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BELPHEGOR A FRENCH ART MUSE SUCCUBUS
From Goetia Girls [Mark Dunn]

Within the gnarled tomes of Demonology, Belphegor (or Beelphegor) is a Demon who enables the Magician to make many a discovery like that of an inspired electric Eel of a Nikola Tesla having Visions, which also overlaps into other fields of endeavour such as the Arts to become akin to a Salavador Dali or a Pablo Picasso to breakthrough barriers of perception.

It is said that this Demon seduces people by suggesting to them Ingenious inventions, which will make them rich beyond avarice, although such Inventions to inspire can also be that of an Inventive and most Ingenious Story topping Harry Potter, to thence experience via a vivid Dream before one commits it to writing.

According to some 16th century Demonologists, the power of this Demon is far stronger during April of Key-Time around Star Clock Zodiac. Bishop and Witch-hunter Peter Binsfeld whom no doubt fantasised about torturing female flesh to burn at the stake of misogynist wank dreams believed that Belphegor tempts by means of laziness, which contradicts the perspective that said Demon inspires one to discover new Inventions to thereby work upon.

Also, according to Peter Binsfield’s Binsfield’s Classification of Demons, Belphegor is the chief Demon of the deadly sin known as Sloth within the Christian tradition, which is again a contradiction as any Inventor or Discoverer worth his salt would know; one may be inspired with an idea to cry ‘Eureka,’ but then comes the hard graft to make it manifest.

Belphegor was originally an Assyrian deity called Baal-Peor, the Moabitish God to whom the Israelites became attached to in Shittim (Numbers 25:3), whose realm was associated with licentiousness and orgies. This deity was apparently worshipped in the form of a (Siva Lingam) phallus; should a practitioner see this deity as being otherwise Female she can be envisaged as a lithe young Succubus wrapped around ones erection to pump; if one be so inclined.

As a Demon, this Spirit is described in Kabbalistic writings as the “Disputer”, an enemy of the Sixth Sephiroth “Beauty;” however this pertains more to that of questioning the established order of a reality labyrinth, which if not questioned will invariably induce tunnel vision to never see alternative possibilities; however when one is to question an ingrained dogmatic attitude it usually leads to a dispute about ones new ideas, which rock the established apple cart.

When summoned, this Demon can grant vast Riches, the power of Discovery and Ingenious Invention; although such riches to come when ones discoveries are seen to be innovatively groundbreaking by the populace. It is traditionally said that this Demon’s nature is to sow discord among men and seduce them to evil through the apportionment of wealth; although it has far more to do with innovative technologies and alternative perceptions, which for some can cause undue distress should they be stuck in a Bronze Age rut due to their Religious indoctrination.

It is also said that this Demon is difficult to conjure, because it is traditionally seen that this Spirit’s sacrificial offering is excrement; however this pertains more to the Science of Alchemy in regards to the Prima Materia and said primary substance can take the form of ones base Emotions, which one to thence transform from Lead to that of ejaculated Gold.

Belphegor (Lord of the Opening) was depicted in two different forms by the Patriarchal scholars: as a beautiful young Woman or as a monstrous, bearded Demon with horns and sharply pointed nails; the former form, according to most traditional sources is that of the Spirit’s earthly disguise of a seducer when Evoked by Magician’s; although as of per usual the Demon’s real form is considered to be Male by the Theologians.

However when the Magician Evokes Belphegor she will empower the alternate guise of the Magician; whereupon he assumes the form of a monstrous bearded Demon with horns and sharply pointed fingers like that of a raging Tibetan deity who will thence be able to open up a portal (mini-Wormhole) within his Lucid Dreams of a Vaginal ‘Opening’ to enter, which will allow his Spermatazoic Phallic Consciousness to access an Alternate possibility of a reality; whereby Belphegor is the Lady of the Vaginal Opening to dance as a Dakini; one could even see her as a Catwalk Model working for Vogue.

According to De Plancy’s Dictionnaire Infernal, Belphegor was Hell’s Ambassador to France; whereupon one can perceive her as a French maiden of a Succubus who knows all about the Arts of Love to make Ingenious of expression; for Sex equates with Creativity.

