#expulsion from the garden of eden

[skullfragments]

i see your "thousand eyes and wings" biblically accurate aziraphale and raise you "biblically accurate according to weird ass medieval illuminations" aziraphale (& bonus crowley)

inspired by this illuminated manuscript page depicting the story of adam and eve:

(i'm pretty sure tumblr fucked the quality on these do please click for full size😭)

[pmamtraveller]

EXPULSION FROM THE GARDEN OF EDEN (c. 1828) by THOMAS COLE

The scene depicted in this painting is from GENESIS, when GOD drives ADAM and EVE out of the garden of EDEN. Instead of concentrating on the couple’s nakedness, COLE distorts them within the natural environment, whose scale and majesty symbolize heavenly power.

Contrary to popular belief, the painting is to be read from the right to the left, as the Garden of EDEN is traditionally to be found in the EASTERN direction: the direction from which the fiery shards of light appear to chase the couple away.

The landscape is highly symbolic, a visual manifestation of the Pathetic Fallacy. The clear, cloudless sky of paradise contrasts with the gloomy, stormy sky on the right.

This relatively early work shows COLE'S interest in religious themes and his desire to reconcile the pristine beauty of the AMERICAN COUNTRYSIDE with the expression of God’s will.

Both Expulsion and Garden of EDEN were critically panned at the time of their release. This may have been due to the fact that the AMERICAN PUBLIC had not yet gotten used to COLE'S departure from the romantic landscape style he had become famous for.

[cuties-in-codices]

the aftermath of the fall

(adam and eve's expulsion from eden & their life after the fall, with adam farming and eve spinning)

miniature from a copy of the "österreichische chronik der 95 herrschaften", königsfelden, c. 1479-82

source: Bern, Burgerbibl., Cod. A 45, fol. 4r

[vent-art-af]

“Adam - Version 2” (12-31-24) [supposed to be about the Adam & Eve Genesis narrative if that’s not painfully obvious lmao] <made with this>

“I remember wind in my nose The garden  The tree The tiger, bird, and butterfly We were happy, special, new, and  His She whispered to eat And we ate together Dad was like a storm Go He roared from the sky Leave I cried The sky is different here  I have a birthday And a baby and a child My name is dad If family eats from the tree  like candy With a gentle hand I will do something helpful & good Never answer with His wild roar And understand And understand.”

[7pleiades7]

The Expulsion of Adam and Eve from the Garden of Paradise (Paradise Lost) (c. 1867) by Alexandre Cabanel (French, 1823-1889), oil on canvas, 121.9 × 94 cm, The Musée d'Orsay, Paris

[joycrispy]

Awhile ago @ouidamforeman made this post:

This shot through my brain like a chain of firecrackers, so, without derailing the original post, I have some THOUGHTS to add about why this concept is not only hilarious (because it is), but also...

It. It kind of fucks. Severely.

And in a delightfully Pratchett-y way, I'd dare to suggest.

I'll explain:

As inferred above, both Crowley AND Aziraphale have canonical Biblical counterparts. Not by name, no, but by function.

Crowley, of course, is the serpent of Eden.

(note on the serpent of Eden: In Genesis 3:1-15, at least, the serpent is not identified as anything other than a serpent, albeit one that can talk. Later, it will be variously interpreted as a traitorous agent of Hell, as a demon, as a guise of Satan himself, etc. In Good Omens --as a slinky ginger who walks funny)

Lesser known, at least so far as I can tell, is the flaming sword. It, too, appears in Genesis 3, in the very last line:

"So he drove out the man; and placed at the east of the garden of Eden Cherubims, and a flaming sword which turned every way, to keep the way of the tree of life." --Genesis 3:24, KJV

Thanks to translation ambiguity, there is some debate concerning the nature of the flaming sword --is it a divine weapon given unto one of the Cherubim (if so, why only one)? Or is it an independent entity, which takes the form of a sword (as other angelic beings take the form of wheels and such)? For our purposes, I don't think the distinction matters. The guard at the gate of Eden, whether an angel wielding the sword or an angel who IS the sword, is Aziraphale.

