information:classification, linguistic:voice_change
In visual art

Satan's appearance does not appear in the Bible or in early Christian writings, though Paul the Apostle does write that "Satan disguises himself as an angel of light" (2 Corinthians 11:14). The Devil was never shown in early Christian artwork and may have first appeared in the sixth century in one of the mosaics of the Basilica of Sant'Apollinare Nuovo. The mosaic "Christ the Good Sheppard" features a blue-violet angel at the left hand side of Christ behind three goats; opposite to a red angel on the right hand side and in front of sheep. Depictions of the devil became more common in the ninth century, where he is shown with cloven hooves, hairy legs, the tail of a goat, pointed ears, a beard, a flat nose, and a set of horns. Satan may have first become associated with goats through the Parable of the Sheep and the Goats, recorded in Matthew 25:31–46, in which Jesus separates sheep (representing the saved) from goats (representing the damned); the damned are thrown into an "everlasting fire" along with Satan and his angels.

Medieval Christians were known to adapt previously existing pagan iconography to suit depictions of Christian figures. Much of Satan's traditional iconography in Christianity appears to be derived from Pan, a rustic, goat-legged fertility god in ancient Greek religion. Early Christian writers such as Saint Jerome equated the Greek satyrs and the Roman fauns, whom Pan resembled, with demons. The Devil's pitchfork appears to have been adapted from the trident wielded by the Greek god Poseidon and Satan's flame-like hair seems to have originated from the Egyptian god Bes. By the High Middle Ages, Satan and devils appear in all works of Christian art: in paintings, sculptures, and on cathedrals. Satan is usually depicted naked, but his genitals are rarely shown and are often covered by animal furs. The goat-like portrayal of Satan was especially closely associated with him in his role as the object of worship by sorcerers and as the incubus, a demon believed to rape human women in their sleep.

Italian frescoes from the late Middle Ages onward frequently show Satan chained in Hell, feeding on the bodies of the perpetually damned. These frescoes are early enough to have inspired Dante's portrayal in his Inferno. As the serpent in the Garden of Eden, Satan is often shown as a snake with arms and legs as well the head and full-breasted upper torso of a woman. Satan and his demons could take any form in medieval art, but, when appearing in their true form, they were often shown as short, hairy, black-skinned humanoids with clawed and bird feet and extra faces on their chests, bellies, genitals, buttocks, and tails. The modern popular culture image of Satan as a well-dressed gentleman with small horns and a tail originates from portrayals of Mephistopheles in the operas La damnation de Faust (1846) by Hector Berlioz, Mefistofele (1868) by Arrigo Boito, and Faust by Charles Gounod.

Illustrations of Satan/Iblis in Islamic paintings often depict him black-faced, a feature which would later symbolize any satanic figure or heretic, and with a black body, to symbolize his corrupted nature. Another common depiction of Iblis shows him wearing a special head covering, clearly different from the traditional Islamic turban. In one painting, however, Iblis wears a traditional Islamic head covering. The turban probably refers to a narration of Iblis' fall: there he wore a turban, then he was sent down from heaven. Many other pictures show and describe Iblis at the moment, when the angels prostrate themselves before Adam. Here, he is usually seen beyond the outcrop, his face transformed with his wings burned, to the envious countenance of a devil. Iblis and his cohorts (div or shayatin) are often portrayed in Turko-Persian art as bangled creatures with flaming eyes, only covered by a short skirt. Similar to European arts, who took traits of pagan deities to depict devils, they depicted such demons often in a similar fashion to that of Hindu deities.