Baphomet
Baphomet is a deity that the Knights Templar were accused of worshipping, and that subsequently was incorporated into occult and mystical traditions. The name Baphomet appeared in trial transcripts for the Inquisition of the Knights Templar starting in 1307. It first came into popular English usage in the 19th century during debate and speculation on the reasons for the suppression of the Templars.
Since 1856, the name Baphomet has been associated with the "Sabbatic Goat" image drawn by Éliphas Lévi, which contains binary elements representing the "symbolization of the equilibrium of opposites". On one hand, Lévi's intention was to symbolize his concept of balance that was essential to his magnetistic notion of the Astral Light; on the other hand, the Baphomet represents a tradition that should result in a perfect social order.
History
The name Baphomet appeared in July 1098 in a letter by the crusader Anselm of Ribemont:Raymond of Aguilers, a chronicler of the First Crusade, reports that the troubadours used the term Bafomet for the Islamic prophet Muhammad and called the mosques Bafumarias. The name Bafometz later appeared around 1195 in the Occitan poems Senhors, per los nostres peccatz by the troubadour Gavaudan. Around 1250 a poem bewailing the defeat of the Seventh Crusade by Austorc d'Aorlhac refers to Bafomet. De Bafomet is also the title of one of four surviving chapters of an Occitan translation of Ramon Llull's earliest known work, the Libre de la doctrina pueril.
When the medieval order of the Knights Templar was suppressed by King Philip IV of France, on Friday 13 October 1307, Philip had many French Templars simultaneously arrested, and then tortured into confessions. Over 100 different charges had been leveled against the Templars, including heresy, homosexual relations, spitting and urinating on the cross, and sodomy. Most of them were dubious, as they were the same charges that were leveled against the Cathars and many of King Philip's enemies; he had earlier kidnapped Pope Boniface VIII and charged him with nearly identical offenses. Yet Malcolm Barber observes that historians "find it difficult to accept that an affair of such enormity rests upon total fabrication". The "Chinon Parchment suggests that the Templars did indeed spit on the cross", says Sean Martin, and that these acts were intended to simulate the kind of humiliation and torture that a Crusader might be subjected to if captured by the Saracens, where they were taught how to commit apostasy "with the mind only and not with the heart". Similarly, Michael Haag suggests that the simulated worship of Baphomet did indeed form part of a Templar initiation ritual.
The name Baphomet comes up in several of these confessions. Peter Partner states in his 1987 book The Knights Templar and their Myth: "In the trial of the Templars one of their main charges was their supposed worship of a heathen idol-head known as a 'Baphomet'." The description of the object changed from confession to confession. Some Templars denied any knowledge of it. Others, under torture, described it as being either a severed head, a cat, or a head with three faces. The Templars did possess several silver-gilt heads as reliquaries, including one marked capud m, another said to be St. Euphemia, and possibly the actual head of Hugues de Payens. The claims of an idol named Baphomet were unique to the Inquisition of the Templars. Karen Ralls, author of the Knights Templar Encyclopedia, argues that it is significant that "no specific evidence appears in either the Templar Rule or in other medieval period Templar documents."
Modern scholars agree that the name of Baphomet was an Old French corruption of the name Muhammad, with the interpretation being that some of the Templars, through their long military occupation of the Outremer, had begun incorporating Islamic ideas into their belief system, and that this was seen and documented by the Inquisitors as heresy. Alain Demurger, however, rejects the idea that the Templars could have adopted the doctrines of their enemies. Helen Nicholson writes that the charges were essentially "manipulative"—the Templars "were accused of becoming fairy-tale Muslims". Medieval Christians believed that Muslims were idolatrous and worshipped Muhammad as a god, with mahomet becoming in English, meaning an idol or false god. This idol-worship is attributed to Muslims in several Chanson de geste. For example, one finds the gods Bafum e Travagan in a Provençal poem on the life of St. Honorat, completed in 1300. In the Chanson de Simon Pouille, written before 1235, a Saracen idol is called Bafumetz.
Alternative etymologies
While modern scholars and the Oxford English Dictionary state that the origin of the name Baphomet was a probable Old French version of "Mahomet", alternative etymologies have also been proposed.According to Pierre Klossowski in Le Baphomet : "The Baphomet has diverse etymologies… the three phonemes that constitute the denomination are also said to signify, in coded fashion, Basileus philosophorum metaloricum: the sovereign of metallurgical philosophers, that is, of the alchemical laboratories that were supposedly established in various chapters of the Temple. The androgynous nature of the figure apparently goes back to the Adam Kadmon of the Chaldeans, which one finds in the Zohar".
