Tuesday, November 12, 2019


ANTINOUS skin art is popular among many modern-day worshipers of the Most Great and God God.

Thousands of people want a relationship with Antinous which ... literally ... goes under the skin.

The most famous celebrity with an Antinous tattoo is ADAM LAMBERT, who has called on all of his fans to learn all they can about Antinous. 

The tattoo, which reaches from nipple to hips down the left flank of his torso, features a bust similar to ones he saw on a trip to Greece.

Adam Lambert says he is "obsessed" with Antinous.

He told an interviewer recently: "I have a tattoo of Antinous, Emperor Hadrian’s lover, on my ribs. It was a very public relationship and they travelled around together until Antinous died. They were like the early gay power couple!"

The tattoo at the top of this page is on the arm of PRIEST MICHAELUS, who says he wanted to have Antinous a permanent part of him. Michaelus explains: 

"I had my first tattoo when I turned 50. It was a wolf with claw marks. I thought, since I loved werewolves, this was very fitting. That was 2006. 

"In 2007 I had been a follower of Antinous for some time and I know my next tattoo, or several, would be devoted to him. 

And what better way to show my faith ... especially living in the bible belt. 

"I went to my tattoo artist, whom I knew is Native American Inuit. She had several tattoos showing symbols of her people. I told her I wanted Antinous' name first and whatever way she thought it would look best. 

"I knew she was a spiritual person and that what she designed would be just right. She free-handed it on my arm and it looked amazing. 

"My next tattoos was an Antinous design by ANTONIUS SUBIA which showed Antinous riding a lion. It is on my right shoulder (above right).

"I then wanted to have Antinous name in hieroglyphics which says 'Antinous the Beautiful God.' This is on my right forearm and right beside that on my wrist is a red lotus again free-handed by my artist. 

"Lastly on the top of my right hand is my symbol or sigil for my Antinous Priestly name which is Michaelus (Latinize of Michael) Lucian (meaning light), Marius (Mars), Aquila (after the first Priest of Antinous).

"I have had many people ask about the name tattooed on my right arm which is Antinous. This has given me a wonderful opportunity to tell others about my God Antinous."

Below are several more skin art designs proudly worn by adherents of Antinous:

Monday, November 11, 2019


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! 

Sunday, November 10, 2019


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.


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.

Saturday, November 9, 2019


ANTINOUS shows up in the most extraordinary places ... even at the supermarket magazine rack.

Some years ago, Hachette published a magazine series entitled THE GODS OF ANCIENT EGYPT which featured special issues on scores of Egyptian deities ... nearly 100 in all.

Each edition featured a glossy brochure and an epoxy resin figurine in a little plastic "display case." The magazines were widely available at booksellers and newsstands around the world.

Antinous was featured in Issue 88 — possibly the most collectible issue in the whole series.

The Hachette magazines have long since gone out of print, but the figurines are still found on eBay and other online marketplaces.

Antinous is hard to find, but occasionally he turns up and the bidding turns fierce as ANTINOMANIACS fight to possess the little 4.5-inch (14 cm) figurine.

The one pictured here sold on eBay for nearly $50 in "NRFB" condition — "Never Removed From Box."

It is "only a fake" of course. 

But that does not make it any less sacred or magical to anyone who loves Antinous. 

In ancient times, Antinous figurines, images, coins and medallions were prized by his worshipers as a sort of portable Sacred Token or Pocket Shrine.

In his authoritative book about Antinous, BELOVED AND GOD, Royston Lambert points out that in ancient times many followers of the Blessed Youth felt it was necessary to have a tangible representation of Antinous with them at all times for protection and for blessings:

"Some of the devotees evidently could not bear to be parted from the beneficial and reassuring presence of their Antinous and therefore had small, light-weight travelling busts or bronzes made to accompany them on their journeys."

Poor people made do with more crudely made representations, such as coins and figurines and medals made of lead, clay and other base materials. The demand was so great that there was a rife trade in which we would nowadays call "copyright piracy" among artisans turning out "illicitly yet more crude and cheap medallions of this hero whose images, miracles and protection were obviously sought by countless poor folk of faith."

People of modest means who were lucky enough to get their hands on one of his clay figures or commemorative coins would carry them with them for protection, often even wearing them:

"Many were pierced by holes and hung from the neck as talismans: Antinous' image offering protection against evil, sickness and death," says Lambert. 

Other such tiny statuettes, figurines, coins and medallions were placed in portable shrines or pouches or adorned away-from-home altars, and others were buried with the dead "to invoke the god's aid on the perilous journey into the unknown."

We look at the little Hachette Antinous figurine and see only a cheap epoxy resin plastic action figure, crudely hand-painted in some Chinese sweat shop. 

But imagine how the Ancient Priests of Antinous would have gaped in wonder at this little figurine swaddled in cellophane, along with a book of shiny pages unlike any papyrus, pages adorned with inscrutable glyphs and breathtakingly realistic images. 

Where we see ordinary plastic, the Ancient Priests would see a wondrous statuette fashioned in what to them would be a magical putty-like material not like anything found on Earth.

