Sunday, November 18, 2018

LOUVERNIOS THE GAY DRUID PRIEST
IS AN INNOCENT MARTYR SAINT OF ANTINOUS


ONE of the more obscure Innocent Gay Martyr Saints of Antinous is Louvernios of Lindow ... a 2,000-year-old bog mummy in England who was a homosexual Druid who most likely offered himself as a human sacrifice against invading Romans to keep them (successfully) out of Ireland.

Also called the Lovernios the Lindow Bog Man, his mummified body was found in 1984. 

That was when a peat cutter in Lindow Moss, on the Mersey River of western England, found the well-preserved body of a man, believed by some scholars to be the sacrificed body of a Celtic Druid from Ireland who had probably come to England to be ritually prepared and sacrificed on May Day, 60 AD to keep the advancing Roman army away from Ireland.

Indeed, the Roman legions stopped just five miles short of Lindow Moss, and never invaded Ireland. The exact date ... 1 May 60 AD ... was ascertained by contents of his stomach which included "scorched bread" of the sort used in Druidic Beltane or May Day festivities.

And historian CONNELL O'DONOVAN presents compelling evidence to prove that this Druid was also a homosexual. the Lindow Bog Man had suffered a quadruple execution of garroting, bludgeoning, slit throat, and drowning in the bog, naked except for an armband of arctic fox fur on his left arm.


Some Celtic historians interpret the fox arm band as meaning "My name is Fox" or Louvernios, an attested ancient Celtic name meaning fox.

However, others suggest the fox armband of Lindow Man (reconstructed face left) signifies not 'My name is Fox', but 'I am a sacrifice', and in particular, a communal scapegoat.

The fox is regarded in many societies, including the Celtic, as an outlaw animal.

The fox lives on the periphery of human society, neither domesticated nor fully wild.

On one hand it is despised by farmers for its depredations on their livestock...while on the other hand it is grudgingly admired for its wiliness ... hence its role as a Trickster figure, such as Reynard the Fox. 

O'Donnell says: "This peripheral and outlaw existence of the fox in the Celtic imagination fits nicely with the probability of Lindow Man's cultic-based homosexuality."

Scholars tend to agree that Tollund Man’s killing was some kind of ritual sacrifice to the gods ... perhaps a fertility offering. To the people who put him there, a bog was a special place. While most of Northern Europe lay under a thick canopy of forest, bogs did not. Half earth, half water and open to the heavens, they were borderlands to the beyond.

To these people, will-o’-the-wisps ... flickering ghostly lights that recede when approached ... weren't the effects of swamp gas caused by rotting vegetation. They were fairies. The thinking goes that Lindow Man's tomb may have been meant to ensure a kind of soggy immortality for the sacrificial object.


Louvernios is the best-looking and best-known member of an elite club of preserved cadavers that have come to be known as "bog bodies."

These are men and women (also some adolescents and a few children) who were laid down long ago in the raised peat bogs of Northern Europe ... mostly Denmark, Germany, England, Ireland and the Netherlands.

They can keep speaking to us from beyond the grave because of the environment’s singular chemistry. A body placed here decomposes extremely slowly. Soon after burial, the acid starts tanning the body’s skin, hair and nails.

As the sphagnum moss dies, it releases a carbohydrate polymer called sphagnan. It binds nitrogen, halting growth of bacteria and further mummifying the corpse. But sphagnan also extracts calcium, leached out of the body’s bones. 

This helps to explain why, after a thousand or so years of this treatment, a corpse ends up looking like a squished rubber doll.

Nobody can say for sure whether the people who buried the body in the bog knew that the sphagnum moss would keep him intact. It appears highly unlikely ... how would they? Still, it is tempting to think so, since it fits so perfectly the ritualistic function of Louvernios, perhaps regarded as an emissary to the afterworld.

Saturday, November 17, 2018

QUINTUS AURELIUS SYMMACHUS
VENERABLE SAINT OF ANTINOUS



WE are proud to consecrate Quintus Aurelius Symmachus as a Venerable Saint of Antinous for his unyielding efforts to uphold the Religion of Antinous in the face of Christian opposition.

A Roman statesman, orator, and man of letters who lived 345 – 402 AD, he held the offices of governor of proconsular Africa in 373, urban prefect of Rome in 384 and 385, and consul in 391.

Symmachus sought to preserve the traditional religions of Rome at a time when the aristocracy was converting to Christianity, and led an unsuccessful delegation of protest against Gratian, when he ordered the Altar of Victory removed from the curia, the principal meeting place of the Roman Senate in the Forum Romanum.

Two years later he made a famous appeal to Gratian's successor, Valentinian II, in a dispatch that was rebutted by Ambrose, the bishop of Milan.