(note on the flaming sword: in some traditions --Eastern Orthodox, for example-- it is held that upon Christ's death and resurrection, the flaming sword gave up it's post and vanished from Eden for good. By these sensibilities, the removal of the sword signifies the redemption and salvation of man.

...Put a pin in that. We're coming back to it.)

So, we have our pair. The Serpent and the Sword, introduced at the beginning and the end (ha) of the very same chapter of Genesis.

But here's the important bit, the bit that's not immediately obvious, the bit that nonetheless encapsulates one of the central themes, if not THE central theme, of Good Omens:

The Sword was never intended to guard Eden while Adam and Eve were still in it.

Do you understand?

The Sword's function was never to protect them. It doesn't even appear until after they've already fallen. No... it was to usher Adam and Eve from the garden, and then keep them out. It was a threat. It was a punishment.

The flaming sword was given to be used against them.

So. Again. We have our pair. The Serpent and the Sword: the inception and the consequence of original sin, personified. They are the one-two punch that launches mankind from paradise, after Hell lures it to destruction and Heaven condemns it for being destroyed. Which is to say that despite being, supposedly, hereditary enemies on two different sides of a celestial cold war, they are actually unified by one purpose, one pivotal role to play in the Divine Plan: completely fucking humanity over.

That's how it's supposed to go. It is written.

...But, in Good Omens, they're not just the Serpent and the Sword.

They're Crowley and Aziraphale.

(author begins to go insane from emotion under the cut)

In Good Omens, humanity is handed it's salvation (pin!) scarcely half an hour after losing it. Instead of looming over God's empty garden, the sword protects a very sad, very scared and very pregnant girl. And no, not because a blameless martyr suffered and died for the privilege, either.

It was just that she'd had such a bad day. And there were vicious animals out there. And Aziraphale worried she would be cold.

...I need to impress upon you how much this is NOT just a matter of being careless with company property. With this one act of kindness, Aziraphale is undermining the whole entire POINT of the expulsion from Eden. God Herself confronts him about it, and he lies. To God.

And the Serpent--

(Crowley, that is, who wonders what's so bad about knowing the difference between good and evil anyway; who thinks that maybe he did a GOOD thing when he tempted Eve with the apple; who objects that God is over-reacting to a first offense; who knows what it is to fall but not what it is to be comforted after the fact...)

--just goes ahead and falls in love with him about it.

As for Crowley --I barely need to explain him, right? People have been making the 'didn't the serpent actually do us a solid?' argument for centuries. But if I'm going to quote one of them, it may as well be the one Neil Gaiman wrote ficlet about:

"If the account given in Genesis is really true, ought we not, after all, to thank this serpent? He was the first schoolmaster, the first advocate of learning, the first enemy of ignorance, the first to whisper in human ears the sacred word liberty, the creator of ambition, the author of modesty, of inquiry, of doubt, of investigation, of progress and of civilization." --Robert G. Ingersoll

The first to ask questions.

Even beyond flattering literary interpretation, we know that Crowley is, so often, discreetly running damage control on the machinations of Heaven and Hell. When he can get away with it. Occasionally, when he can't (1827).

And Aziraphale loves him for it, too. Loves him back.

And so this romance plays out over millennia, where they fall in love with each other but also the world, because of each other and because of the world. But it begins in Eden. Where, instead of acting as the first Earthly example of Divine/Diabolical collusion and callousness--

(other examples --the flood; the bet with Satan; the back channels; the exchange of Holy Water and Hellfire; and on and on...)

--they refuse. Without even necessarily knowing they're doing it, they just refuse. Refuse to trivialize human life, and refuse to hate each other.

To write a story about the Serpent and the Sword falling in love is to write a story about transgression.

Not just in the sense that they are a demon and an angel, and it's ~forbidden. That's part of it, yeah, but the greater part of it is that they are THIS demon and angel, in particular. From The Real Bible's Book of Genesis, in the chapter where man falls.

It's the sort of thing you write and laugh. And then you look at it. And you think. And then you frown, and you sit up a little straighter. And you think.