Belphegor also figures in Milton’s Paradise Lost and in Victor Hugo’s The Toilers of the Sea; one also has a film entitled Belphegor, Phantom of the Louvre (Belphégor – Le fantôme du Louvre), which is a 2001 French feature directed by Jean-Paul Salomé. It is based on a novel by Arthur Bernède; the novel also became that of a serialised Comic book. It is the third dramatized adaptation of Bernède’s novel, following the first film in 1927, and a TV miniseries in 1965, which later became an animated series; whereby one can say Bernède was somewhat Inspired by Belphegor whose abode is the Louvre; whereupon the character of Belphegor has since spawned a successful entertainment industry; hence, one can thereby deduce that she is very much a Muse of the Arts Inspiring ones Ingenious Artistry to Invent new ways of looking at things from another angle to be yet discovered.

[…] According to traditional legend, Belphegor was sent from Hell by (Diana-Lucifera) Lucifer to find out if there really was such a thing on Earth as married happiness. Rumours of such a state of bliss had reached the Implicate-Ordered Microcosmic Demons but they knew that people were not designed to live in harmony. Belphegor’s experiences in the Explicate-Ordererd material world of the Macrocosmic soon convinced the Spirit that such rumours were groundless.

The story is found in various works of early modern literature somewhat influenced by an all pervasive Christian mentality, hence the use of the name is applied to a misanthrope or a licentious person; however it would be more apt to say that it indicates Belphegor is not only an astute observer of human nature but also has a sense of wiry humour via which he will no doubt inspire one to translate into ones Art to communicate to others of an Ingenious and most Inventive social commentary.

As for Belphagor’s abode of the Musée du Louvre it is one of the world’s largest Museums and the most visited Art Museum in the world as well as being a historic monument. It is the central landmark of Paris, located upon the Right Bank of the Seine in the 1st arrondissement (district). Nearly 35,000 artefacts from Prehistory to that of Artworks from the 19th century are exhibited over an area of 60,600 square metres (652,300 square feet). One also has the Paris Meridian, which is a meridian line running through the Paris Observatory and the Louvre, while the Louvre Pyramid is located on the old zero meridian of Paris.

Certain circles of the conspiracy enclave ascribe an Occult significance to the Paris Meridian; sometimes it is even perceived to be a sinister axis. Dominique Stezepfandts, a French conspiracy theorist, attacks the Arago medallions, which supposedly trace the route of “an Occult geographical line;” to him the Paris Meridian is a “Masonic axis” or even “the heart of the Devil,” whereupon one can deduce that Stezepfandts is a Christian at heart.

Henry Lincoln, in his book The Holy Place, has argued that various ancient structures are aligned according to the Paris Meridian. They even include medieval Churches, which were built upon prior Pagan sites long before the meridian was established according to conventional history, and Lincoln finds it obvious that the meridian “was based upon the prehistoric ‘Cromlech intersect division line’.”

David Wood, in his book Genisis, likewise perceives a deeper significance to the Paris Meridian and takes it into account when trying to decipher the Geometry of the pseudo-myth-encrusted village of Rennes-le-Château: The meridian passes about 350 meters (1,150 ft) West of the site of the so-called “Poussin tomb,” an important location in the legends and esoteric theories of Christian orientation relating to that place.

One could thereby conjecture that Belphegor’s abode of the Louvre is intersected by a meridian, which had been prior marked out in prehistory as a Ley-Line. In 1983, President François Mitterrand requested that the Louvre be modernized, expanded and better integrated with the city, all without compromising the integrity of the historic building. The challenge was magnified by the fact that the Louvre was originally constructed, and used for most of its life, as a Royal Palace; it was fundamentally ill-suited to serve as a Museum.

The two-phase solution involved the reorganization of the long linear building into a compact U-shaped Museum around a focal courtyard. A centrally located glass Pyramid forms the new main entrance and provides direct access to galleries in each of the Museum’s three wings. Critically, the Pyramid also serves as a skylight for a very large expansion building constructed under the courtyard to provide all the public amenities and technical support required in a modern Museum.

Following is an excerpt from an article published by The Washington Post about the history of the controversial Louvre Pyramid:

“The centre of gravity of the Museum had to be in the Court Napoleon,” Pei said. “That’s where the public had to come. But what do you do when you arrive? Do you enter into an underground space, a kind of subway concourse? No. You need to be welcomed by some kind of great space. So you’ve got to have something of our period. That space must have volume, it must have light and it must have a surface identification. You have to be able to look at it and say, ‘Ah, this is the entrance.”

