICTOIRE ET LE TRIOMPHE DES ENFANTS DE DIEU,

.

OUI , LE BIEN TRIOMPHE TOUJOURS DU MAL.

.

( 01 PIERRE 02 : 11 - 17)

.

N'IMITEZ PAS LE MAL ET NE VOUS LASSEZ JAMAIS DE FAIRE LE BIEN, PARTOUT AUTOUR DE VOUS, PARTOUT EN TOUS LIEUX, EN TOUS TEMPS ET EN TOUTES CIRCONSTANCES CHAQUE JOUR QUE DIEU FAIT ET CE DURANT TOUTE VOTRE VIE.

.

( PHILIPPIENS 04 : 01 - 09)

.

POUR DIEU, LE PEUPLE ET LA PATRIE.

.

POUR LA PAIX, LE PROGRÈS ET LA PROSPÉRITÉ.

.

POUR L'ORDRE, LA JUSTICE ET LA DÉMOCRATIE.

.

POUR DES ÉLECTIONS LIBRES, APAISÉES ET TRANSPARENTES.

.

(01 PIERRE 03 : 08 - 17)

.

LE CONSACRÉ MINISTRE DE DIEU,

ELOHIM !

SA MAJESTÉ L'ÉTERNEL DIEU LE PÈRE DE GLOIRE,

LE DIEU PÈRE CRÉATEUR ET NOTRE SAINT SAUVEUR

LE DIEU UN ET INDIVISIBLE, LE SEUL ET LE VÉRITABLE, L'ALPHA ET L'OMÉGA,

LE DIEU QUI NE MEURT PAS, QUI NE MENT POINT ET NE SE RENIE JAMAIS.

LE BEAU, GRAND, FORT ET TOUT PUISSANT ÉTERNEL DIEU VIVANT PARTOUT TOUT LÀ HAUT DANS LES CIEUX ET ICI-BAS SUR TOUTE L'ÉTENDUE DE LA SURFACE DE LA TERRE DES HOMMES.

LE DIEU QUI EXISTE ! ET QUI EST !

LE RENUMERATEUR DE TOUTES CHOSES.

.

( 01 PIERRE CHAPITRE 01)

.

L'AMI DE DIEU,

.

( PROVERBES 21 : 30)

.

L'ÉLU, ( THE ONE)

LE SAINT - ONT - LE MOINE,

LE RÉVÉREND LE BARON ABIATHAR,

.

LE PÈRE DE LA PROSPÉRITÉ,

LE PÈRE DE LA SURABONDANCE,

LA MAIN DU ROI, DIEU, LE ROI DES ROIS.

.

( TITE)

.

DIEU BÉNISSE RICHEMENT TOUTE LA RÉPUBLIQUE DE LA CÔTE D'IVOIRE QU'ON AIME ET QU'ON PRÉFÈRE TOUS.

.

( ROMAINS CHAPITRE 01)

( ROMAINS CHAPITRE 12)

( 01 CORINTHIENS CHAPITRE 1

( GALATES CHAPITRE 01)

( GALATES CHAPITRE 05)

( PSAUME 27)

( PSAUME 37)

( PROVERBES CHAPITRE 09)

( PROVERBES CHAPITRE 10)

[conjuremanj]

How To Use Saint Expedite In Your Non Hoodoo Spell Work for Fast Results.

Now if you follow me you know that hoodoo doesn't have saints in it's practice Root workers in hoodoo were Protestant not Catholics. But there is nothing wrong with using them just don't add them on your hoodoo altar keep them on a separate space.

But if your wanted to use Saints and saint magic he's the a good one.

Saint Expedite is one of the more favorable folk saint to petition when a situation gets tough. He works quickly. . Yes I said folk saint because he isn't recognize as a saint by the church.

St. Expedite In Your Practice: For some Haitians who practice Vodou and even Voodoo in some parts of Louisiana St. Expedite is often been associated with the Baron, "Baron Semedi" to “Baron La Croix” They are Lwa spirit's of death, he reminds us that life is meant to be enjoyed. In New Orleans voodoo St. Expedite is not associated to Baron Samedi/ Papa Gede. But like St. Expedite he works well for speedy progress for anything that feels blocked. When it comes to a working, Saint Expedite is frequently petitioned as he is known for bringing luck quickly. He is also known to aid in gambling. He is a fantastic Saint to work with when one finds themselves in a bind.