Symmachus's career was temporarily derailed when he supported the short-lived usurper Magnus Maximus, but he was rehabilitated and three years later appointed consul.

Much of his writing has survived: nine books of letters, a collection of Relationes or official dispatches, and fragments of various orations.

Antonius Subia says:

In an age when almost all other Roman Nobility were turning away from our ancient Religion, this gentleman stood strong and faithful and was a voice of dissent against the tidal wave of Christianity that was enveloping the Roman world.  This was the time when the Ancient Religion of Antinous was finally suppressed and destroyed.  We can be sure that this Great Noble Roman was one of the last champions and defenders of our God.

The portrait above shows the Apotheosis of Symmachus ... a relief depicting Symmachus being carried up to the realm of the gods by two divine figures as though he were being deified.  The Zodiac figures may indicate that his Deification took place around the Winter Solstice.

Friday, November 16, 2018

BRONZES OF MEN RIDING PANTHERS
VERIFIED AS MICHELANGELO ORIGINALS



TWO handsome, virile naked men riding triumphantly on ferocious panthers have been verified as the only surviving bronze sculptures by the Renaissance giant Michelangelo, saint of Antinous.

In art history terms, the verification is sensational.

After years of examination, art experts in Cambridge, England, have now confirmed that the pair of mysterious metre-high sculptures known as the Rothschild Bronzes are by the master himself, made just after he completed David and as he was about to embark on the Sistine Chapel ceiling.

Thus, they are the only surviving Michelangelo bronzes in the world.

They are on public display at the Fitzwilliam Museum in Cambridge. 

Dr. Victoria Avery (shown above), keeper of applied arts at the museum, says the attribution project, involving an international team of experts from different fields, has been like "a Renaissance whodunnit." 

She says: "It has been a huge privilege to be involved, very exciting and great fun."

Crucial to the attribution of the bronzes, which belong to a private British owner, has been a tiny detail from a drawing by an apprentice of Michelangelo, now in the Musee Fabre in Montpellier, France. The drawing shows in one corner a muscular youth riding a panther in a similar pose.

In 2014, Paul Joannides, professor of art history at Cambridge University, connected the sculptures to the drawing.

Further research included a neutron scan at a research institute in Switzerland, which placed the bronzes in the first decade of the 16th Century.

Investigations by clinical anatomist Professor Peter Abrahams, from the University of Warwick, suggested every detail in the bronzes was textbook perfect Michelangelo ... from the six packs to the belly buttons, which are as artist portrayed them on his marble statue of David.

"Even a peroneal tendon is visible, as is the transverse arch of the foot," Abrahams writes in the book that accompanies the discovery.

Avery says: "Whoever made them clearly had a profound interest in the male body … the anatomy is perfect."

Michelangelo is a Saint of Antinous because his male art is done with a passion for detail and obvious love of the male form ... The only females he sculpted were maternal figures. Michelangelo reminds us that male beauty IS divine ... like the 20 "ignudi" male nudes he painted as angels-in-human-form for the Sistine Chapel.

LOZEN, APACHE WARRIORESS
SAINT OF ANTINOUS



WE honor Lozen, the two-spirit Apache warrioress and holy woman who fought with Geronimo, and who was with his final band of warriors when they surrendered.

She is a blessed Saint of Antinous.

A contemporary observer said:


"Lozen had no concern for her appearance and, even though she is seen in several famous photos of Geronimo with his warriors, there is nothing to indicate that she is a woman. You would never spot her. She was very manly in her appearance, dressed like a man, lived and fought like a man. She never married, and devoted her life to the service of her people, to the very end."

Thursday, November 15, 2018

'ANTINOUS PANTHEON' IS ANTINOUS
IN THE GUISE OF MANY GODS



WHEN Hadrian fell in love with our god, he brought Antinous to Rome and cultivated the beautiful child into the flower of perfect manhood. 

It was during this time that the greatest building of Hadrian's reign was completed, the Pantheon, the magnificent domed Temple of All Gods. 

It was completed and consecrated in 126 AD, and Antinous was certainly present for the ceremony.

After all, he was the chosen favorite of Hadrian and attended Our Pontifex Maximus at the high altar of the only Roman Temple that has remained intact. 

At the start of our Liturgical Calendar's New Year in November we celebrate the glory of the Pantheon, and its builder, and know in our hearts that the divine spirit of Antinous fills the great sacred space beneath the dome.

When Hadrian commissioned the proliferation of images, he portrayed Antinous in the guise of many gods, all of them beautiful boys who died savage deaths for the benefit of mankind.

In these boys we see the mystery of Homo Deus, the gay god, the beautiful one who is sacrificed because his seed does not fall within that chamber from which life comes.