 

Pei’s solution was a 70-foot Glass Pyramid capable, in theory, of ingesting 15,000 visitors an hour. He based its proportions on the classic Egyptian pyramid at Ghiza and surrounded it with a trio of baby “Pyramidons” and three triangular reflecting pools with fountains. Pei offered his “luminous structure-symbol” as an Ingenious way to avoid upstaging the Louvre. No solid addition imaginable could gracefully blend with the time-darkened old palace, he reasoned, but a translucent pyramid, frankly of its own time, would respectfully defer to the heavy presence of the surrounding building by reflecting this tawny stone.

The Pyramid is the geometric shape that encloses the greatest area within the smallest possible volume, so it would stand as unobtrusively as possible. It was, Pei assured them, “a natural solution.” There was one more pleasing twist: the ancient form made of high-tech material would be at once much older and much newer than the Louvre. This was not Pei’s first Pyramid. He had already used a cluster of glass Pyramids to light an underground corridor connecting Washington’s national Gallary with his modern addition; before that he had drafted a truncated glass Pyramid for an abortive design for the Kennedy Libray in Cambridge, Massachusetts. “It would be very embarrassing,” observed the architectural historian Robert Clark of Princeton, “if the French government found out that what they had was really a warmed-over JFK memorial.” (Washington Post)

 

Nonetheless, Pei’s Pyramid fit the strict geometric spirit of Le Notre. It would align with other abstract landmarks – the Arc de Triomphe and the Obelisk in the Place de la Concorde – ornamenting the splendid vista that sweeps from the Louvre through the Luileries and continues up the Champs-Elysees in one unbroken line to the Place de l’Etoile and, by implication, to the setting Sun in the West. Moreover, the Pyramid appears through French history: in Seventeenth-century topiaries, in the tip of the Obelisk that stands in the Place de la Concorde and in the visionary gateways, factories and crematoriums conjured up by Eighteenth-century architects Etienne-Louis Boullee and Claude-Nicolas Ledoux. There is, in fact, a Place des Pyramides just off the Louvre’s Northern flank. When Olivier Bernier asked if he had drawn inspiration from Ledoux’s un-built designer, Pei looked at him “with great indignation,” Bernier recalled “and he said, `That had nothing to do with it!” Pei curously disavowed any debt to historical precedent. He selected the Pyramid, he insisted, by sheer analysis.” (Michael T. Cannell, “I.M. Pei: Mandarin of Modernism”, 1995)

The French Femme Fatale Belphegor inspires many an Inventive Conspiracy theory of an Ingenious good yarn, which thereby leads one to the Louvre Pyramids and Dan Brown’s ‘The Da Vinci Code,’ of Vatican sponsored propaganda campaign in league with the French Tourist Board, which earned him Riches beyond avarice to go well beyond Dante’s Inferno.

 

“The Pyramid has successfully acted as a giant glass ‘Beacon,’ encouraging millions of visitors into the Louvre and signalling the Museum’s ambitions as a Cathedral of Light and Colour, rather than a dusty old stone warehouse. This was President Mitterand’s aim when he authorized the Grand Louvre project: to revitalize Paris’s heart. Mitterand may have had a dubious reputation – Brown includes an aside that he was “rumoured to move in mysterious circles” – but these rumours were more to do with his political or sexual peccadilloes than anything else. The idea that there are 666 panes of glass in the Pyramid is based on an urban myth that did the rounds in Paris nearly 20 years ago; the Louvre officially states that there are 673, while the office of I.M. Pei (who is interested in light and Geometric Abstraction, rather than Symbology) counted 698. It’s not far off the Number of the Beast, but then a near miss is as good as a mile with Numerology.” (From the Rough Guide to The Da Vinci Code: p.155)

Most curious; I.M Pei’s estimate is 698 panes of glass, which in Numerology reduces down to ’23,’ whose number is traditionally associated with the Dog Star ‘Sirius’ hovering over the man made ‘Mountain’ of a Pyramid of Giza.

Belphegor as mentioned earlier is derived from the name Baal-Peor; the word Peor is the name of a ‘Mountain’ peak (Num. 23:28) to which Balak led Balaam as a last effort to induce him to pronounce a curse upon Israel. The tribes of Israel are described as being visible from the peak, but nevertheless, Balaam refused to curse them, and continued to offer blessings (24:1-9). Peor is similar to the Egyptian Pi-Hor (“House of Horus”). A reference to a divinity who was worshipped at that mountain peak, and, Biblically, was the subject of the heresy of Peor. The divinity, worshipped by the Moabites, is Biblically referred to as Baal-peor (Num. 25:3,5, 18; comp. Deut. 3:29), literally meaning the Baal of Peor.