Need to know: You should only petition him when you really NEED what you're requesting. Don't petition Saint Expedite for things that would be nice to have, or things that you want. Petition him when the going gets tough and you have no other options is what best. Same goes for the Baron only for dire need.

Feast Dates: On April 19th, we celebrated the feast day of Saint Expedite.

Payment Offering: You should make a deal with Saint Expedite as part of the petition. Ask clearly for what you need, meaning if you petition him and promise him something for his help an offering. He likes a piece of pound cake and a glass of water along with some flowers.

Typically Petition Saint Expedite: Take a red candle or glass candle if preferred.

I would rub Holy Oil, or used St Expedite oil around the wick. I write down what I need in detail on petition paper.

Dab a little Saint Expedite on the four corners and center of the paper. Fold the corners. Place this under the dressed candle by your Saint Expedite statue or photo.

Then pray.

Prayer of Saint Expedite for Fast Results:

Saint Expedite, faithful and hard-working servant of our Lord Jesus Christ hear my plea. I come to you humbled and desperate, seeking your divine intercession on my behalf. You who have fought many righteous battles and know the pain of hard labor, help me in my hour of need.

I seek __________________________, for the best of all those involved.

I pray to you, divine servant of God that you assist me now. I offer you your due wages of a piece of pound cake, a glass of water and flowers in thanks once you have assisted me. With gratitude and humble thanks, in Jesus' name I pray. Amen!"

Let that candle burn all the way down. You can repeat this prayer every day until it has come to pass. Once the candle has burned out if you want to repeat the candle burning and prayers you certainly can but it is not necessary.

I can wear Saint Expedite Oil by dabbing a bit on the bottoms of my feet, on your wrists or behind each ear.

Paying Saint Expedite: Once Saint Expedite comes through with your request, give him his Offering.

[tadorsa]

Comité international de la Croix-Rouge

Vase décoré, don du Baron de Geer. En souvenir de la Baronne de Geer, née Henriette Krieg, petite-fille du général Guillaume-Henri Dufour.

Vase offert au Général G. H. Dufour par le Roi Frédéric Guillaume 1er de Prusse le 27 avril 1869, lors de la Conférence tenue à Berlin par les gouvernements signataires de la Convention de Genève et les Sociétés de Secours aux militaires blessés et malades.

Le vase et les deux statuettes sont en porcelaine, le socle et les deux manches sont en bronze.

[bones-weary]

My Final Request || SRRP

It wasn't unusual for the Lady Yvette Toussaint to call upon Bones for a task. After all, she owned him. No, sorry--"indentured servant" was the proper phrase. He just had to do whatever she wanted until he could earn enough to buy his freedom.

Little did she know, he was getting close. Blackmailing Mr. Smee into doing his bidding had been extremely successful, and he was seeing tremendous dividends from the fine Lady Whistledown for acquiring a gentry mouthpiece. Just a few more tasks and he'd be free.

Soon enough, she wouldn't be calling on him like this anymore.

He entered her chambers, where she had summoned him. While he had been expecting her to bark some sort of trivial order, he instead found her at the standing mirror, looking through it pensively. He opened his mouth to speak, but she moved first, waving her hand in a motion he knew meant to lock the door.

That was his first indication something was wrong.

He silently shut the door behind him before locking it. Then he turned to her.

"What do you want?" He asked, bluntly. With doors closed like this, he didn't need to put up the pretense of fealty or respect. She knew his boorish past, just as he knew her hollowed heart.

Piercing blue eyes darted to meet his in the reflection of the mirror.

"I need you to do a job."

His mouth twitched into a frown. "What kind of job?"

"The kind that ends in a freshly dug mound."

He gave a small scoff and a click of his tongue, looking away from her. He knew exactly what it meant. It had been many years since she's demanded the death of an inconvenience. The second Lady de la Croix, the Baron himself--a pile of bodies on which Yvette could climb her way to the top. While Bones was not fool enough to think she had overcome this bloodlust, he'd perhaps foolishly hoped there wouldn't be a need for it.

