SATANISM; GOTHIC MODERNISM

The text of the Missa Niger (Black Mass) presented here is clearly based on a particular, apparently older, edition of the standard Roman Catholic Latin Missal. Each and every phrase throughout the Missa Niger, is taken verbatim from this as yet undetermined edition of the Roman Missal (albeit with modifications to reflect a Satanic viewpoint). A variety of verses from the Psalms are present in the Black Mass, all of which also appear in the context of various portions of ceremonies and rites found in the Latin Missal (some found only in versions at least earlier than the 1930s). The English translations in the Black Mass are also taken from Roman Catholic English translations of a Roman Missal (it may be that the compiler of the Black Mass was working from an early dual-language Latin-English version of the Roman Catholic Missal). The creators of the text chose their verses and selections very carefully, to express in the best way possible the Satanic meanings hidden within a slight reworking of the Latin phrases. It should be noted that, although the writers of the medieval drinkers and gamblers masses had a different goal for their masses, the techniques they used to invert the Latin phrases into a parody of the Mass, are very similar to those used by the writer(s) of the present Latin Black Mass.

It goes without saying that the Missa Niger only has meaning to someone who was well versed in Roman Catholic tradition, and who is immersed in the world of the Latin writings and liturgy of the Church.  In a certain sense, it can be said that the people who performed the Missa Niger were Roman Catholics, or at least were practicing a ritual which would only have meaning to one who was either Roman Catholic, or who was so deeply involved with the Roman Catholic rituals that it would be difficult to refer to them as something other than Roman Catholic.  The fact that they were expressing hatred of Christ and of Christian doctrines, does not preclude the possibility that the rite of the Missa Niger sprang forth purely and naturally from within the Roman Catholic Church itself.

The methods for obtaining a consecrated host are especially significant.  In order to obtain a consecrated host, the Satanic practitioner would have to somehow trick the Church into believing that they were sincere in their acceptance of the Sacrament - the body of Christ.  When they were given the consecrated host by the priest, instead of swallowing it, they secretly smuggled it out of the Church and took it to use as the central focus of the Missa Niger.  With the body of Jesus Christ, in the form of the consecrated host, being successfully "kidnapped" from the protection of the Church, there was nothing to prevent it from being subjected to the rites of the Black Mass and the will of the Devil.

Missa Niger - The Black Mass

The text of the Black Mass presented here is based directly on the text published by Aubrey Melech. Corrections to the text have been made only where the errors in the Latin text are obvious - as in grammatical errors or misspelled and missing words, which can be easily corrected when comparing the text with the original Latin of the Roman Missal .

Missa Niger PDF 

Doctors and Poischers 
Dr. Gabriel Legué 
1893

In a book which has just been published and which is entitled Physicians and Poisers, Dr. Legue has endeavored to prove that in the days of Molière the humoral theories of Galen triumphed in the Faculty, leading to the murderous abuse of bloodletting, - the small benign, benign clyster. He pointed out the puerile dissertations to which these merticoles devoted hours.

Then he exposed the doctors' reports with the great ladies, the Sable marquises and Sévigné among others.

Finally poison and poisoners naturally led him to take care of the Brinvilliers, the Voisin, and more particularly of Mademoiselle de Fontanges, who did not die poisoned as has hitherto been believed, and Racine, so well accused of poisoning the Park, his mistress, that Louvois did not hesitate to sign the arrest order of the poet.

He took advantage of this opportunity to describe the famous black mass said by the Abbe Guibourg on the body of Madame de Montespan.

It is this chapter of the book that we publish here.