An ancient Aramaic inscription, found at Dier Alla, identifies Balaam as a Prophet of Shamash, or Šamaš, which was the common Akkadian name of the Sun God and God of justice in Babylonia and Assyria, corresponding to the Sumerian Utu, and consequently that of Baal of Peor. If Peor’s connection to Pi-Hor is factual, then the Baal of Peor may be the Egyptian God Horus; or more specifically house of Horus, while the reference to a House refers to the Womb of Isis. The God Horus is in turn associated with the Star Sirius, whose Star of Horus Eye motif and number 23 association intrigued the most Inventive and Ingenious Philosopher Robert Anton Wilson.

“I first heard of the 23 enigma from William S Burroughs, author of Naked Lunch, Nova Express, etc. According to Burroughs, he had known a certain Captain Clark, around 1960 in Tangier, who once bragged that he had been sailing 23 years without an accident. That very day, Clark’s ship had an accident that killed him and everybody else aboard. Furthermore, while Burroughs was thinking about this crude example of the irony of the Gods that evening, a bulletin on the radio announced the crash of an airliner in Florida, USA. The pilot was another captain Clark and the flight was Flight 23.

Burroughs began collecting odd 23s after this gruesome Synchronicity, and after 1965 I also began collecting them. Many of my weird 23s were incorporated into the trilogy Illuminatus! which I wrote in collaboration with Robert J Shea in 1969–1971. I will mention only a few of them here, to give a flavour to those benighted souls who haven’t read Illuminatus! yet:

In conception, Mom and Dad each contribute 23 Chromosomes to the fœtus. DNA, the carrier of the Genetic information, has bonding irregularities every ’23rd Angstrom.’ Aleister Crowley, in his Cabalistic Dictionary, defines 23 as the number of “Life” or “a Thread”, hauntingly suggestive of the DNA life-script. On the other hand, 23 has many links with termination: in telegraphers’ code, 23 means “Bust” or “Break the Line”, and Hexagram 23 in I Ching means “Breaking Apart”. Sidney Carton is the 23rd man guillotined in the old stage productions of A Tale of Two Cities. (A few lexicographers believe this is the origin of the mysterious slang expression “23 Skiddoo!”.)

(Note: The ‘Thread/Line’ of the DNA ‘Splits/Breaks/Busts’ apart prior to Self-Replication; when recombining rare proof readings sometimes occur, which generates Mutations; whereby one has bonding irregularities every 23rd Angstrom. This is also applicable to Evolutionary leaps in different Paradigm Perceptions and that of Technology affecting Society.)

Some people are clusters of bloody Synchronicities in 23. Burroughs discovered that the bootlegger “Dutch Schultz” (real name: Arthur Flegenheimer) had Vincent “Mad Dog” Coll Assassinated on 23rd Street in New York when Coll was 23 years old. Schultz himself was Assassinated on 23 October. Looking further into the Dutch Schultz case, I found that Charlie Workman, the man convicted of shooting Schultz, served 23 years of a life sentence and was then paroled. […]

Adolf Hitler was initiated into the Vril Society (which many consider a front for the Illuminati) in 1923. The Morgan Bank (which is regarded as the financial backer of the Illuminati by the John Birch Society) is at 23 Wall Street in Manhattan. When Illuminatus! was turned into a play, it premiered in Liverpool on 23 November (which is also Harpo Marx’s birthday). Ken Campbell, producer of Illuminatus!, later found, on page 223 of Jung’s Memories, Dreams, Reflections, a weird dream about Liverpool, which Campbell says describes the street intersection of the theatre where Illuminatus! opened (Jung, of course, was the first Psychologist to study weird Coincidences of this sort and to name them Synchronicities). Campbell also claims that Hitler lived briefly in Liverpool when he was 23 years old, but I haven’t found the reference for that.

Recently, I was invited to join an expedition to the Bermuda Triangle. I declined because of other commitments, but “the crew that never rests” (Sir Walter Scott’s name for the Intelligence – or idiocies – who keep pestering us with this kind of phenomenon) refused to let me off the hook that easily. A few days after the expedition left, I turned on the television and caught an advertisement for the new film, Airport 77. The advertisement began with an actor shouting “Flight 23 is down in the Bermuda Triangle!”