One like Bones could not dare to dream.

"Who?" He finally asked.

"I assume you've seen Laurette flaunting about with the kitchen boy."

Bones frowned. "Kingsley?" He didn't know the lad very well, but over the course of this last month, many of the Kings' servants had come into contact with the servants of the households, if only from the back and forth of trying to please a large crowd of aristocracy.

"That's the one," she replied simply, as if she were pointing out a person at a dinner party, and not proclaiming the murder of an innocent.

His brow furrowed. Up until this point, she had only ever requested he get rid of nobles, empty out vacant titles that Yvette and her family might snatch up for themselves. Never before had she asked for a commoner. "I don't understand--why?"

Yvette finally turned away from the mirror to face him. "Laurette is on the cusp of courting a great match, perhaps even a Duke, but she is getting distracted. He needs to go."

"But--what harm is a little distraction? She's still participating in the season, attending all of the events. Are you worried she'll elope with him?"

A twinge of disgust shot across her face, and she scoffed. "We cannot allow it to even be a possibility. Laurette is on a dangerous path, very near following in the footsteps of her mother."

Bones winced slightly and looked away. He'd played an instrumental role in the death of the Baron's second wife, whom was being cheated on with Yvette's sister. The plan had been simple: with the Lady de la Croix gone, the mistress would then become the wife and take the title for herself. But at the last moment, shortly after Laurette was born, the newly appointed Lady de la Croix got cold feet, and disappeared into the night.

Yvette had been devastated, but Bones was left with a hollowness that would always remain. He'd killed a person, and nothing came of it. Even in his worst days as a pirate, he'd never been so callous and cruel. He had killed, but there had always been a justification, whether self-defense or survival. This was nothing. Deadly means to a deadened end.

Yvette took his silence as acceptance, and continued on. "There will be no poison. This needs to be completed before the opening of the final ball."

His stomach churned and his teeth grit, before blurting out, "No!"

A palpable silence followed. Her eyes bore holes through him, but he held her gaze, determined and steadfast in his refusal.

"No?"

"You heard me. I won't do it. I'm done being a gravedigger for corpses that never needed to exist. You don't know if anyone will actually propose, and a young boy's life doesn't need to violently end so you can--"

His words were replaced by a guttural gurgle in the back of his throat, pain suddenly shooting through every inch of his body. His insides broiled with a fiery rage, as if his very bones were being stretched, threatening to pierce through him. When he looked up, he could see through his tears Yvette standing there, with her hand raised casting a spell.

She told the world she was a divination specialist, much like her sister before and niece after. Bones was the only one who knew that her true magic was much darker still. She would "predict" the illnesses and downfalls of many, only to fulfill those prophecies with her own necromantic subterfuge. Now that darkness was pointed at him.

"Do you forget to whom you belong?"

She twisted her wrist and another wave of excruciating pain swept through him, bringing him to his knees. He managed to snap out an arm to hold him steady, keeping him from collapsing completely. Horrid grunts and gurgles sounded through grit teeth, but he bared them to her, using whatever strength he had to lift his head and meet her gaze.

"So-- what? I-it's either do what you say or I die? Is that it?" He growled, before spitting at her feet. "Do it, then! Cover up your own murders for once, you cowardly bitch--" The last word choked in his throat.

But just as quickly and powerfully as it had seized him, its grip subsided, leaving him only when a dull throb across the whole of his body. The sudden relief elicit a gasp from him, followed by confused panting.

"No, I don't think I will," she said simply as she released the spell. "I have an alternative proposition for you."

He couldn't bring himself to speak, limbs still shaking in recovery. Once more, she took his silence as a sign to continue.

"In exchange for this deed done, I will give you that which you've always sought--your freedom."

He grimaced. He'd nearly saved up what he needed and now he'd have to cross the finish line dragging behind the corpse of an innocent young boy?"

"Fuck off," he growled, reaching up to wipe some of the excess spittle off his face.

"More so than that," she continued, completely ignoring him, "I'm willing to offer you in cash the sum total we agreed upon for your release. Furthermore, I will provide you departure out of London and pay for your travel wherever you may choose to go."