Clearly, it was fashioned by the Gods themselves — clearly, ANTINOUS THE GAY GOD truly is "immanent" (in-dwelling) in this miraculous vessel.

And the Ancient Priests would, of course, be absolutely right. 

Friday, November 8, 2019


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.


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.

Thursday, November 7, 2019


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.

Wednesday, November 6, 2019


ANTINOUS has been the epitome of Classical male beauty for 19 centuries, and his pristine white marble statues are priceless.

But few people realize that most if not all of those statues were painted in life-like colors, as were all statues and adornments in Ancient Egypt, Greece and Rome.

The Ancients believed in the Magic of Sacred Colors. Every exposed surface was painted. Walls, columns, statues - everything they could reach with a paint brush was painted. And each Color had a Magico/Sacred Meaning.

Many of you have seen the travelling art exhibition entitled GODS IN COLOR: PAINTED SCULPTURE IN CLASSICAL ANTIQUITY. It has been displayed with great success in venues in Europe and the United States.

The guiding force behind that exhibit is the German archaeologist Vinzenz Brinkmann, who has pioneered techniques of color restoration of Classical statuary.

He has been commissioned by SMITHSONIAN magazine to create a photomechanical reconstruction—never before published—of the first-century A.D. Roman Lovatelli Venus. (Photo courtesy Vinzenz Brinkmann and Ulrike Koch-Brinkmann / Stiftung Archäologie).

The statue was excavated from the ruins of a villa in Pompeii. Unlike most ancient statues, this one gave Brinkmann a head start, because copious evidence of original paint survived.

"There are rich traces of pigment which we analyzed using noninvasive methods such as UV-Vis absorption spectroscopy," he tells the magazine. "What we do is absolutely faithful, based on physical and chemical measurements."

Brinkmann is struck by the synergy of form and color in modeling the goddess’s act of disrobing. "The spectator," he says, "awaits the next second, when her nakedness will be displayed. The sculptor creates a mantle that is heavy on the upper rim, to clearly explain that it will slide—and enhances this narrative by giving the rim its own color."

The Lovatelli Venus may be one of the earliest examples of private art collecting, Brinkmann says. The work lent a decorative flourish to a nouveau-riche household. But polychromatic statuary was the norm in the Classical age.

The great writers of Greek and Roman antiquity report quite unambiguously and matter-of-factly about polychrome figures. 

The tragedian Euripides (c. 480-406 BC) picked a colorless marble statue as the image of extraordinary ugliness. When the Trojan War was unleashed because of a woman's beauty, Helen said to herself ... 
"If I'd always been as ugly as a statue from which the color has been wiped off, all this suffering would not have been brought down upon men."

What we want to see, of course, are reconstructions of statues of Antinous in the original colors.

Tuesday, November 5, 2019


IS this a small temple to Antinous in Newcastle England? 

This small temple is dedicated to a curly-haired boy god called ANTENOCITICUS ... a deity worshiped by soldiers and local people at the eastern end of Hadrian's Wall.

Antinous in the guise of Antenociticus is not mentioned at any other Romano-British site or on any inscriptions from Europe, which is why it has been identified as a local deity.

Antinous priest and writer MARTINUS CAMPBELL, author of THE LOVE GOD about the life of Antinous, says it is highly possible Antenociticus is a local aspect of Antinous ... perhaps in honor of a visit to this outpost by Antinous and Hadrian.

Martinus says: "Archaeologically there is a period of time in AD 126 to 127 when we have no record of where Hadrian was. We do know, however, that the wall was completed in Ad 128."

He says: "It is believed he would have come to Britannia to oversee the final stages of the wall. It is further believe he would have brought Antinous with him."

Martinus adds: "That is why the locals (mostly of mixed Roman and British blood, by then) connected Antinous to a local deity Citicus and re-named him Antenociticus."  Stone heads of Antenociticus have been found nearby.

Monday, November 4, 2019


ANTINOOPOLIS is the site of some of the most spectacular portrait art ever found in Egypt. 

Art experts have always marveled at the exquisite encaustic (melted wax mixed with paint) portraits which were used as face plates on mummy cases at Antinoopolis and the nearby Fayoum Oasis.

At Antinoopolis, wealthy people even sheathed their mummies in gold leafturning their dead loved ones into virtual golden statues, according to FRENCH EXPERTS. 

But no one knew how accurate the portraits on those elaborate mummies were.

 Now experts using advanced forensic science have proved that the paintings were true-to-life portraits of the deceased when they had been alive.

“It was pretty exciting,” said Bob Brier, an Egyptologist at Long Island University and lead author of a new study published in the German Egyptological journal ZÄS Zeitschrift für Ägyptische Sprache und Altertumskunde (Journal for Egyptian Language and Studies).  

“We didn’t know what we were going to find,” Brier said.

Brier and colleagues used a CT scanner to produce physical models of the mummies’ skulls. Then a crime artist, who only knew the mummy’s age and gender, used the models to recreate the mummies’ faces. The painstaking process took seven days per mummy.