THE BLACK MASS

It was at the time of the greatest vogue of La Voisin, at the end of the month of January, 1678. That evening, the curfew had long been sounded, when a curtained chair with curtains hermetically sealed leather, stopped rue Beauregard in front of a house located a short distance from Notre-Dame-de-Bonne-Nouvelle church. The knocking was probably a signal agreed because the door opened almost immediately. The stranger came down from her chair, and then a woman dressed with the luxury of high-ranking people appeared, her face covered with a mask. A young girl received the visitor and brought her into a low room. This house was none other than that of La Voisin. We then crossed a garden. At the

A room all stretched with black was arranged, and at the bottom stood an altar prepared as for the sacrifice of the mass. Behind, there was a funerary drapery, carrying a white cross woven into the fabric. The altar consisted of a mattress covered with a mortuary cloth with a tabernacle surmounted by a cross in the middle and surrounded by black candles. These candles were made with the fat of the condemned hanged by the executioner (2). A venerable priest, about seventy years old, was there, clad in white vestments, embroidered with black pine cones. He was waiting for the stranger. It was the Abbé Guibourg (3).

As we can see, the staging was prepared by a clever hand, by an ingenious brain who knew his time, and who knew that before anything else it was necessary to strike the imagination.

When the one expected - followed by the young person who was none other than Marguerite Voisin, daughter of the Voisin - came in, she undressed immediately. Then one of those splendid nudes appeared, made to try the chisel of a Coysevox or a Coustouet who revealed forms of a marvelous opulence: the fleshy and serpentine hips supported a torso with impeccable lines and the overflowing throat accused all the power and the ardor of a fiery temperament. The face was still masked, but a crinkled blond hair was seen rolling down to the ground, heavy, well made to bear the weight of a diadem, and in which had had to stray many times the lips of a prince in love, because this woman, we guessed it, did not

Yes, it was she, the beautiful, the provocative, the immodest creature, for whom La Valliere had cried all her tears. It was she who indulged in the obscene curiosity of an old man, she who voluntarily offered her body to serve as an altar for the celebration of a sacrilegious mass and on which a minister of the Catholic religion was going to bring down the host by pronouncing the words of the consecration. It was Montespan, as Mignard painted it, before showing us Francoise d'Aubigne in a smart dress and devout headdress, and who introduced us to the proud graces of Athenais de Mortemart, to that opulent nudity gilded by a last ray of youth. And this woman,

She lay down on this strange altar, her legs hanging down on one side, and on the other, her head resting on a pillow that supported an upturned chair. Abbe Guibourg placed the cross on the marchioness's chest, spread a napkin over his belly, and set down the chalice; after which the impious ceremony began, Marguerite Voisin fulfilling the office of clerk.

At the different phases of the sacrifice, when the celebrant must kiss the altar, Guibourg kissed the body of the Marquise de Montespan.

The obscene form that this mass took is thus sufficiently demonstrated by these lustful touches. But precisely because of this impious parody of the Catholic rite, in agreement with the Marquise de Montespan, an aged priest had been chosen on whom such an act was no longer to produce any effect (5).

The moment of consecration had arrived. The bell of Marguerite Voisin resounded; but it was a knell she was ringing! A door opened. A woman was seen carrying a child of two or three years in her arms. The mind turns away with horror from this sinister scene. The imagination can hardly conceive the details. A frail being, a little boy bought a shield from the one who gave it to the world, to the most abject of creatures, threw the strangeness of his touching grace into this cursed sanctuary. A frightful mystery, that night there was a priest, a minister of the Gospel, to kill one of those whom Christ had said while stroking their fair heads: "Let the little children come to me! " Mute, bewildered, the unhappy little being looked around him. Guibourg seized the frail victim and raised him above the chalice, pronouncing the satanic words: "Astaroth, Asmodeus, princes of friendship, I implore you to accept the sacrifice that I present to you of this child for the children. things I ask you. " (6) then setting it on the table and killed it without being troubled by his sweet look, without the sight of her delicate envelope where he had cut his life in flower startled by the slightest fiber .

What terrifying cry, promptly stifled by the associates of Guibourg, answered this monstrous act!