Bones froze. He couldn't believe what he was hearing. In truth, he hadn't planned much ahead when he'd thought about his eventual freedom. Yes, he'd have spent every coin he had on it, but being his own man would make that worth it.

But freedom didn't put food on your plate. It didn't put a roof over your head. Even if he managed to find another job immediately, he would be living in squalor for God knows how long, with very little means to build himself back up.

If he accepted her proposal, he would have twice the amount of money he began with and a one way ticket to build a brand new life wherever he desired. He wouldn't have to work. He wouldn't have to suffer. He wouldn't have to endure the way he'd always endured for over five decades of his life.

It was everything he ever wanted.

And Yvette knew it.

Panting softly, he sat back on his legs, muscles still groaning in pain. Suddenly, long, delicate fingers were placed under his chin, tilting his head upwards. Once more, his gaze met with blue eyes, now much softer in the way they bore down on him, like a mother looking onto beloved son.

No, that wasn't right. It wasn't a love, but rather the pity of a person about to put down their sick animal. Her empty, sympathetic smile sent chills down his spine, which he wished once more would pierce through his skin.

"Mr. Bonhomme," she said, sweetly, a title she only ever used when they were out in public, where decorum was needed. "This is my final request to you. Will you do it?"

He wanted to fight. To tell her to fuck off, to kill him, that he was done doing her dirty work. To whip his head and bite her fingers and wipe that terrible smile off her face.

But he didn't. Because the truth was, he was tired of fighting. All his life he had fought to survive, on the hopes that someday he might be able to live freely. Now, that dream was finally within reach.

A shaky exhale passed through quivering lips that parted to say--

"Yes, my Lady."

[paulette-moi]

Character Name: Baroness Paulette de la Croix - Khan

Title/occupation: Baroness of Foxgarden Manor

Magick Status: Mundus

Biography: 

When Paulette's mother died and the Baron de la Croix replaced her quickly with a new wife, she was too young to really care. But when the woman who raised her fell ill and died, only to be replaced by her father's mistress, Paulette was enraged. And when she died, she felt nothing.

When her father died and the barony passed down to her, she was relieved. And almost immediately she entered the season to marry. When both Dukes she was courting chose others over her, Paulette chose to marry the handsome widower, Shere Khan, a military who already had a daughter. Almost immediately, Paulette made she got pregnant to ensure the heir of Foxgarden would be her child.

You can't trust anybody fully, not even your own sisters that you raised because none of your parents could be bothered.

Paulette did not love Shere when she married him, but she didn't think he loved her either. Even as she did grow to love him, she suspected he might not love her. Hence, despite three children between them and her now pregnant with their fourth, Paulette has been seeking company in other men. Especially since their marriage has become strained recently.

But affairs and a lukewarm marriage are better than a divorce-- no, Paulette would never. While Paulette is pregnant with her fourth child, initially hoping for a boy after daughters Delphine,Manon, and Inaya, Paulette is now secretly half-hoping she had a fourth daughter, so that she has to keep trying for a boy and her husband won't be too quick to suggest they part ways. What scum of the earth divorces a pregnant wife, right?

[ryotarox]

(The paintings in John Wick Chapter 4 | Paintphotographsから)

（Google訳）「ジョン・ウィック第4章」の絵画 : 絵画の背後にある象徴性を解読する ジョン・ウィック チャプター4にはどんな絵が描かれていましたか?ジョンウィック4の絵にはどんな意味があるのでしょうか？それらは根底にあるプロットラインやストーリーにとって重要な意味を持っていますか?本物の美術館で撮影されたのですか？これらの興味深い質問に対する答えを見つけるには、読み続けてください。

映画に登場する絵は確かに本物です。 「ロング・ウォーク」シーケンスとしても知られる、ジョン・ウィック第 4 章のアート ギャラリーのシーンは、フランス、パリのルーブル美術館の通称「赤い部屋」として知られる 700 号室で撮影されました。

The following paintings and artworks appear in the Long Walk sequence. In order of appearance

Napoléon on the Battlefield of Eylau, oil on canvas, by Antoine-Jean Gros, 1807-1808