In the 18th century, speculative theories arose that sought to tie the Knights Templar with the origins of Freemasonry. Bookseller, Freemason and Illuminatus Christoph Friedrich Nicolai, in Versuch über die Beschuldigungen welche dem Tempelherrenorden gemacht worden, und über dessen Geheimniß, was the first to claim that the Templars were Gnostics, and that "Baphomet" was formed from the Greek words βαφη μητȢς, baphe metous, to mean Taufe der Weisheit, "Baptism of Wisdom". Nicolai "attached to it the idea of the image of the supreme God, in the state of quietude attributed to him by the Manichaean Gnostics", according to F. J. M. Raynouard, and "supposed that the Templars had a secret doctrine and initiations of several grades", which "the Saracens had communicated ... to them". He further connected the figura Baffometi with the pentagram of Pythagoras:
Émile Littré in Dictionnaire de la langue francaise asserted that the word was cabalistically formed by writing backward tem. o. h. p. ab, an abbreviation of templi omnium hominum pacis abbas, "abbot, or father of the temple of peace of all men". His source is the "Abbé Constant", which is to say, Alphonse-Louis Constant, the real name of Eliphas Levi.
Hugh J. Schonfield, one of the scholars who worked on the Dead Sea Scrolls, argued in his book The Essene Odyssey that the word "Baphomet" was created with knowledge of the Atbash substitution cipher, which substitutes the first letter of the Hebrew alphabet for the last, the second for the second last, and so on. "Baphomet" rendered in Hebrew is ; interpreted using Atbash, it becomes , which can be interpreted as the Greek word "Sophia", meaning wisdom. This theory is an important part of the plot of the novel The Da Vinci Code.
Joseph Freiherr von Hammer-Purgstall
In 1818, the name Baphomet appeared in the essay by the Viennese Orientalist Joseph Freiherr von Hammer-Purgstall, Mysterium Baphometis revelatum, seu Fratres Militiæ Templi, qua Gnostici et quidem Ophiani, Apostasiæ, Idoloduliæ et Impuritatis convicti, per ipsa eorum Monumenta, which presented an elaborate pseudohistory constructed to discredit Templarist Masonry and, by extension, Freemasonry. Following Nicolai, he argued, using as archaeological evidence "Baphomets" faked by earlier scholars and literary evidence such as the Grail romances, that the Templars were Gnostics and the "Templars' head" was a Gnostic idol called Baphomet.Hammer's essay did not pass unchallenged, and F. J. M. Raynouard published an Etude sur 'Mysterium Baphometi revelatum' in Journal des sçavans the following year. Charles William King criticized Hammer, saying that he had been deceived by "the paraphernalia of ... Rosicrucian or alchemical quacks", and Peter Partner agreed that the images "may have been forgeries from the occultist workshops". At the very least, there was little evidence to tie them to the Knights Templar—in the 19th century some European museums acquired such pseudo-Egyptian objects, which were cataloged as "Baphomets" and credulously thought to have been idols of the Templars.
Éliphas Lévi
Later in the 19th century, the name of Baphomet became further associated with the occult. Éliphas Lévi published Dogme et Rituel de la Haute Magie as two volumes, in which he included an image he had drawn himself, which he described as Baphomet and "The Sabbatic Goat", showing a winged humanoid goat with a pair of breasts and a torch on its head between its horns. This image has become the best-known representation of Baphomet. Lévi considered the Baphomet to be a depiction of the absolute in symbolic form and explicated in detail his symbolism in the drawing that served as the frontispiece:Witches' Sabbath
Lévi's depiction of Baphomet is similar to that of The Devil in the early Tarot. Lévi, working with correspondences different from those later used by S. L. MacGregor Mathers, "equated the Devil Tarot key with Mercury", giving "his figure Mercury's caduceus, rising like a phallus from his groin".Lévi believed that the alleged devil worship of the medieval Witches' Sabbath was a perpetuation of ancient pagan rites. A goat with a candle between its horns appears in medieval witchcraft records, and other pieces of lore are cited in Dogme et Rituel.
by Jean Dodal
Lévi's Baphomet, for all its modern fame, does not match the historical descriptions from the Templar trials, although it may also have been partly inspired by grotesque carvings on the Templar churches of Lanleff in Brittany and Saint-Merri in Paris, which depict squatting bearded men with bat wings, female breasts, horns and the shaggy hindquarters of a beast, as well as Eugène Viollet-le-Duc's vivid gargoyles that were added to Notre-Dame de Paris about the same time as Lévi's illustration.