All these dying-boy-gods are Our God who we celebrate as Antinous Pantheon, the many-splendored god of beauty, Antinous who is All Gods, Antinous Uranus.

We offer our reverence to the full pantheon of the gods, and to the Cosmos Our Mother, through Antinous Our Love and Our Lord.

Wednesday, November 14, 2018

LOST PIECE OF ANTIKYTHERA MECHANISM
FOUND ON AEGEAN SEABED



MARINE archaeologists apparently have found a missing piece of the Antikythera Mechanism, the fantastically complicated, advanced analog "computer" found in a shipwreck off a Greek island. 

Scanning shows the encrusted cogwheel to bear an image of Taurus the bull.

The Antikythera Mechanism was discovered in 1901 ... technically speaking ... an encrusted lump was salvaged by Greek sponge divers in clunky metal diving suits from the Mediterranean seabed ... not that anybody realized what it was at the time. 

It would take decades and advanced x-ray technology for scientists to realize that the "rock" was a wondrously advanced sophisticated analog calculator consisting of dozens of intermeshed gears.

The Mechanism could do not only basic math: 

With dozens of exquisitely worked cogwheels, it could calculate the movements of the sun and moon, predict eclipses and equinoxes, and could be used to track the solar system planets, the constellations, and much more.

We may never know how many cogwheels the original Antikythera Mechanism had. Assessments based on its functions in predicting the behavior of the cosmos range from 37 to over 70. 

For comparison, the most advanced Swiss watches have four cogwheels.

As for the ship bearing the Mechanism, it had been a huge one, laden with precious cargo. Happily, even a century of looters and incautious explorers who combed the site since the ship's original discovery didn't find everything.

The huge vessel, perhaps 50 meters from bow to stern, was sailing from Asia Minor to Rome when it foundered near the tiny island between Crete and the Peloponnese more than 2,000 years ago.

An international survey team says the ship is twice as long as originally thought and contains many more calcified objects amid the ship's lost cargo that hint at new discoveries.

The ancient Roman shipwreck was lost off the Greek coast around 67 BC, filled with statues and the famed astronomical clock.

"What we're finding is these sculptures are in among and under the boulders," said Brendan Foley, co-director of the excavations team at Lund University. "We think it means a minimum of seven, and potentially nine, bronze sculptures still waiting for us down there." 

The boulders that overlie the metal objects weigh several tons and may have tumbled onto the wreck during a massive earthquake that shook Antikythera and surrounding islands in the 4th century AD.


The bronze arm, probably from a statue of a male, is the highlight of the team's 2017 excavation season

Among other objects the divers recovered are a patterned slab of red marble the size of a tea tray, a silver tankard, sections of joined wood from the ship’s frame, and a human bone. 

In 2016, the team found the skull, teeth, ribs and other bones of an individual who perished on the wreck. They have since extracted DNA from the skull and from it learned the individual's sex and where they came from. 

Until those results are published, the person is known as Pamphilos after divers found the name, meaning “friend of all”, carved on a buried cup that had been decorated with an erotic scene.

Salvaged by the Greek navy and skin divers in 1901, its stern perched too deep for its original skin-diver discoverers to find. The wreck is best known for yielding a bronze astronomical calculator, the "Antikythera Mechanism" widely seen as the most complex device known from antiquity, along with dozens of marble and bronze statues. 

The mechanism apparently used 37 gear wheels, a technology reinvented a millennium later, to create a lunar calendar and predict the motion of the planets, which was important knowledge for casting horoscopes and planning festivals in the ancient world.

A lead anchor recovered in a stowed position in the new survey shows that the ship likely sank unexpectedly when "a storm blew it against an underwater cliff," says marine archaeologist Theotokis Theodoulou of Greece's Ephorate (Department) of Underwater Antiquities. "It seems to have settled facing backwards with its stern (rear) at the deepest point," he says.

Tuesday, November 13, 2018

THE FEAST OF JUPITER, JUNO, MINERVA



ON the 13th November we celebrate the Roman feast of Jupiter, Minerva and Juno. Romans celebrate with a lavish feast outdoors, with the statues of the gods being brought in as the major guests. The feast is in the inner courtyard, open to the sky, so that the gods can see that all is done correctly.

13 de novembro é a festa romana de Júpiter, Minerva e Juno. Os romanos celebraram com uma festa pródiga ao ar livre, com as estátuas dos deuses sendo trazidas como os principais convidados. A festa está no pátio interior, aberta ao céu, para que os deuses possam ver que tudo é feito corretamente.