And then you keep writing.

And what emerges hits you like a goddamn truck.

(...A lot of Pratchett reads that way. I believe Gaiman when he says Pratchett would have been happy with the romance, by the way. I really really do).

It's a story about transgression, about love as transgression. They break the rules by loving each other, by loving creation, and by rejecting the hatred and hypocrisy that would have triangulated them as a unified blow against humanity, before humanity had even really got started. And yeah, hell, it's a queer romance too, just to really drive the point home (oh, that!!! THAT!!!)

...I could spend a long time wildly gesturing at this and never be satisfied. Instead of watching me do that (I'll spare you), please look at this gif:

I love this shot so much.

Look at Eve and Crowley moving, at the same time in the same direction, towards their respective wielders of the flaming sword. Adam reaches out and takes her hand; Aziraphale reaches out and covers him with a wing.

You know what a shot like that establishes? Likeness. Commonality. Kinship.

"Our side" was never just Crowley and Aziraphale. Crowley says as much at the end of season 1 ("--all of us against all of them."). From the beginning, "our side" was Crowley, Aziraphale, and every single human being. Lately that's around 8 billion, but once upon a time it was just two other people. Another couple. The primeval mother and father.

But Adam and Eve die, eventually. Humanity grows without them. It's Crowley and Aziraphale who remain, and who protect it. Who...oversee it's upbringing.

Godfathers. Sort of.

[tragicsiblings]

Cargyll twins in House of the Dragon // Cain smiting Abel with God's Expulsion of Cain from the Garden of Eden – Marco & Sebastiano Ricci

[sofiart22]

Me & my brother, you see, we were uña y carne

Prodigal Son s02ep08(dir.Chris Fedak and Sam Sklaver)//A Brother Named Gethsemane (Natalie Diaz)//Cain smiting Abel with God's Expulsion of Cain from the Garden of Eden (Sebastiano Ricci)//brother, sister, rival, friend: the longstanding effects of sibling relationships (Joshua A. Krisch)//Dogfight (Ang Kiukok)// kieran culkin //Prodigal Son s02ep07 (dir.Chris Fedak and Sam Sklaver)// Filmnoirsbian

[lionofchaeronea]

Title: Expulsion from the Garden of Eden Artist: Theodore Poulakis (Greek [Cretan], 1622-1692) Genre: religious art (Eastern Orthodox Christianity) Period: Greek Renaissance Movement: Cretan School Medium: egg tempera on wood Location: private collection

[heavenslittlemachine]

they won't teach u this at catholic school, but the truth is that the snake is the most treasured of all god's beasts. far from a curse, the removing of his limbs upon expulsion from the garden of eden was a boon of the highest order, a gift from god to his beloved servent who had made -- was to continue to make -- the great sacrifice of taking up the role of the accuser in His divine play, dwelling on the far side of the expanse, in the absence of His light.

what does it mean to be without limbs?

this means to steadfastly occupy the central channel, turning neither this way nor that way, having no branches or divergences by which to be swayed. here there are no crossroads -- just a direct path from the kingdom to the crown.

it is said that the joy of a tzaddik, who has never once strayed from union with god, is nothing compared with the joy of one who has run to sin and returned. how much greater, then, is the reward for that being who has never once not sinned ?

[the-mortuary-witch]

SATAN

WHO IS HE?

In the Middle Ages, Satan played a minimal role in christian theology and was used as a comic relief figure in mystery plays. During the early modern period, Satan's significance greatly increased as beliefs such as demonic possession and witchcraft became more prevalent. 

Although Satan is generally viewed as evil, some groups have very different beliefs. In theistic Satanism, Satan is considered a deity who is either worshipped or revered. In atheistic Satanism, Satan is a symbol of virtuous characteristics and liberty. 

BASIC INFO: 

Appearance: Satan's appearance is never described in the bible, but, since the ninth century, he has often been shown in christian art with horns, cloven hooves, unusually hairy legs, and a tail, often naked and holding a pitchfork. These are an amalgam of traits derived from various pagan deities, including Pan, Poseidon, and Bes. 