Contemporary context of socialism, romanticism, and magnetism
Lévi's references to the School of Alexandria and the Templars can be explained against the background of debates about the origins and character of true Christianity. It has been pointed out that these debates included contemporary forms of Romantic socialism, or Utopian socialism, which were seen as the heirs of the Gnostics, Templars, and other mystics. Lévi, being himself an adherent of these schools since the 1840s, regarded the socialists and Romantics as the successors of this alleged tradition of true religion. In fact, his narrative mirrors historiographies of socialism, including the Histoire des Montagnards by his best friend and political comrade Alphonse Esquiros. Consequently, the Baphomet is depicted by Lévi as the symbol of a revolutionary heretical tradition that would soon lead to the "emancipation of humanity" and the establishment of a perfect social order.In Lévi's writings, the Baphomet does not only express a historical-political tradition, but also occult natural forces that are explained by his magical theory of the Astral Light. He developed this notion in the context of what has been called "spiritualist magnetism": theories that stressed the religious implications of magnetism. Often, their representatives were socialists that believed in the social consequences of a "synthesis" of religion and science that was to be achieved by the means of magnetism. Spiritualist magnetists with a socialist background include the Baron du Potet and Henri Delaage, who served as main sources for Lévi. At the same time, Lévi polemicized against famed Catholic authors such as Jules-Eudes de Mirville and Roger Gougenot des Mousseaux, who regarded magnetism as the workings of demons and other infernal powers. The paragraph just before the passage cited in the previous section has to be seen against this background:
Goat of Mendes
Lévi called his image "The Goat of Mendes", possibly following Herodotus' account that the god of Mendes — the Greek name for Djedet, Egypt — was depicted with a goat's face and legs. Herodotus relates how all male goats were held in great reverence by the Mendesians, and how in his time a woman publicly copulated with a goat. E. A. Wallis Budge writes:Historically, the deity that was venerated at Egyptian Mendes was a ram deity, Banebdjedet, who was the soul of Osiris. Lévi combined the images of the Tarot of Marseilles Devil card and refigured the ram Banebdjed as a he-goat, further imagined by him as "copulator in Anep and inseminator in the district of Mendes".
Aleister Crowley
The Baphomet of Lévi was to become an important figure within the cosmology of Thelema, the mystical system established by Aleister Crowley in the early 20th century. Baphomet features in the Creed of the Gnostic Catholic Church recited by the congregation in The Gnostic Mass, in the sentence: "And I believe in the Serpent and the Lion, Mystery of Mysteries, in His name BAPHOMET."In Magick , Crowley asserted that Baphomet was a divine androgyne and "the hieroglyph of arcane perfection", seen as that which reflects: "What occurs above so reflects below, or As above so below".
For Crowley, Baphomet is further a representative of the spiritual nature of the spermatozoa, while also being symbolic of the "magical child" produced as a result of sex magic. As such, Baphomet represents the Union of Opposites, especially as mystically personified in Chaos and Babalon combined and biologically manifested with the sperm and egg united in the zygote.
Crowley proposed that Baphomet was derived from "Father Mithras". In his Confessions he describes the circumstances that led to this etymology:
Modern interpretations and usage
Lévi's Baphomet is the source of the later tarot image of the Devil in the Rider-Waite design. The concept of a downward-pointing pentagram on its forehead was enlarged upon by Lévi in his discussion of the Goat of Mendes arranged within such a pentagram, which he contrasted with the microcosmic man arranged within a similar but upright pentagram. The actual image of a goat in a downward-pointing pentagram first appeared in the 1897 book La Clef de la Magie Noire, written by the French occultist Stanislas de Guaita. It was this image that was later adopted as the official symbol—called the Sigil of Baphomet—of the Church of Satan, and continues to be used among Satanists.'s Les Mystères de la franc-maçonnerie dévoilés adapted Lévi's invention.
