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An illustration of Witches' Sabbath by Martin van Maële, from the 1911 edition of the book La Sorcière, by Jules Michelet. A Witches' Sabbath is a purported gathering of those believed to practice witchcraft and other rituals. The phrase became especially popular in the 20th century.
Witches' Sabbath (Spanish: El Aquelarre) [1] is a 1798 oil painting on canvas by the Spanish artist Francisco Goya. Today it is held in the Museo Lázaro Galdiano, Madrid. It depicts a Witches' Sabbath. It was purchased in 1798 along with five other paintings related to witchcraft by the Duke and Duchess of Osuna. [2]
Articles related to the Witches' Sabbath and its depictions. It is a purported gathering of those believed to practice witchcraft and other rituals. The phrase became especially popular in the 20th century.
Witches' Sabbath (1798), by Francisco Goya. Akelarre is a Basque term meaning Witches' Sabbath (a gathering of those practicing witchcraft). Akerra means male goat in the Basque language. Witches' sabbaths were envisioned as presided over by a goat. The word has been loaned to Castilian Spanish (which uses the spelling Aquelarre).
The osculum infame illustrated in Francesco Maria Guazzo's Compendium maleficarum of 1608 Sixteenth-century Swiss depiction of the Witches' Sabbath from the chronicles of Johann Jakob Wick. Note witch performing the osculum infame, not upon Satan himself (enthroned above), but upon one of his attendant demons who has lowered his trunk hose for ...
It could be the devil himself or Saturn, the master of witches and all nocturnal creatures, death, or the "queen of the sabbath". [24] The witch on the right holds a basket with three crying infants, raising their hands in plea. Both the flame of the lantern and the sound of the bones may symbolize the imminent death of the children.
In the Witches' case, these are mostly sabbaths, the six holidays throughout the year to denote the changing seasons and their meaning in people’s lives and the moon cycles," Berger says.
Witches' Sabbath is the exception; the final composition seems to have been painted directly onto the wall. The art historian Fred Licht described Goya's brushwork as "clumsy, ponderous, and rough" and in areas lacking the finish found in his earlier work.