Personality: he is known to be cunning, straight forward, and strict. He is not seen as a malevolent force, but rather as an entity who challenges individuals to  overcome challenges and fears.

Symbols: pentagram, wings, fire, goat’s head, and upside down cross

Entity of: temptation, hell, misfortune, and hard ship

Culture: Demonic

Plants and trees: deadly nightshade, wolfsbane, holly, pothos, datura, blackberry, nettle, briar rose, apple tree, thistle, and poisonous plants in general 

Crystals: ruby, black obsidian, red jasper, black tourmaline, smoky quartz, and amethyst

Animals: black animals in general, serpent, bats, dragon, goat, black cats, ravens, crows, spiders, wolves, and vultures

Incense: dragon’s blood, apple, copal, and myrrh

Practices: shadow work, passion and desire magick, protection, setting boundaries, and death magick

Colours: red and black

Numbers: 6 and 1

Zodiacs: Taurus and Libra

Tarot: The Devil

Planet: Venus

Days: Friday, Devil’s Night, and Lupercalia

Parent: N/A

Siblings: N/A

Partner: Lilith (not confirmed)

Children: N/A

MISC:

Goats: the association between Satan and goats has deep roots in mythology and religious symbolism. The image of a goat-like being with horns and hooves has been used for millennia to represent power, sexuality, and the wild or untamed aspects of nature.

Pentagram: in Western occult and mystical traditions, the pentagram can be associated with Satan due to its connection with the material and the earthly, as well as its association with the forces of darkness and chaos. In some traditions, the downward-pointing pentagram – also known as the "upside-down" or "inverted" pentagram – has been used as a symbol of anti-religious or Satanic beliefs. It's important to note, however, that interpretations of the pentagram's meaning can vary and there is no one definitive "Satanic" interpretation of this symbol.

Wings: Satan is often depicted as a fallen angel who was cast out of heaven for his rebellion against god. In many depictions, Satan is represented with wings as a symbol of his former status as an angel, or alternatively a mark of his fall from grace. Satan's portrayal with wings can be seen as a visual representation of his freedom, his ability to soar above the constraints of mortal life, and his role as a symbol of rebellion and opposition to religious authority.

Fire: in the context of Satan, fire is often associated with destruction, chaos, and the dark side of human nature. The image of Satan as a being surrounded by flames or depicted as a fiery being can symbolize both his destructive potential and his role as a symbol of defiance and rebellion.

Serpent: the association of Satan with the serpent comes from the story of the Garden of Eden in the book of Genesis. In this story, the serpent tempts Eve to eat the forbidden fruit, leading to Adam and Eve's fall from grace and god's subsequent expulsion from the garden. The serpent in this story is often identified as Satan, or a representative of Satan, and the serpent has become a powerful symbol of temptation, cunning, and deception. It represents Satan's power of temptation and his role as a tempter of humanity.

FACTS ABOUT SATAN:

Many theistic Satanist’s view Lord Satan as a fatherly figure or brotherly figure.

Satan represents pride, liberty, and individualism.

He is often depicted as the embodiment of rebellion, defiance, and opposition to authority.

In some traditions, Satan is associated with the concept of the carnal or sensuous, representing the earthly pleasures of the body and the physical realm.

Satan is sometimes portrayed as a figure of chaos and destruction, but also seen as a liberator and a symbol of individual freedom.

He is often associated with the number 666.

HOW TO INVOKE SATAN:

Invoking Satan or any deity or spirit is a personal and often private spiritual practice. There is no one "right" way to invoke Satan, but here is a basic method you can begin by cleansing and consecrating a sacred space. You can do this using sage, salt, or other purifying methods. Set up an altar for the invocation, and place symbols of Satan on it. This could include black candles, pentagrams, serpent imagery, etc.

Prepare an invocation or prayer that you can use to call upon Satan. You can find examples online or create your own. Light the black candles and the incense and begin to recite the invocation.

PRAYER FOR SATAN:

Hail Lord Satan, Lord of the Underworld, I call upon thee in this hour.