El 13 de noviembre es la fiesta romana de Júpiter, Minerva y Juno. Los romanos celebraban con un festín lujoso al aire libre, con las estatuas de los dioses como los principales invitados. La fiesta está en el patio interior, abierto al cielo, para que los dioses puedan ver que todo está hecho correctamente.

Monday, November 12, 2018

ANTINOUS MEETS THE REPTILE FROM HADES
BUT WILL HE KILL IT? ... OR RESCUE IT?


HERE is one of the most mysterious ... and missing ... statues of Antinous, showing him as Antinous Sauroktonos, the Lizard-Slayer.

The statue once stood in Dresden's Japanische Palais. But it was lost in the firestorms which swept Dresden during Allied bombing in the final days of World War II.

There is a famous statue of by Praxiteles of Apollo Sauroktonos, showing the God of Light with a stone poised over a lizard on a tree stump. 

The Praxiteles statue was oft copied by the Romans and also by artists up to the present day.

But this statue depicts Antinous as Apollo.

There is an ambivalence which has always intrigued historians. 

Is Antinous/Apollo about to kill the lizard? Or is he consciously sparing the life of the lizard?

Forget Nietzsche and other modern "experts" who philosophize about the "light" and "dark" side of human libidos and psyches.

The answer lies ... as always ... in Greek and Roman Symbological Imagery. 

(Image: Versions of Praxiteles' Apollo-Sauroktonos)

In Greek and Roman myths, the lizard symbolizes a sneaky spy who is eavesdropping on us. 

It is keeping tabs on our every move … It is a boyish tattle-tale who says, "Nyah, nyah ... I saw what you did and I'm gonna tell on you!"

The lizard is Ascalaphus, who is mentioned variously in Ovid's Metamorphoses and also by Pseudo-Apollodorus and other writers.

There are a couple of versions of the tale of Ascalaphus being metamorphosed into a skulking lizard and/or an owl (the better to spy on you at night).

In one version, Demeter persuades Pluto to permit her daughter Proserpine (Persephone) to return to the land of the living on condition that she imbibe neither food nor drink in the Elysian Fields.

But the mischievous little Hades boy "daimon" (Greek for "spirit") Ascalaphus observers her secretly biting into a pomegranate to eat its seeds and drink its juice.

Ascalaphus goes running off to tell Jupiter what he had seen ... whereupon Proserpine is condemned to remain with Pluto forever.

Proserpine/Persephone curses Ascalaphus by hurling a few drops of pomegranate juice at him which results in red speckles on his skin -- and he is transformed into a slinking newt ("askalaxos") with red-speckled scales for skin. 

Or else he becomes a speckled owl ("Bubos askalaphos").

In yet another version, Demeter herself takes vengeance by transforming Ascalaphus into a lizard and crushing him with a huge stone at the bottom of Pluto's realm.

Then, in turn, Hercules comes along and lifts the stone ... freeing Ascalaphus. Thus, Hercules is sometimes called the "Lizard Liberator" for that reason. 

But Ascalaphus's new-found freedom was short-lived because Demeter transformed him into a spotted horned owl ... as Ovid writes: "... a loathsome bird, ill omen for mankind, a skulking screech-owl, sorrow's harbinger. That tell-tale tongue of his no doubt deserved the punishment."

Thus, throughout the ages, Ascalaphus has become a synonym for someone who is punished cruelly for telling the truth. Back in the days when cultivated people studied the Classics, the imagery of a boy with a stone poised over a lizard was very clear. 

Tennessee Williams used that Classical imagery throughout his play "Night of the Iguana"which uses a Mexican lizard tied to a tree as a metaphor for the lies and mendacity and religious hypocrisy which have restricted unpleasant truths from being set free.

Antonius Subia says: 
This story of the tatter-tale daemon boy-lizard is endearing … and I have a fondness for sneaky little spies who reveal the truth...and I admire him for not letting Proserpina get away with fooling the Lord of the Underworld … he made quite sure that she stayed in the underworld like everybody else.  
This Ascalaphus is obviously a Gay lizard-boy, not in the least charmed by Prosephone's supposed beauty … when he saw that she had broken the rules, he wasted no time reporting it to Jupiter.  Perhaps Demeter/Sabina held a grudge against the little Gay Lizard...but I'm sure Jupiter/Hadrian appreciated the loyalty of the little traitor-informant. Antinous had no secrets to hide … and even if he did … I'm sure that he could count on the loyalty of the little gay lizard … if anything … the lizard kept Antinous informed of what Hadrian was up to behind closed doors … always a dangerous game … but for the sake of truth … this little gay lizard isn't afraid to die!

Why is Apollo so often depicted as the Lizard-Slayer? There's a theory that Apollo Sauroktonos is a spoof of Apollo's first deed as a young boy-god.