A week later, Charles Berlitz, author of The Bermuda Triangle, claimed he had found a submerged Pyramid “twice the size of the Pyramids of Cheops” in the waters down there. You will find that monstrous edifice described in Illuminatus!, and it is specifically said to be “twice the size of the Pyramid of Cheops” – but Shea and I thought we were writing fiction when we composed that passage in 1971. In 1977, Berlitz claims it is real. I now have almost as many weird 23s in my files as Fort once had records of rains of fish, and people are always sending me new ones. Euclid’s Geometry begins with 23 axioms.

As soon as I became seriously intrigued by collecting weird 23s, one of my best friends died – on 23 December. My two oldest daughters were born on 23 August and 23 February respectively. According to Omar Garrison’s Tantra: The Yoga of Sex, in addition to the well-known 28-day Female Sex cycle, there is also a Male Sex cycle of 23 days.

Burroughs, who tends to look at the dark side of things, sees 23 chiefly as the death number. In this connection, it is interesting that the 23rd Psalm is standard reading at funerals. Heathcote Williams, editor of The Fanatic, met Burroughs when he (Williams) was 23 years old and living at an address with a 23 in it. When Burroughs told him, gloomily, “23 is the death number”, Williams was impressed; but he was more impressed when he discovered for the first time that the building across the street from his house was a morgue.

Bonnie and Clyde, the most popular bank-robbers of the 1930s, lived out most American underground myths quite consciously, and were shot to death by the Texas Rangers on 23 May, 1934. Their initials, B and C, have the Cabalistic values of 2–3.

[…] (I have found some interesting 46s – 46 is 2 x 23 – but mostly regard them as irrelevant. Nonetheless, the 46th Psalm has a most peculiar structure. The 46th word from the beginning is ‘Shake; and the 46th word from the end, counting back, is ‘Spear.’)

Through various leads, I have become increasingly interested in Sir Francis Bacon as a possibly ringleader of the 17th-century Illuminati (Some evidence for this can be found in Francis Yates’s excellent The Rosicrucian Enlightenment). Bacon, in accord with custom, was allowed to pick the day for his own elevation to knighthood by Elizabeth I. He picked 23 July. Dr John Lilly refers to “the crew that never rests” as Cosmic Coincidence Control Centre and warns that they pay special attention to those who pay attention to them. I conclude this account with the most mind-boggling 23s to have intersected my own life.

On 23 July 1973, I had the impression that I was being contacted by some sort of advanced intellect from the system of the double star SIRIUS. I have had odd Psychic experiences of that sort for many years, and I always record them carefully, but refuse to take any of them literally, until or unless supporting evidence of an objective nature turns up. This particular experience, however, was especially staggering, both intellectually and emotionally, so I spent the rest of the day at the nearest large library researching SIRIUS. I found, among other things, that 23 July is very closely associated with that star.

On 23 July, ancient Egyptian Priests began a series of rituals to SIRIUS, continuing until 8 September. Since SIRIUS is known as the “Dog Star”, being in the constellation Canis Major, the period 23 July – 8 September became known as “the Dog Days”.

My Psychic “Contact” experience continued, off and on, for nearly two years, until October 1974, after which I forcibly terminated it by sheer stubborn willpower (I was getting tired of wondering whether I was specially selected for a Great Mission of interstellar import, or was just going crazy).

After two years of Philosophic mulling on the subject (late 1974 – early 1976), I finally decided to tune in one more time to the Sirius–Earth transmissions, and try to produce something objective. On 23 July 1976, using a battery of Yogic and Shamanic techniques, I opened myself to another blast of Cosmic Wisdom and told the Transmitters that I wanted something objective this time around. The next week, ‘Time’ magazine published a full-page review of Robert KG Temple’s The ‘Sirius Mystery,’ which claims that contact between Earth and SIRIUS occurred around 4500 BC in the Near East. The 23 July festivals in Egypt were part of Temple’s evidence, but I was more amused and impressed by his middle initials, K.G., since Kallisti Gold is the brand of very expensive Marijuana smoked by the hero of Illuminatus!.

