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The so-called Diana Vaughan, dressed as an inspector of Palladism, c. 1895 (b / w photo)

The so-called Diana Vaughan, dressed as an inspector of Palladism, c. 1895 (b  /  w photo)


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The so-called Diana Vaughan, dressed as an inspector of Palladism, c. 1895 (b / w photo)

XJF438424 The so-called Diana Vaughan, dressed as an inspector of Palladism, c.1895 (b/w photo) by French Photographer, (19th century); Private Collection; (add.info.: Leo Taxil (1854-1907) wrote a series of books and pamphlets denouncing Freemasonry, charging their lodges with taking part in devil worship and alleged that Diana Vaughan had confessed to him her part in a Satanic Palladism cult; it was all an elaborate hoax, Vaughan was simply a typist employed by Taxil, who had given permission for her name to be used; ); French, out of copyright

Media ID 12881061

© www.bridgemanart.com

Cross Dressing Cult Fake Fraud Freemason Freemasonry Freemasons Hoax Inspection Inspector Satanic


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EDITORS COMMENTS
This photograph captures the enigmatic figure known as Diana Vaughan, dressed in the attire of an inspector of Palladism. Taken around 1895 by a French photographer, this image is part of a private collection that sheds light on a fascinating chapter in history. Diana Vaughan's story is one intertwined with deceit and controversy. In the late 19th century, Leo Taxil, an author vehemently opposed to Freemasonry, propagated a series of books and pamphlets denouncing their practices. Among his claims was that Diana Vaughan had confessed her involvement in a Satanic Palladism cult to him. However, it later came to light that this entire narrative was nothing more than an elaborate hoax. Diana Vaughan was not some high-ranking member of a devil-worshipping cult but rather a typist employed by Taxil himself. She had given permission for her name to be used as part of his fabricated tale. In this photograph, we see Diana Vaughan standing tall in her inspector uniform, embodying both mystery and deception simultaneously. The cross-dressing aspect adds another layer to the intrigue surrounding her persona. While ultimately exposed as fraudulent, this image serves as a reminder of how easily misinformation can captivate public imagination. It stands as testament to the power of storytelling and our innate fascination with tales involving secret societies and forbidden rituals. As we gaze upon this portrait today, let us remember not only its artistic value but also the cautionary tale it represents – urging us to question narratives presented before

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