History shows us that there are assassins whom an innocent look has set back in the execution of the murder, but, more barbarous than the worst scoundrels, the priest (7) did not hesitate to commit this dreadful crime. So the child let his head fall, like a lamb under the butcher's knife, and the blood streamed in the gold of the chalice, on the priest's clothing, and defiled the naked limbs of the one who served him as an accomplice. The descendant of one of the noblest lineages in France had not a cry, not a revolt, to prevent the accomplishment of such a monstrosity.

We who evoke, through the past, this atrocious scene, we are moved to the bottom of the soul, and it seems to us to hear the voice of Guibourg pronouncing the sacramental words, waving in the chalice the red dew human: "This is my body, this is my blood. "

This consecration ended, the officiant read aloud this strange and incomprehensible formula written on virgin parchment:

"I (here Guibourg spoke in a low voice the names, names and qualities of Francoise Athenais de Mortemart, Marquise de Montespan), request the friendship of the King and that of Monseigneur the Dauphin, and that it be continued to me; that the queen be sterile; that the King leaves his bed and his table for me and my parents; may my servants and servants be agreeable to him. Darling and respected by the great lords, may I be called to the advice of the King and know what is going on there; and that this friendship redoubling more than in the past, the Roy leaves and does not look at Fontanges; and that the Queen being repudiated, I can marry the King. » (8)

At last, when the odious mass was completed, the priest tore the entrails of the child, laid them in a prepared receptacle, with the blood and the remaining host fragment of the communion, and handed them to the Marquise de Montespan.

Now, this Mass, which was said in 1678, was the last of all those which had been celebrated for the same purpose and with the same ceremonial, since the year 1667 (9), at which time the Marquise entered into relations with the Voisin.

It is impossible to explain how the love, the eloquent and sublime movement which is the noble commentary of the origin of the races, could have given birth to these sanguinary instincts, these terrifying vertigos of desire, this irresistible need to profane the divine idea and to parody a holy ceremony? Can the man who loves be cruel? Is not the true and immutable privilege of passion to communicate to the hardest, the most vain of mortals, that delicate bending of the heart, this tenderness and this immolation of the will to a superior principle, to the interests of a to be loved above all beings? When prehistoric legends show us Herakles, hitherto invincible, tamed by a woman's gaze, and spinning with ivory spinning the tenuous and silky thread, symbol of the bond with which Omphale chained him, did they not wish to show by that the heart of the beast vanquished by the mysterious and adorable wound, by the sacred sting of love? If it was enough for a woman's look, for a caress of the voice to soften the impassibles and demi-gods, how, I repeat, to explain that modern passion has seen the emergence of. barbaric customs that, on the contrary, the only name of Eros made disappear from the earth at the dawn of humanity. explain that modern passion has seen the emergence of. barbaric customs that, on the contrary, the only name of Eros made disappear from the earth at the dawn of humanity. explain that modern passion has seen the emergence of. barbaric customs that, on the contrary, the only name of Eros made disappear from the earth at the dawn of humanity.

Dr. G. LEGUE

It was about ten o'clock in the evening when Madame de Montespan came to Beauregard Street. According to the daughter Voisin she did not leave until midnight.

Library. Nat. Brother 7608, Trial of the Neighbor.

(2) The learned and regretted M. Ravaissoa, in the very interesting notes of his Archives de la Bastille, says that La Voisin was the mistress of Sanson, the executioner, who lived on Rue Beauregard. It is a mistake. Charles Sanson de Longval was appointed executor of the high works in Paris on September 23, 1688, that is to say, eight years after the execution of the Voisin. (National Archives, V, 540.)

On July 11, 1699, Charles Sanson married Notre-Dame-de-Bonne-Nouvelle, Jeanne-Renée Dubut, daughter of a master turner on Beauregard Street. The Sanson lived in a large building in the Rue Neuve-Saint-Jean, in the Faubourg Poissonniere.