Baphomet, as Lévi's illustration suggests, has occasionally been portrayed as a synonym of Satan or a demon, a member of the hierarchy of Hell. Baphomet appears in that guise as a character in James Blish's The Day After Judgment. Christian evangelist Jack T. Chick claimed that Baphomet is a demon worshipped by Freemasons, a claim that apparently originated with the Taxil hoax. Léo Taxil's elaborate hoax employed a version of Lévi's Baphomet on the cover of Les Mystères de la franc-maçonnerie dévoilés, his lurid paperback "exposé" of Freemasonry, which in 1897 he revealed as a hoax intended to ridicule the Catholic Church and its anti-Masonic propaganda.
In 2014 The Satanic Temple commissioned an statue of Baphomet to stand alongside a monument of the Ten Commandments at Oklahoma State Capitol, citing "respect for diversity and religious minorities" as reasons for erecting the monument. After the Ten Commandments monument was vandalized, plans to erect the Baphomet statue were put on hold, as the Satanic Temple did not want their statue to stand alone by the Oklahoma capitol. The Oklahoma Supreme Court declared all religious displays illegal, and on 25 July 2015 the statue was erected near a warehouse in Detroit, as a symbol of the modern Satanist movement. On August 16, 2018 the Satanic Temple unveiled a Baphomet statue in Little Rock, Arkansas, where another 10 Commandments monument had been installed in 2017, citing the First Amendment to the United States Constitution.
Baphomet appears in Dungeons & Dragons as a powerful demon lord and is also known as the "Horned King", or the "Prince of Beasts". Baphomet is followed by minotaurs and other savage creatures. He desires the end of civilizations so all creatures may embrace their most basic, brutal instincts. He is described as a massive, black minotaur, with blood around his mouth and red eyes. He wears an iron crown topped with the heads of his enemies, along with spiked armor. He wields a huge glaive, named "Heartcleaver", but commonly fights with his hooves, claws, and horns. He rules of the 600th layer of The Abyss, known as the "Endless Maze", and is the sworn enemy of Yeenoghu, another demon lord.
Baphomet also serves as the main antagonist in the PC game Tristania 3D and is the worshipped deity of the evil Courbée Dominate society. The game's storyline describes in depth that in fact Philip IV of France was the one who had worshipped Baphomet, not the Knights Templar, and he deliberately eradicated the entire order to make sure that this secret would remain undiscovered. In the last level, the protagonist must enter the afterlife to seek out and defeat Baphomet, however, he is protected by the shadows of his fallen worshippers in the previous levels, along with the ghost of Evil Empress and the protagonist's former accomplice, Evil Twirl. The game depicts Baphomet very close to the original, except that it has a male torso and dragon-like wings, as opposed to feathered ones. Baphomet's main attack is a lethal wall of fire, which causes severe damage and can be manifested in rapid successions. Baphomet also can turn himself invisible during his attack periods. Successfully defeating him shall win the game, albeit it is noted that defeating him does not mean that he is killed.
An interpretation of Baphomet, referred to as The Sword of Baphomet, forms part of the main plot in the 1996 point-and-click adventure game ' developed by Revolution Software. It is the first game in the Broken Sword series. The player assumes the role of George Stobbart, an American tourist in Paris, as he attempts to unravel a conspiracy, much of which is influenced by and includes factual and fictional references and narrative devices relating to the history of the Knights Templar.
In the popular PC video game ', in the final mission "Icon of Sin", the titular antagonist has a look similar to that of early depictions of Baphomet.
In July 2015 YouTube star and singer Poppy depicted the deity in the music video for her single "Lowlife". Poppy can be seen imitating the famous pose of Baphomet.
The 2018 Netflix series Chilling Adventures of Sabrina has a large statue of Baphomet displayed at the Academy of Unseen Arts. The Satanic Temple has accused the show of plagiarizing their depiction of Baphomet, though later settled out of court.
In the video game Doom Eternal, in the final mission "Final Sin", the Icon of Sin has a resemblance to early depictions of Baphomet.
Iannis Stamatakos has pointed out that the name Baphomet, when interpreted through the universal transliteration of the letters with the Greek, is a basic atbash crypt, which splits the word in the middle and places the last part to the beginning of the word, spelling the word "Metapho", with the letter B inserted to add complexity.