(Image: Apollo Vanquishing Python by symbolist painter Gustave Moreau)

Apollo's first achievement was to rid Pytho (Delphi) of the serpent (or dragon) Python. 

This monstrous beast protected the sanctuary of Pytho from its lair beside the Castalian Spring. 

There it stood guard while the "Sibyl" gave out her prophecies as she inhaled the trance inducing vapors from an open chasm. 

Apollo killed Python with his bow and arrows (Homer wrote "he killed the fearsome dragon Python, piercing it with his darts"), and then Apollo took charge of Delphi, turning it into his own special Oracle.

So ... is Antinous about to slay the lizard like Apollo slaying Python?

Or is Antinous actually lifting the stone away from the lizard, like Hercules liberating Ascalaphus in the River of Styx? 

Either way, of course, Antinous is engaging very powerful, dark energies. 

The Python is the guardian of Divine Secrets ... and Apollo mastered and become lord of Divine Secrets by overpowering Python. And Ascalaphus is the herald of dark secrets and unpleasant truths which must be told ... even at the risk of severe penalty.

Either way, these images have nothing to do with 20st Century sensitivities about animal cruelty.

These are very powerful images of Divine Secrets.

Sunday, November 11, 2018

NIANKHKHNUM and KHNUMHOTEP
SAINTS OF ANTINOUS


ON November 11th the Religion of Antinous honors two men whose love for each other has survived the fall of all ancient civilizations.

We honor Niankhkhnum and Khnumhotep, Blessed Saints of Antinous.They lived in Egypt 2,000 years before the siege of Troy. 

They had been dead and forgotten for 2,650 years when Hadrian and Antinous visited Mennefer (Memphis) Egypt in 130 AD. 

Most likely Hadrian and Antinous stood directly on top of (or very nearly on top of) the lost tomb of these two men — two men who were buried together at the Memphis necropolis some 4,500 years ago.

When the tomb was discovered in 1964 it sent shock waves through the dusty world of Egyptology. The vividly painted reliefs on the walls of the tomb showed an intimate embrace between two male Royal Manicurists — the first recorded depiction of an openly homosexual couple.
Prudish Egyptologists have argued ever since that the two men were "just good friends" or perhaps that they were possibly "twin brothers".

But recent research by more open-minded archaeologists, such as California-based EGYPTOLOGIST GREG REEDER, has offered compelling evidence that the two men were more than "just good friends" or "close brothers."

Greg Reeder has written and lectured extensively on this extraordinary tomb, which was uncovered in 1964 in the necropolis of Saqqara at Memphis, on the west bank of the Nile. The site atop a cliff overlooking the Nile has drawn tourists since ancient times. Julius Caesar and Cleopatra stood atop this cliff and gazed in awe at its ancient tomb structures.

Hadrian and Antinous almost certainly stood on this very same spot in October of the year 130 AD, only weeks before Antinous drowned in the Nile. Beneath their feet was the Lost Tomb of Niankhkhnum and Khnumhotep. The sand has been removed and now that long-lost tomb is no longer lost.

And what a tomb it is! It has a splendid entrance and charming layout befitting a pleasant gay holiday retreat cottage — for an eternal, never-ending holiday vacation.

While grave robbers stripped the tomb of relics in antiquity, the wall paintings reveal tantalizing hints about its original occupants. The men are repeatedly depicted together, sometimes holding hands, sometimes with their arms around each other.

In two instances they are shown with their noses touching — the most intimate embrace permitted in Egyptian art of the time — tantamount to kissing. Their bodies are pressed so closely together that their groins rub against each other in a decidedly intimate sort of way. 

In Ancient Egypt, such male-male depictions were reserved for kings who merged with gods, not for two mortal men.

They are so close together that some Egyptologists have theorized that they may have been Siamese twins joined at the hips.

Other figures, identified as wives and children, are relegated to the background. In one scene, in which the two men share a final banquet before their journey into the afterlife, Niankhkhnum' s "wife" has been plastered over by the craftsmen who decorated the tomb. Khnumhotep's spouse fails to make an appearance at all — highly unusual in Egyptian tomb art, if not totally unprecedented.

Throughout the tomb, the two men are depicted in joyous pursuits, such as this relief vignette (right) showing one of them playing flute accompaniment as the other sings.

The magnificent reliefs show a variety of scenes involving nude or semi-nude males involved in all sorts of artistic and manly activities, such as one scene (below left) of a sort of "Egyptian Rodeo" bull-roping tournament with accompanying scenes of a raucous "beef barbecue" feast.

Or the scene (below right) of athletic youths — so sparingly attired you can see they are circumcised — engaged in a playful mock battle using reed skiffs on the Nile.