The Wounded Cuirassier, oil on canvas by Théodore Géricault, 1814

The Raft of the Medusa, oil on canvas, by Théodore Géricault, 1818-1819

Le Christ sur la Croix, oil on canvas by Pierre-Paul Prud'hon, 1822

Paysage: Thésée poursuivant les Centaures, oil on canvas, by Achille Etna Michallon, 1821

The Barque of Dante, oil on canvas by Théodore Géricault, 1822

Liberty Leading the People, oil on canvas by Eugène Delacroix, 1830

La robe ensanglantée de Joseph apportée à Jacob, oil on canvas by François-Joseph Heim - 1817

Daphnis et Chloé, oil on canvas by François Baron Gérard, 1825

Paintings behind Bisset de Gramont (1:32:19 -1:32:23)

The Death of Sardanapalus, oil on canvas by Eugène Delacroix, 1827

A Young Tiger Playing with Its Mother, oil on canvas, by Eugène Delacroix, 1830-1831

David jouant de la harpe pour le roi Saül, oil on canvas by Antoine-Jean Gros, 1822

(ii) Mairie des Lilas subway (1:47:40 - 1:50:27)

The Incredulity of Saint Thomas, oil on canvas by Caravaggio, 1602

The Feast of Herod (The Killing of John the Baptist)

- - - - - - - - - - - - - - - -

Google翻訳

[songedunmatindhiver-iii]

Il était si animé, si ragaillardi, si vainqueur soudain qu'il se trouva tout d'un bond au beau milieu de son abri, sous le grand mât de sa tente. Il bute, il culbute sur les corps, sur les barons de son escorte, là tous effondrés, ronflants, ruminants comme des porcs. Il s'abat dessus, il s'endort tel quel assez vite, le croissant d'or entre ses bras, tout contre lui, bien enfoncé dans les fourrures. Le sommeil le prit tout profond, il ronflait avec les autres. Il était vraiment bien content, un rêve lui vint. Il se vit alors chevauchant, sous un éblouissant soleil, à la tête d'une splendide cohorte de seigneurs et de vassaux tous plus nobles, plus galants, chevaleresques les uns que les autres, terrifiants d'honneurs et d'armures, carapaconnés d'or pur et de lapis, pierres d'orient aux reflets jaunes verts et orange comme les yeux de mille lézards, perles et brocards écarlates à pleines selles et justaucorps. Au-dessus de ces écuyers, de la piaffante cavalcade, flottait une immense oriflamme... La croix du Christ large brodée, en pleine soie vive écarlate, tout au bout des larmes de sang... qui retombaient au loin en pluie... partout sur cette cavalcade.

Il s'avançait ainsi Krogold au tout premier rang à travers une longue ville toute en lumière orgues et féerie... Il ordonnait tout bien Krogold du geste... il chantait ses ordres, une mélodie merveilleuse.

Ils entrèrent dans un désert... Il n'entendait plus ses paroles... Sa voix se perdait au loin... Plus loin au-dessus des sables. Il fit encore de grands efforts... Il n'entendait plus le son de sa voix... Il tentait de chanter encore. Mais la fatigue l'accablait, sa voix devint sourde... lourde... les chevaliers autour de lui de plus en plus loin. Le sable montait au poitrail des chevaux... L'énorme fatigue étouffait tout... Krogold abandonna toutes choses... et la féerie des chevaliers... déployés au grand soleil... tout se dissipa... toute la croisade... tout se dissipa... Le sommeil étranglait Krogold... Il ne pouvait plus que ronfler plus lourdement, plus lourdement que tous les autres... Le rêve s'échappa de la tente... les croisés en farandole entrèrent dans les brumes... dans le tourbillon des fantômes avec tous les occis du jour... les sorciers des autres armées, les pendus, les brûlés vifs, les preux défunts de la bataille, les pèlerins du Port des Ombres, marmots en limbes ribambelles... Ils voguèrent longtemps enlacés à travers nuées, écharpes de lune... à travers marais et bivouac... entraient venaient en sarabande, fort librement, magiques déboulés d'âmes en peine... Jusque vers la couche du roi... entraînant lutins, feux-follets à friser sa tête... espiègles et pirouettes au-dessus... tourbillons voltant mutins jusqu'à l'aube.

La Volonté du Roi Krogold, chap. II, Louis-Ferdinand Céline.