Here's another interesting bit to throw in for good measure:
The various portrayals of the Lilith character have always struck me as rather off-the-wall, even in terms of the frequently bizarre apocrypha of the Judeo-Christian culture. However, I'm amazed at how ubiquitous the figure is in Western European art, especially during the years of early Renaissance. She's everywhere!
And we're not talking about third-rate Florentine street artists here, either. Have a look at the ceiling of the Sistine Chapel, for instance. During this period, Lilith was often depicted as a half-woman/half-serpent creature, her legs replaced with an elogated tail. And who should we find in the center of Temptation and Fall, just two panels above the famous Creation of Adam? Lilith herself, her tail coiled around the Tree of Knowledge, actually handing down the fruit right into Eve's hand.
What's more, many of the old masters propagate this same scene-- almost identically-- in other major 16th-century works... Hieronymus Bosch's Paradise, for instance, a fantastic painting in its own right, which renders a more slender Lilith in essentially the same pose... Titian's The Fall of Man, where Lilith is shown as a cherubic child, her snake's tail concealed by the Tree's branches... The Limbourg Brothers' Temptation, Fall and Expulsion, showing Lilith with her characteristic fiery-blonde hair, as part of a dramatic painting for Les Très Riches Heures...
Trace it back even further, and you'll even find forms of Lilith among the intricate carvings of the Notre Dame Cathedrals in Paris and Chartres.
One thing's for sure... for a mythological demon, the girl sure knows how to get around.