Throughout the tomb, the reliefs show men, men, men (and a few token females) engaged in service to the tomb's two male occupants who are — unprecedented in Egyptian Sacred Art — wholly committed to each other. Other tombs invariably show man-and-wife. Not this one.

Hieroglyphs describe the men as "Overseers of the Royal Manicurists" to pharaoh. 
Ostensibly, they were responsible for the care of the pharaoh's hands and were among the select few permitted to touch the ruler. 

However, it is also possible that the title "Royal Manicurist" could be a ceremonial honor similar to the "Order of the Garter".

Though the hieroglyphs say nothing of the two men's relationship, Greg Reeder, an Egyptologist based in San Francisco, believes the wall paintings suggest homosexuality is the answer. Reeder points out that Niankhkhnum and Khnumhotep clearly chose to depict themselves in poses usually restricted to husbands and wives in other tombs. 

"Same-sex desire must be considered as a probable explanation," Reeder said at a lecture in Britain which made headlines a couple of years ago.

"We can only say for certain that the carvings show a profound intimacy between the two men, and the people who built the tomb were possibly unsure how to portray this," the US archaeologist noted.

The tomb was restored by German archaeologists in the late 1970s and opened to the public in the 1990s.

While gay tour operators have not targeted the site, in large part because Egypt outlaws homosexual activity, Greg Reeder's articles and lectures have created gay interest in this long-lost tomb.

"It has now become famous and lots of gay tourists go there," he says with scholarly pride.

Reeder notes that, regardless of whether the two men were sexual lovers, they were definitely two men who loved each other so much that they wanted to spend all eternity in an intimate embrace.

Even their two names are intertwined. Over the entrance to one chamber their names are mingled together so that Niankhkhnum and Khnumhotep become "NiankhKHNUMhotep" — Peace and Life joined in the ram-headed Source-of-the-Nile Deity Khnum, clearly their mutual sacred patron.

Thus, their names blend together, forming a single name: "Joined in Life and Joined in Peace at the Source of All That Lives and Dies and is Born Again for All Eternity". Such is the subtlety of the Egyptian language, which turns a name into a commitment.
Our Flamen Antinoalis Antonyus Subia says:
"Niankhkhnum and Khnumhotep is one of the earliest and most vivid portrayals of homosexual love, crossing all boundaries, binding two men and two families for all time, and demonstrating the profound antiquity and sacredness of our form of love." 
Thanks largely to the bold and candid research of Greg Reeder, the names of Niankhkhnum and Khnumhotep have been rescued from oblivion, so that their KAs might live forever — together! 

Saturday, November 10, 2018

THE DEATH OF HEPHAESTION
RECALLS THE DEATH OF ANTINOUS



THE 10th of November 324 BC is thought to be the day when Hephaestion died in the arms of Alexander the Great. Ancient writers said Hephaestion was "... by far the dearest of all Alexander's companions. He had been brought up with Alexander and shared all his secrets." This friendship lasted throughout their lives, and was compared, by others as well as themselves, to that of Achilles and Patroclus ... and by later generations to Hadrian and Antinous.

10 de novembro de 324 aC é o dia em que Hefestião morreu nos braços de Alexandre, o Grande. Escritores antigos disseram que Hefesto era "... de longe o mais querido de todos os companheiros de Alexandre. Ele havia sido educado com Alexandre e compartilhado todos os seus segredos". Essa amizade durou por toda a vida, e foi comparada, por outros como eles próprios, à de Aquiles e Patroclus ... e por gerações posteriores a Adriano e Antinous.

10 de noviembre de 324 AC es el día en que Hefestión murió en los brazos de Alejandro Magno. Escritores antiguos dijeron que Hefestión era "... de lejos el más querido de todos los compañeros de Alejandro. Había sido educado con Alejandro y compartido todos sus secretos". Esta amistad duró toda su vida, y fue comparada, por otros tanto como ellos mismos, a la de Aquiles y Patroclus ... y por generaciones posteriores a Hadrian y Antinous.




SAINT ARTHUR RIMBAUD


ON November 10th the Religion of Antinous honors St. Arthur Rimbaud, the free-spirited French poet whose openly gay lifestyle shocked even the most avant garde artists of London and Paris in the late 19th Century.

On this day, in 1891, the poet Arthur Rimbaud, Saint of Antinous, died of cancer just three months short of his 37th birthday. Despite his early death, he was already an acclaimed and highly controversial literary figure.

In his youth, Rimbaud had been what we would nowadays call a twink. A schoolboy friend said he was prettier than any of the girls and that he had "the most beautiful pale blue eyes" he had ever seen.

Raised by a staunchly Catholic single mother in isolation in the country, Rimbaud ran away to Paris at age 16 with no money but with a prodigious talent for poetry — he had already published a couple of highly praised poems.