Please come to me and be present in this place.

I honour your strength, power, and wisdom.

Guide me on the path of knowledge and darkness.

Grant me your blessings and protection, and help me achieve my goals.

Hail Lord Satan, Lord of darkness and light, ruler of the night.

I welcome you into this space, and I am forever your disciple. Hail Lord Satan.

SIGNS THAT SATAN IS CALLING YOU:

A sudden increase in synchronicities or unusual coincidences related to occult or dark themes

Repeated dreams or visions involving Satanic symbols or figures

Being drawn to occult, pagan, or Satanic practices and beliefs

Feeling of power or energy coursing through your body that seems to come from an external source

An urge to explore forbidden or taboo subjects

A sense of being "chosen" or "special" and having a unique spiritual path.

Feeling a connection to nature, animals, and the natural world, as well as a distaste for artificiality or mainstream culture.

Having a deep interest in the darker aspects of life, such as death, suffering, and the mysteries of the universe.

Experiencing a powerful attraction to dark, gothic, or rebellious aesthetics

Observing sudden changes in behaviour, such as increased energy and confidence.

OFFERINGS:

Chocolate.

Red wine.

Whiskey.

Animal bones.

Poetry.

Black roses.

Incense.

Black tea.

Music.

Drawings and painting of him.

Imagery of animals he is associated with: goats, serpents, dragons, etc.

Cinnamon.

Blackberries.

Grapes.

Coffee beans.

Pentagrams.

Liquor.

Black or red candles.

DEVOTIONAL ACTS:

Taking time for yourself, such as self care.

Meditating on his energy.

Practicing yoga or other physical disciplines to cultivate focus and strength.

Reading or studying texts related to Satanism or the occult.

Listening to dark or heavy music to invoke a certain atmosphere.

Keeping a spiritual journal to document experiences and insights.

Practicing solitary rituals or ceremonies to strengthen your connection with him.

Creating and maintaining a private altar for Satan, with appropriate symbols and offerings.

Performing candle magick or other spells to invoke Satan's presence and influence.

Participating in online communities or in-person groups of Satanists or occult practitioners.

Visiting places of dark or forbidden beauty, like graveyards, forests, or caves.

Exploring symbolism associated with Satan, such as the pentagram, the black goat, or the serpent.

Practicing divination techniques, such as tarot or scrying, to gain insight from Satan.

Studying the writings or teachings of influential Satanists such as Anton Szandor LaVey.

[atrocityobsession]

Expulsion from Eden

Hannibal x M! Reader

Content Warning: smut, light bdsm, restraints, biting, religious iconary, blasphemy, blood. not proof read.

────────୨ੈ✩‧₊˚౨ৎੈ✩‧₊˚ৎ────────

Your chest heaved, and you pulled on your restraints. They were bound tightly; after all, Hannibal knew what he was doing. The blindfold restricted your sight, and Hannibal prowled your prone form like a predator. Tiny breaths escaped your parted pink lips. Your Adam's apple bobbed with each nervous swallow tantalizingly. A light touch brushed against your throat, the fingers warm.

“They say Adam’s apple is where the forbidden fruit got lodged into Adam’s throat after he disobeyed God,” Hannibal purrs softly, his voice seeming to come from all around you. A whimper catches in your throat. 

“And in the dark gardens, I find yours ripe for harvest,” Hannibal’s hand tightens around your throat. Hannibal licked a strip up your throat, lingering a little too long on the front of your neck. Your cock jumped, and your back arched up. Hannibal tutted, placing a hand on the middle of your chest, forcing you back flush against the bed. The silk sheets were cool against your back, but every touch felt like torture. 

You swallowed again, suppressing a small moan. Hannibal could see your heartbeat through your neck, the artery pulsing, a siren song to his deepest desires. He ran a hand down your midsection again, his hand stopping on your length. He gave it a few strokes, watching with a raptorial smile as your back arched again, hips jutting forward, and your neck deliciously exposed.