The same week as that issue of ‘Time,’ i.e. still one week after my 23rd experiment, Rolling Stone published a full-page advertisement for a German Rock group called Ramses. One of the group was named Winifred, which is the name of one of the four German Rock musicians in Illuminatus!, and the advertisement included a large Pyramid with an Eye atop it, the symbol of the Illuminati. Coincidence? Synchronicity? Higher Intelligence? Higher Idiocy?

Of course, the Eye on the Pyramid was a favourite symbol of Aleister Crowley, who called himself Epopt of the Illuminati, and subtitled his magazine, The Equinox, “A Review of Scientific Illuminism”. And 2/3 equals .66666666 etc. – Crowley’s Magick number repeated endlessly. Readers of this piece might find it amusing to skim through The Magical Revival and Aleister Crowley and the Hidden God, two books by Kenneth Grant, a former student of Crowley’s (and note the initials K.G. again!). You will find numerous references, cloudy and Occult, linking Crowley in some unspecified way with SIRIUS.

The actor who played Padre Pederastia in the National Theatre production of Illuminatus! informed me that he once met Crowley on a train. “Mere coincidence”, if you prefer. But the second night of the National Theatre run, the actors cajoled me into doing a walk-on as an extra in the Black Mass scene. And, dear brothers and sisters, that is how I found myself, stark naked, on the stage of the National Theatre, bawling Crowley’s slogan “Do what thou wilt shall be the whole of the law”, under the patronage of Her Majesty the Queen.

As a Fortean, I am, of course, an ontological Agnostic and I never believe anything literally. But I will never cease to wonder how much of this was programmed by Uncle Aleister before I was ever born, and I’m sure that last bit, my one moment on the stage of the National Theatre, was entirely Crowley’s work. If you look up Crowley’s Confessions, you’ll find that he began the study of Magick in 1898, at the age of 23.” (By Robert Anton Wilson)

Bephegor is the Lady of the Opening, whereby one could equate her with a Mini-Wormhole, whose Symbolic association within the Microcosm of the Dream would be that of a Doorway leading thence of correspondence to that of a Vagina:

“The mouth of a Wormhole unlike an event horizon would allow two-way traffic in and out. Using curved space we may be able to connect a Wormhole with another point in space. The distance of 8.3 light years from Earth to SIRIUS would be shortened to three feet (one metre). It would however be better for us to make Wormholes since an existing one wouldn’t necessarily take us where we want to go.” (H2G2 Astronomy Society)

Mini-Wormholes exist within the Quantum foam, whereby via ones Microcosmic Dreams made Lucid of awareness ones Consciousness can access such Doorways to open:

“Einstein’s equations describe a Space-Time that is perfectly smooth, like the rubber sheet. His theory of relativity only deals with the physics of what happens on big scales. It cannot deal with what happens at the centre of a black hole, or what happened during the moment of the Big Bang at the birth of the Universe when Space-Time itself was infinitesimally small. That takes us back into the world of Quantum Physics.

If you could look at Space-Time with a magnifying glass so powerful that it reached down to the Quantum scale, you would not see the smooth, continuous sheet of Einstein’s Space-Time. Just as a foam rubber ball looks smooth from a distance but rough and ragged close up. In this picture of Space-Time it is quite likely that ‘Tiny Holes’ could open up, entrances to little ‘Tunnels’ between now and other Times, or between here and other Universes. Another option for future Time Travellers would be somehow to harness these tiny Wormholes and expand them. The question that has puzzled thinkers since Newton’s day, is the future preordained? Or are there an infinite number of futures? One way of looking at the Quantum world suggests that not only are there an infinite number of futures, but they are realised in an infinite number of Universes.

Photons and Electrons sometimes behave as waves and sometimes as particles, but never both at the same time. So far, the argument for interference between one Universe and another applies only to events occurring at the Quantum level. But the idea of Parallel Universes provides a possible resolution to the ‘Grandfather Paradox’ that might otherwise cause problems for Time Travellers. If we travel back in Time and change history, we launch ourselves into a new future in a Parallel Universe – but we have no effect on the present one from which we started out. Scientists of the future may well pursue a new form of futuristic technology based on Quantum effects. Such applications could include Quantum Teleportation, by which a Quantum particle can be ‘Teleported’ from one point in space to another; and Quantum Computation, where calculations can be carried out which would take many years on a conventional computer. Although we now know how to measure Time very accurately, have we come any nearer to answering the basic question ‘What is Time?” (Neil Johnson, Physics lecturer at Oxford University where he heads his own research group.)