In Paris, Rimbaud's behavior became outwardly provocative. The mild-mannered country boy started drinking, speaking rudely and writing scatological poems, stealing books from local shops, and instead of his previous neat appearance and in defiance of short-hair fashions, he began to wear his hair rebelliously long.

At the same time he wrote to an old school teacher of his who had encouraged his poetic talents, telling him about his method for attaining poetical transcendence or visionary power through a "long, intimidating, immense and rational derangement of all the senses. The sufferings are enormous, but one must be strong, be born a poet, and I have recognized myself as a poet."

Still a teenager, he was friends with radical Communists in Paris known as the Communards (hence the name of the '80s pop group) and he even wrote a poem about being sodomized by drunken Communard paramilitary men entitled "Le Coeur Supplicié" (The Tortured Heart).

He solicited the friendship of the established poet Paul Verlaine by audaciously writing a love letter to him and enclosing two hotly sexy poems, including the hypnotic, gradually shocking "Le Dormeur du Val" (The Sleeper of the Vale), in which the forces of Nature more or less rape a sleeping soldier.
  
Verlaine, who was intrigued by Rimbaud, sent a reply that stated, "Come, dear great soul. We await you; we desire you," along with a one-way ticket to Paris.

Verlaine was so smitten with the 17-year-old Rimbaud, that he abandoned his heavily pregnant 17-year-old wife and took up living with Rimbaud instead. Verlaine quit his job to become what he called "a full-time professional drunk" At left is a caricature of Rimbaud that Verlaine lovingly sketched about that time.

All of Paris was shocked by their behavior which, even among avant-garde artists, was considered scandalous.

The two of them fled to London, where they lived the life of starving artists. Rimbaud spent most of his time in the Reading Room of the British Museum for the simple reason that "heating, lighting, pens and ink were free", he later said. 

Verlaine and Rimbaud had a volatile on-again, off-again relationship punctuated by drunken bitch fights and which climaxed with Verlaine firing a gunshot at Rimbaud which resulted in a wrist wound.

In his 20s and early 30s, Rimbaud was a vagabond poet who traveled the world, mostly on foot, doing odd jobs and writing poems. There is a marble plaque on the island of Java commemorating his short visit there as a soldier in the Dutch Colonial Army — he decided the military life was not for him and deserted almost immediately upon arrival there and returned to Europe.
He was living on the Horn of Africa with an Ethiopian mistress (he had had several lovers of both sexes, basically one in every port) when his health began to deteriorate due to what would later be diagnosed as cancer — alas, the diagnosis would be made too late to save his life.

He was 17 years old when he wrote the poem The Drunken Boat: 


"..Lighter than a cork, I danced on the waves which men call eternal rollers of victims, for ten nights, without once missing the foolish eye of the harbor lights! Sweeter than the flesh of sour apples to children, the green water penetrated my pinewood hull and washed me clean of the bluish wine-stains and the splashes of vomit, carrying away both rudder and anchor. And from that time on I bathed in the Poem of the Sea, star-infused and churned into milk, devouring the green azures; where, entranced and pallid, a dreaming drowned man sometimes goes down; where, suddenly dyeing the bluenesses- deliriums and slow rhythms under the gleams of the daylight, stronger than alcohol, vaster than music-ferment the bitter redness of love."
 We dedicate this poem and the course of the free and disordered life  of St. Arthur Rimbaud to the period of 72 Archons, and our difficult passage towards godliness.

Friday, November 9, 2018

THE 'ANTINOUS BOY MADE GOD' EXHIBITION
AT OXFORD'S ASHMOLEAN MUSEUM

By Priest Martin Campbell


Hopefully many of you are aware that there is currently an exhibition about Antinous at a museum in Oxford, England. 

As the UK priest it was my duty to attend, so I did so yesterday. 

Most, but not all, of the items were plaster-casts of the originals but they were excellent. 

The year 2018 marks the 50th anniversary of the decriminalisation of homosexuality in the UK.

As part of the national celebrations of this the Ashmoleon Museum has put on two exhibitions, one about LGBT history and one about Antinous.

The Antinous, Boy Made God exhibition runs through 24 February 2019.

It is worth seeing if you are in the UK and anywhere near the beautiful city of Oxford. It is housed at the venerable Ashmoleon Museum in the heart of the old city with its magnificent old buildings and universities.

I have taken many photos so that those who cannot attend it will be able to enjoy it (see the pictures below)

Love and Light
MARTIN












Thursday, November 8, 2018

THESE SEVEN ANCIENT PRIESTS
DEVOTED THEIR LIVES TO ANTINOUS



ON the 8th of November many spiritual traditions celebrate seven sacred mediators between mortals and the Divine.

