and will not grant facilities or make specific time available for individual 'worship'." In 2005, the Supreme Court of the United States debated in the case of Cutter v. Wilkinson over protecting minority religious rights of prison inmates after a lawsuit challenging the issue was filed to them. The court ruled that facilities that accept federal funds cannot deny prisoners accommodations that are necessary to engage in activities for the practice of their own religious beliefs. In 2019, The Satanic Temple was granted religious IRS 501(c)(3) status. Art Literature From the late 1600s through to the 1800s, the character of Satan was increasingly rendered unimportant in western philosophy, and ignored in Christian theology, while in folklore he came to be seen as a foolish rather than a menacing figure. The development of new values in the Age of Enlightenment (in particular, those of reason and individualism) contributed to a shift in many Europeans' concept of Satan. In this context, a number of individuals took Satan out of the traditional Christian narrative and reread and reinterpreted him in light of their own time and their own interests, in turn generating new and different portraits of Satan. The shifting concept of Satan owes many of its origins to John Milton's epic poem Paradise Lost (1667), in which Satan features as the protagonist. Milton was a Puritan, and had never intended for his depiction of Satan to be a sympathetic one. However, in portraying Satan as a victim of his own pride who rebelled against the Judeo-Christian god, Milton humanized him and also allowed him to be interpreted as a rebel against tyranny. This was how Milton's Satan was understood by John Dryden and later readers like the publisher Joseph Johnson, and the anarchist philosopher William Godwin, who reflected it in his 1793 book Enquiry Concerning Political Justice. Paradise Lost gained a wide readership in the eighteenth century, both in Britain and in continental Europe, where it had been translated into French by Voltaire. Milton thus became "a central character in rewriting Satanism" and would be viewed by many later religious Satanists as a "de facto Satanist". The nineteenth century saw the emergence of what has been termed "literary Satanism" or "romantic Satanism". According to Ruben van Luijk, this cannot be seen as a "coherent movement with a single voice, but rather as a post factum identified group of sometimes widely divergent authors