BELPHEGORA OF A FRENCH VIXEN MARIANNE
AFTERWORD AND SUMMARY

The Spirit Belphegor is one of those entities, which have gone below the radar of focus, except in France, where she has become part of their Popular Culture, whereby gathering a collective focus upon her in regards to the Louvre. […]

Belphegor is traditionally seen to be the Ambassador to France, while the association with the Louvre stems from the 1920’s of Modern focus; however, should one have Belphegor being an Ambassador to France, the first place she would probably go would be that of the Louvre since it was initially that of a Palace dating back to the 12th century; hence the association isn’t so Modern after all; whereby, should one create a Seal for Belphegor it would look something like an abstract representation of a building pointing to a Palace.

The Louvre as far as I know is of a ‘U’ shape (Female Symbol) design (Somewhat akin to the old Stone henges) seen from above, which now has a Pyramid that one can incorporate into the design of her Seal; whereby one could even look to ‘Napoleon’ for inspiration since he was infatuated with Egypt and the ‘Great Pyramid of Giza.’ The Louvre Pyramid has captured a lot of focus across the world due to various conspiracy theories, which in turn brings more vistors to the most visited Art gallery on the face of the planet.

The French Occultist, Demonologist and writer; Jacques Auguste Simon Collin de Plancy (1793-1887) whom lived during the Napoleonic era (1799 – 1815), appears to have been the first to have considered Belphegor as being an Ambassador to France; as to why he made this association in his Dictionnaire Infernal (published In 1863) is uncertain; no doubt it has something to do with the Spirit’s office governing over ‘Revolutionary’ Ingeniuty, Inventions and Riches, or perhaps he had discovered another Association others have yet to see such as Baal-Peor of the Egyptian Pi-Hor (House of Horus), for example; whereby one can thence perceive through ‘Glass panes’ of a Pyramid a most interesting Correspondence; but then again, one can also say that Collin de Plancy was making a subversive political comment via his Occult description of Belphegor in regards to his social climate of a Time:

“The new French Republic was personified as a Woman, “Marianne,” the name of an old ‘Secret Society.’ As Maurice Agulhon has shown, once the image was invented, it could be reconfigured as it proliferated, but eventually it coalesced into an ideal type. Marianne was a powerful Woman in 1789, was stylized in the 1880s, and was commercialized in the late Twentieth Century, when she became identified with the actress ‘Brigitte Bardot.’ Still, as considerable historiography has shown, one should not assume that because a Woman could become a powerful symbol of Revolution that Women obtained any significant political, social, or economic advantages during the French Revolution. As Joan Landes has argued, “Marianne” was nothing more than a picture; the new Republic was a discursive Republic based on laws and texts, which emptied the symbol of any real political significance.” (Fullerton)

In other words, the Female form of Belphegor may relate to ‘Marianne’ while the Male aspect refers to the New Republic, wherupon one has the reference to the Prima Materia detritus of a Sacrificial offering being made in relation to Belphegor’s Evocation. However, ‘Times,’ change while Symbols Evolve of Paradigm to shift in Rebellion, ‘Mutating’ the Thread to Split of History. 23 Skiddoo!

Collin de Plancy’s description has invariably led to the present day focus upon Belphegor being French, whereby one finds Belphegor mentioned in Literature, Films, Music and Comic strips to be very much a French entity whom is now also associated with the Louvre and that of its Pyramid. One can thereby Evoke Belphegor in order to access the geographic locale of the Louvre to Remote-View etc, which just so happens has the (Ley-Line) Paris Meridian passing through it. Perhaps one could even tie her in with CERN of French-Swiss border to thence be empowered by her caressing hand to visit as a Spectral ‘Phantom’ flying as a Time-Travelling ‘Hawk’ of a Merlin out of body.

One can thereby create an interesting Seal from the various strands of associations for Belphegora of a French Vixen of a Marianne’, whom to sensuously whisper into ones ear upon Evoking her, “Liberté, égalité, fraternité, mon cheri,” while one takes on the New-World-Order of an outlandish ‘Opera’ single handedly to thence assume the bearded Pharaoh guise of a Revolutionary under Antonin Artaud’s Sirius star to see that, “There is no more firmament.”

Vive La France

Source: http://www.goetia-girls.com/dakinidaemonicon_zt.html