Christians honor the Seven Archangels … but (typically) apocryphal texts and regional denominations can't agree on the lists of seven. The big four are certain: Michael, Gabriel, Raphael and Uriel, but after that things get a bit iffy. 

Depending on which "church" is involved the seven may include: Raguel, Sariel, Baracael, Ieadiel, Sealtiel, Peliel, Gamael, Jerahmeel, Izidkiel, Hanael or Kepharel.

Oh and at least one list includes Lucifer, the fallen angel.

In Santeria Las Siete Potencias Africanas (Seven African Powers) are the best known and most powerful Orishas of the Yoruban pantheon. There are endless variations worldwide.

Many Protestants, of course, denounce all mention of angels, potencias or even saints as idolatrous, further confusing the situation for many modern seekers.

The Religion of Antinous has no "angels" (fallen or otherwise) in the Judeo/Islamic/Christian sense.

But the Romans depicted many ascendant souls as having wings and assisting in elevating mortal humans to attain celestial realms.

By sacred synchronicity, we know the names of Seven Ancient Priests of Antinous. They are:

JULIUS FIDUS AQUILA, Priest, Epistrategos and Architect of Antinoopolis.

ARISTOTIMOS, Priest of Delphi.

HOSTILIUS MARCELLUS, Priest of Corinth.

ISIDORUS DIDYMUS, Priest of Alexandria.

NICIAS, Priest of Rome.

PUBLIUS SUFENUS, Priest and Eunostos of Neapoli Oriens.

LUPERCUS, Priest and Eunostos of Neapoli Aetolia-Arcarnia.

There were many other priests, of course. But alas, their names went unrecorded.

We have no portraits of any of these Seven Ancient Priests. And their mortal appearance is of little importance.

Priest Hernestus wears prayer beads and a bracelet with seven charms and beads representing the Seven Ancient Priests. He prefers to think of them transcending Time and Space ... serving as mediators in modern guise for all of us.

Rather than worshiping mythical angelic beings, we honor these seven human beings of flesh and blood who really lived and who devoted their lives to Antinous. 

November 8th is a fine date to remember them ... men who lived and breathed and who remind us that angels come in many guises ... angels are all around us in our everyday lives.

Wednesday, November 7, 2018

TOM OF FINLAND
SAINT OF ANTINOUS


ON November 7th we remember one of our saints whose gift of erotic artistry and wry humor influenced the Stonewall generation — Saint Tom of Finland.

Tom of Finland's style was so identifiable, so iconic, that it was immediately recognizable. Whether signed or unsigned, his emblematic pencil and ink drawings are always recognizably his.

He became so closely identified with his iconic art that few people ever suspected that his name was not actually Tom, though he was indeed Finnish.


Touko Laaksonen was born in Kaarina Finland on May 8th, 1920, and he died on November 7th, 1991. He studied art in Helsinki and worked as a graphic artist during the 1940s and '50s. On the side he began to master his particular style and vision of male beauty.

His entry into gay erotic art came in 1957 when he submitted drawings to the American bodybuilder magazine Physique Pictorial, a pioneer publication in the field of gay porn from the days when it was still a federal offense to send "indecent images" through the mail. He then started to use the name Tom of Finland.

His art was an overt display of gay sexuality during the dark years of repression that preceded Stonewall. It is said that his images fueled the hearts of young, future gay rights advocates because of their defiant and utterly masculine depiction of the homosexual ideal.

He was among the first to vividly display the fully engorged phallus,  Priapic in its proportions, throwing off the censorship that had kept it hidden for hundreds of years.

During the late '60s and early '70s his erotic images were received with acclaim and became the subject of museum exhibitions, and they soon entered the heart of gay culture as one of the most widely recognized and often copied images of gay sexuality. 

His depictions of extremely masculine, homosexual vitality were a reflection of the deepest erotic fantasies of all gay men, elevating a new form of Priapism into an icon of homoeroticism.

He met his lifetime partner Veli on a dark street corner in 1953. Veli was the love of his life.

For nearly 30 years they shared their lives. Veli died in 1981. Touko Laaksonen died in Helsinki on November 7th, 1991.

In 2014 Finland’s national postal service honored Laaksonen with a set of TOM OF FINLAND STAMPS and an exhibition at the Finnish Postal Museum.

The stamps were a sell out success with people lining up to buy them and orders from 178 countries around the world.

More recently, a docudrama entitled THE TOM OF FINLAND MOVIE was produced to rave reviews.

For his work, for changing the face of the gay world with his prolific art, we recognize the sanctity of Tom of Finland and elevate him to the Sainthood of Antinous.