Witch and the Snake
Base for a Statuette
Base for a Statuette, 1470-1480, Boxwood, 3 1/2 x 4 7/8 x 3 3/8 in., New York, The Metropolitan Museum of Art, Public Domain.
Although similar to Jewish interpretations, Christian doctrine used the Greek translation of Isaiah 34:14 that classified Lilith as a lamia (a succubus with the body of a snake and the head of a woman). Subsequently, Christian depictions of Lilith have also portrayed her as the snake that tempts Eve in the Book of Genesis, due to her apparent connection with the fall of man. The base for a statuette pictured to the right shows this characterization of Lilith, and highlights the contrast between the wild, promiscuous Lilith and the docile, faithful Eve. Many scholars believe Lilith was originally a midrashic Jewish creation (adopted into later Abrahamic doctrines) to “prove” that Eve–and women by extension–were created subordinate to men and justify why. By comparing her to Eve’s good matrimonial and motherly nature, Lilith also served as “proof” that female sexuality outside domesticity was sinful and bad.
The Night-Hag Visiting Lapland Witches
Fuseli, Henry. The Night-Hag Visiting Lapland Witches, 1796, Oil on canvas, 101.6 cm. x 126.4 cm., New York, The Metropolitan Museum of Art, Public Domain.
Christian doctrine also used Lilith to further its crusade against witchcraft- which was believed to be sexually driven, related to original sin, and thought to include cannibalistic infanticide. By this logic, Lilith became characterized as a witch. While Lilith herself is not depicted in The Night-Hag Visiting Lapland Witches by Henry Fuseli (pictured to the left), “night-hag” was often synonymous with “succubus,” and the painting portrays a succubus-figure about to devour an infant and dance with witches.