“Sing for me, lamb. Tell me your deepest desires, and let me weave them into a symphony of sin,” Hannibal straddled your waist as your hips bucked, seeking something, anything, a silent plea for whatever touches he would be so gracious to give to you. 

A broken plea fled from your lips for more, the delicate swell of your throat exposed to Hannibal. The thin skin was peppered with the supple blues of fragile blood vessels. Hannibal leaned down to kiss you, starting at your sternum and moving up to your lips. His teeth caught your bottom lip, pulling. He was anything but gentle, and he savored the way your blood tasted in his mouth, the way you cried out in pain, the sweat that dripped from your brow. 

“In this temple of flesh, the only prayers I hear are your screams of ecstasy, and I am more than happy to make you worship at my altar.”

Taking his chance, the column of your neck poised as a succulent offering, Hannibal bites your neck right where your thyroid cartilage protrudes. Gentler than a butchering but rougher than a kiss, in a lewd communion in which your blood is his wine. In an act of blasphemous worship, his name escapes your lips over and over again as your only prayer.

────────୨ੈ✩‧₊˚౨ৎੈ✩‧₊˚ৎ────────

this was inspired by a series of text messages I had with a friend where I asked if they had ever seen a guy with an Adam's apple that you'd really want to bite in a less than a murderous way but more than a hickey. they didn't get it.

[artemlegere]

Satan, Sin and Death (A Scene from Milton’s ‘Paradise Lost’)

Artist: William Hogarth (English, 1697–1764)

Date: c. 1735-1740

Medium: Oil paint on canvas

Collection: TATE Britain, United Kingdom

Paradise Lost Epic Poem

Paradise Lost is an epic poem in blank verse by the English poet John Milton (1608–1674). The first version, published in 1667, consists of ten books with over ten thousand lines of verse. A second edition followed in 1674, arranged into twelve books (in the manner of Virgil's Aeneid) with minor revisions throughout. It is considered to be Milton's masterpiece, and it helped solidify his reputation as one of the greatest English poets of all time. The poem concerns the biblical story of the fall of man: the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden.

The main conflict of the poem involves Satan’s jealous desire to corrupt God’s new and beloved creation by creating human distrust in God’s plan, a distrust that will lead to disobedience. Through the temptations of the antagonist, Satan, Milton emphasizes the corruption to which humans are vulnerable if they are not spiritually aware of the manipulative power of evil around them. Adam and Eve’s inner struggle, an effort to resist temptation, symbolizes the innate human desire to stay loyal or true to a spiritual compass, which, in Milton’s poem, is represented by God’s exhortations and the messages of his angels.

The inciting incident of the poem finds the antagonist, Satan, banished to hell, where he and his fellow devils construct a temple called Pandemonium, a symbol of chaos and irrationality, and then plot both to make a good out of evil and an evil out of good. Milton portrays the devils’ apparently democratic decision as ironic evidence of their failed capacity for reason: Satan refuses to accept God’s rational hierarchy—that the Son is superior to him—and settles on irrational disobedience. In an allegory reminding the poem’s readers of a conventional Christian understanding of the fall, Satan begets Sin who begets Death. He volunteers to corrupt God’s new and beloved human beings, and a bridge is built between Hell and Earth.

The rising action explores ideas about free will and a redemption in which God’s Son will willingly sacrifice himself, God’s plan for human salvation. The Son is the instrument through which God acts, and Milton shows how God and the Son work separately, yet are manifestations of the same entity, working as one. Free will is one of the major themes of the poem, and Milton suggests a paradoxical idea about it: a human being is free to choose, yet is only truly free when choosing the good. Events unfold as Adam is visited by the Archangel Raphael who recounts the story of creation, reveals the primary conflict between God and Satan, and describes the latter’s fall and the War in Heaven. The war stands as an extended spiritual metaphor in which disobedience leads to one’s blindness from the truth. Raphael warns Adam to be wary of Satan’s temptations; Adam’s choice will rest entirely in his own hands.