“We were dying to see what it looked like,” Brier said.

The team then compared the faces to painted portraits entombed with the bandaged bodies.

Two of the four match-ups were strikingly similar.

ht mummy1 jef 121026 wblog Modern Science Unravels Ancient Mummy Mysteries

A mummy from the British Museum was a small woman in her early 20s with delicate features, a narrow face and thick lips. Her face appears to match the features of her portrait. (Image credit: Caroline Wilkinson/University of Dundee Centre for Anatomy & Human Identification)

“It is believed that they were almost certainly painted during the lifetimes of the individuals and clearly were not idealized images,” Brier said of the portraits.

ht mummy2 jef 121026 wblog Modern Science Unravels Ancient Mummy Mysteries

A second mummy from the British Museum was a large man in his 50s with a broad face, thick brow, flat nose, and heavy jaw. His face was very similar to his portrait, which may have been painted when he was younger. (Image credit: Caroline Wilkinson/University of Dundee Centre for Anatomy & Human Identification)

But one face didn’t match the portrait at all, leading the researchers to believe the ancient embalmers might have wrapped the mummy with the wrong portrait.

ht mummy3 jef 121026 wblog Modern Science Unravels Ancient Mummy Mysteries

A mummy from the Glyptotek Museum in Copenhagen was a young man in his 30s with a wide nose, broad cheekbones, thick lips and rounded jawline.  This face looked quite different from the portrait, hinting that a switch might have occurred. (Image credit: Caroline Wilkinson/University of Dundee Centre for Anatomy & Human Identification)

“It is possible that during the mummification procedure, when several bodies were being mummified at the same time, a mismatch occurred,” Brier said.

The fourth mummy’s nose looked more refined in the portrait than in the researchers’ prediction, but his “other facial features and proportions were so consistent between the reconstruction and portrait that no mix-up was indicated here,” Brier said.

ht mummy4 jef 121026 wblog Modern Science Unravels Ancient Mummy Mysteries

A mummy from the Metropolitan Museum of Art in New York City was a man in his early 30s with a wide nose, square jaw and thick lips. His "touched up" portrait appears to show a younger man with a more narrow nose but similar lips and jaw. (Image credit: Caroline Wilkinson/University of Dundee Centre for Anatomy & Human Identification)

The study sheds light on the purpose of the portraits, which represented a shift from symbolic art to realistic art after the Romans conquered Egypt in 30 B.C.

“This study convinced us that some of these portraits were dead-on,” Brier said, adding that some portraits were likely styled to be more flattering to the deceased.

Brier would like to extend the study to include more mummies. But  while there are more than 1,000 mummy portraits, less than 100 are still attached to the people they depict, he said.

“The difficulty is finding portraits that are still bound to the mummy,” he said. “Many portraits were taken off the mummies and sold during the 19th century and early part of the 20th century.”

Sunday, November 3, 2019


WE love it when our followers share Antinous art. One of our favorite artists is Miranda Baggins.

Above you see the colossal Braschi Antinous/Dionysus statue at the Sala Rotonda in the Vatican Museums - Musei Vaticani ... "Antinous Autumn" art montage by Miranda Baggins.

Below is more of her Antinous work:

Saturday, November 2, 2019


ON November 2nd, Día de los Muertos (All Souls Day), worshippers of Antinous in Mexico City solemnly honour the first martyr saint of Antinous in Mexico: Jorge Fernandez Martínez, a victim of homophobic violence.

Our sister group Epithimia Antinous at the TEMPLO DE ANTÍNOO MÉXÍCO hold a Día de lost Muertos vigil for him during ceremonies at the sanctuary of Santa Muerte in Tultitlán near Mexico City.

This tradition began in 2016 with the first funeral ceremony in the name of Antinous to be held since ancient times.

Jorge Fernandez Martinez was brutally murdered by unknown assailants near his home in the Mexico City suburb of Tultitlán.

Forensic tests showed he had been tortured, raped and asphyxiated. His broken body lay undiscovered for days.

Grieving neighbors who had known and loved him for nearly 20 years held a wake and asked for dignified funeral services conducted under the auspices of Epithimia Antinous with Pride Tultitlán Committee and Estamos Contigo.

The rites were held at the famous Shrine of Santa Muerte (Our Lady of Sacred Death) in Tultítlan led by Enriqueta Vargas.

Our brothers and sisters at Foundation Epithimia of Antinous Mexico says: 

"We were honored to officiate in the funeral ceremony for the repose of the soul of this beloved person in our community, Señor Jorge Fernandez Martinez, an active member member of our because Antinous abhors hate crimes.

"We share these images of the temple, the funeral and texts shared by Adolfo Voorduin Frappe and White White Fernandez , whom graciously thank for attending the rites. We thank Santa Muerte International and the godmother Enriqueta Vargas, for their loving support," the statement says.

In Hollywood California FLAMEN ANTONIUS SUBIA announced that Jorge Fernandez Martinez became a Martyr Saint of Antinous during ceremonies on Foundation Day in October 2016.