The famous Me Guillaume, the very one who executed the Marquise de Brinvilliers so hastily, was also designated as having been the lover of La Voisin. My opinion is that the executioner in question here was none other than Nicolas Levasseur, said Lariviere, who was dismissed in 1588 by Parliament's decree. This Levasseur lived in the Rue Beauregard, and was the lover of the neighbor, and at the same time the friend of the husband. He had taken for confessor and confidant the too celebrated abbot Davot, vicar of Bonne-Nouvelle, burned alive in the Place de Greve for impiety and sacrilege. Levasseur, in the circumstances, obtained not to act as executioner, and Gavot was executed by his assistants.

(3) Thus the daughter Neighbor, in her declaration describes the priestly vestments of Guibourg.

(4) Library Nat. manuscripts F. Fr. 7608. Trial of the Neighbor, declaration of Marguerite Voisin.

(5) Here is translated in a few Latin words the way one proceeded in the black masses: Quotiescumque altare osculandum erat Presbyler osculabatur corpus, hostiamque consecrabat super pudenda, quibus hostio portiunculam inserebat: Missa tandem peracta, Presbyter mulierem inibat, and manibus suis in calice mersis, pudenda sua and muliebria lavabat.

(6) Nat. Library Manuscripts Fonds Fr. 7608.

(7) In a second note addressed to Louvois, La Reynie again portrays Guibourg: "This man who can not be compared to any other, on the number of poisonings, on the trade of poison and evil spells, on sacrilegious and ungodly, knowing and being known of all that is scoundrels, convinced of a great number of horrible crimes and suspected of having been part of many others, this man who slaughtered and sacrificed several children, who besides the sacrileges of which he is convinced confesses abominations which can not be conceived. »(Nation Library Manuscripts F. Fr. 7608.)

(8) Nat. Library Manuscripts Fonds Fr. 1608.

(9) Beynie, in one of the many memoirs addressed to Louvois, insists particularly on the black masses celebrated by Guibourg, and he firmly believes in the guilt of Madame de Montespan. "Guibourg, La Filastre, and Galet," he writes, "have agreed upon it after the question of the Filastre woman and the confrontation, and have made a complete proof of these facts with each other. "

Colbert, frightened by these revelations, wished at all costs to save Madame de Montespan, of whom he was the ally and the friend. He had recourse to the lights of a famous lawyer, Claude Duplessis, and communicated to him the reports of La Reynie and the interrogations of the accused. Duplessis, who had the talent to confuse everything, was able to draw from these documents, while not believing himself in them, a semblance of proof for the guilt of Mme. De Montespan and Vivonne, and the memoir which he composed. A real plea in favor of the favorite, was given to the king. After having read it, Louis XIV decided that Madame de Montespan would not be involved in this sad affair, and he had himself addressed directly to the minutes "in thought," adds La Reynie, "to give notice of the charges against Mme. Montespan to those who,

For his part, the lieutenant of police sent to Louis XIV, through Louvois, an absolutely overwhelming memory for Madame de Montespan concerning black masses and powders intended for the king. From this report it follows that "the charges against Madame de Montespan were again confirmed, the Filastre having retracted only the first fact" that is to say that relating to the poisoning of Mme de Fontanges. This second memorial proved to the king how well the accusation was founded, and to put an end to these monstrous revelations, Louis XIV did not hesitate to order President Boucherat to close the sittings of the Ardent Chamber.

EUGENE COMMENTS 

THE NATURE OF ROMAN CATHOLIC SATANISM IN FRANCE BEFORE THE REVOLUTION WAS A COVER FOR THE MEDICAL ART OF ABORTION CONDUCTED BY VOISIN AND A CATHOLIC PRIEST FOR THE LADIES OF THE COURT OF COURSE A CHURCH FATHER WAS NEVER ONE TO WASTE A SACRIFICE, AS F.T. RHODES POINTS OUT IN HIS BOOK THE SATANIC MASS, THE MISSAE IN USE ACTUALLY ORIGINATED EARLIER IN THE PERIOD OF HEAVY TITHING, WHERE YOU COULD PAY OFF ANY SIN, THE POOR BROTHERS IN CHRIST WOULD DO A MURDER OR DEATH MASS FOR A FEW SOU.