At the poem’s climax, Satan accomplishes his goal by convincing Adam and Eve to become disobedient. Plagued by envy and despair, Satan flatters Eve, convincing her to eat the forbidden fruit from the Tree of Knowledge. He presents knowledge as a means with which she might equate herself with God, using his perverted reasoning to demonstrate how knowledge can be used for evil. Eve, in turn, convinces Adam to join her in this act of disobedience, and he dooms himself, unable to bear the thought of losing her. Ultimately, he chooses loyalty to Eve over loyalty to God. As the pair’s heightened senses take over, their capacity for reason diminishes. The further Adam and Eve drift from God, the more reduced their powers of reasoning become.

In the falling action, Adam and Eve awaken to their banishment from Paradise. They find themselves in a world of shame and evil, blaming each other for their condition, and Sin and Death subsequently enter the world. The fall, however, paves the way for humanity’s redemption and salvation; thus, Milton claims that his epic surpasses the ancient classics, as it pertains to all of humankind, not to a single hero or nation. The archangel Michael grants Adam visions of a future in which his offspring commit murder, as well as scenes of people living for pleasure and the flesh. Unlike Satan, Adam and Eve repent by praying to God.

Michael, in the poem’s resolution, recounts the idea that a Messiah will eventually arrive to reunite Heaven and Earth, noting that there will be much suffering before that reconciliation. Milton suggests that Adam and Eve’s fall is the “felix culpa,” or happy fault or fortunate fall, for God’s mercy is shown. Individuals, he suggests, may hope to redeem themselves through devotion and obedience to God, forming an aspect of his ultimate plan. Comforted by these suggestions, Adam and Eve, in the poem’s final scene, exit into a new world. They have been led to understand that obedience to God and his love for his creation will lead humanity toward salvation, toward regaining a Paradise that has been lost.

[vent-art-af]

"Adam" (12-29-24) [supposed to be about the Adam & Eve Genesis narrative if that's not painfully obvious lmao] <made with this>

"I remember wind in my nose The garden  The tree The tiger, bird, and butterfly We were happy, special, new, and  His She whispered to eat And we ate together Dad was like a storm Go He roared from the sky Leave I cried The sky is different here  I have a birthday And a baby and a child My name is dad If family eats from the tree  like candy With a gentle hand I will do something helpful & good Never answer with His wild roar And understand And understand.”

[crowleysgirl56]

So I posted a Good Omens season 3/finale thought of the day earlier today which involved Crowley’s wall safe and thought I would do a bigger headcanon post about it. I posted the idea that maybe the Mona Lisa is actually secretly covering up a different painting.

People may be familiar with the Masaccio painting “Expulsion of Adam and Eve from the garden” (I’ve chosen the slightly censored version in case Tumblr takes offence to naked classical art):

Personal headcanon is Crowley was angered so much of the depiction of Aziraphale kicking Adam and Eve out of the Garden of Eden that he had a painting commissioned in the same style to Masaccio but instead it was of Aziraphale gifting his flaming sword to Adam and Eve.

The painter he commissioned was a rival to Masaccio. As Crowley wanted the painting to be kept secret (for obvious reasons) he wouldn’t allow the painter to speak about it or reproduce it. Angered that he would not see the same recognition as Masaccio the rival painter poisoned him in revenge.

Crowley kind of felt bad about this but considering he got a beautiful painting out of it and a new soul for Hell to boot he guessed it was worth it.

[fletchingbrilliant]

Uriel - Archangel of Faith

Archangel number four is Uriel. She is the second tallest of the archangels. Her color is red. She is the fiercest of the archangels, exercises her power frequently, and revels in her domain. Her sight is unmatched, and from her post she can see all the way into Hell. She rarely enters hand-to-hand combat, only because her wicked accuracy with her fire bow is so strong. She is literally never without her weapon.

At the same time, her virtue is Faith, or Kindness, the spiritual opposite being Envy. It is said that when Abel was slain by his brother Cain, it was Uriel who took up Abel's body and brought it into the Garden of Eden, and buried him beneath a plum tree. He allowed Adam and Eve to cover the grave with flowers, and this was the only time that they were ever allowed to set foot back into Eden after their expulsion.

The other Archangels:

Gabriel

Azrael

Mikael