RABBIT GOD TU ER SHEN IS THE CHINESE DEITY OF GAYNESS

ON International Rabbit Day, observed on the fourth Saturday in September, we honor the Chinese "Rabbit God" of homosexuality.

Just as Antinous the Gay God is being re-discovered in the West, Hu Tianbao alias Tu Er Shen the "Rabbit God" is being rediscovered by Chinese gay people. 

Incredibly, both deities involve young gay men who were in love with men of high standing ... and who died tragically ... and who became gods of the spiritual essence of homosexuality. 

Antinous is a true-life historical figure, of course, but his Chinese counterpart is shrouded in myth and legend ... involving rabbits.

According to Zi Bu Yu (子不語), a book written by Yuan Mei (袁枚, a Qing dynasty writer), Tu Er Shen (兔兒神 or 兔神) was a mortal man called Hu Tianbao (胡天保).

Hu Tianbao fell in love with a very handsome imperial inspector of Fujian Province. One day Hu Tianbao was caught peeping on the inspector through a toilet wall, at which point he came out to the other man. To save face, the imperial inspector had no choice but to have Hu Tianbao beaten to death.

One month after Hu Tianbao's death, he is said to have appeared to a man from his hometown in a dream, claiming that since his crime was one of love, the gods decided to right the injustice by appointing him the god and safeguarder of homosexual affections.

After his dream the man erected a shrine to Hu Tianbao, which became very popular in Fujian province, so much so that in late Qing times, the cult of Hu Tianbao was suppressed by the homophobic Qing government.

A slang term for homosexuals in late imperial China was Tuzi (兔子) (bunnies) which is why Hu Tianbao is referred to as the RABBIT GOD, although in fact he has nothing to do with rabbits and should not be confused with TU-ER-YE　(兔儿爷） the famous "Rabbit in the Moon" which is the Chinese version of the "Man in the Moon".

However, the rabbit association stuck, and even today his devotees portray him with rabbit ears and make offerings of carrots to his altars. The handsome statuette in this image is lovingly clothed in a rabbit-fur cloak.

While no one knows if gays in mainland China worship him ... there is a temple in Yonghe city (永和市）in Taiwan that venerates Hu Tianbao, alias Tu Er Shen. The temple is known as the RABBIT TEMPLE (兔兒廟). The address is Taipei, Yonghe City, Yonghe Road Section 1, Alley 37, No 12.

ANTINOUS ON MOUNT CASIUS WAS NEARLY STRUCK BY LIGHTNING

IT was at the season of the Equinox in the year 129 that the imperial court ascended Mount Cassius (also called Mons Casius, Mount Kel or Mount Casius).

They climbed the mountain overlooking the sea because on top of it was a Temple of the Sun. 

A storm broke while they made their ascent, and Hadrian had the priests conduct the Equinox ceremony in the rain. 

During the sacrifice at the altar, a bolt of lightning struck with a horrific, earth-shattering clap of thunder ... killing the priest and the sacrificial animal together. 

This was taken as a very significant portent, one that perhaps Antinous alone comprehended, the darkness of the coming death and transfiguration were presaged. 

Hadrian took it as a sign that the gods of Syria had turned against him, thinking it was Baal-Zeus who struck down the priests as a warning to Hadrian of what lay ahead when the court entered Jerusalem. 

Perhaps it is all a myth and a legend, of course. There were many myths and legends about the events leading up to the deification of Antinous. 

Researching background information on the Lightning Bolt Omen on Mount Cassius, we stumbled upon an old Epistle which Antonius Subia wrote to the original members of this religion at this time of year back in 2002. There were only a handful of followers ... about five or six. 

Take a moment to read what Antonius wrote so many years ago:

"Whatever myths and mysteries were fabricated to legitimize the Religion of Antinous, we can be sure that they were only for the benefit of the vulgar populace, dependent on poetry and allegory. The Priesthood of Antinoopolis however, had to deal with the truth. I can't help but think that the pinnacle of his mysteries, revealed to only the most devoted, was the unsettling revelation that Antinous the God was no more than a boy, just as any of them were or had been."

And Antonius says that THAT fact was what makes our religion so special. He goes on to write:

"That Antinous lived a truly human life, died, and miraculously became a God is what captivates me, even more than his beauty. Unlike so many other, mythical gods, there is a definite level of certainty that all that is said about him is true. It is only when one begins to dig deeper that the mysteriousness of his story becomes manifest. There is a desperate shortage of evidence from his time, almost nothing at all, and what little is written is rare and clothed in foreign languages. Antinous, because of the peculiarity of his divinization, is not a subject of great philosophical interest as are the other, more popular gods."

And then he hints at the idea of HOMOTHEOSIS:

"The most important impression one receives from his story, which is utterly non-mythological, is that if he could become a God, with a star, and a flower, and an eternal name, then what prevents all of us from following in his trail? Antinous destroys the very concept of Godhood. For the vast majority, this is an incomprehensible concept, but Antinous is not a god of the populous, who remain simple in their acceptance of theology … then as now."

And he says Antinous is the divine spark of Sacred Homosexuality:

"Homosexuals suffer from a terrible lack of Gods and divine heroes. Heterosexuality has an overabundance. 

He adds: "I don't see the harm in claiming the truth of our one and only patron saint and god. The emphasis of our day, in which homosexuality is gaining acceptability, seems to be on bringing our sexuality into line, and in conformity to the rest of the population. But what we need most is our own identity, not as an aberration, or a peculiarity, or a mere deviation from the norm, but as a sanctification, a sacred state of blessedness. 

"For thousands of years we have been considered a degeneration, a sin, and even a disease of lust. Now people are beginning to see that we are just different, but there is almost no talk, even amongst ourselves, that we are a wonder of the human species, a divine grace, a delicate flower possible only in the most elevated levels of civilization. It is no coincidence that our sexuality has regained the prominence of respect that it knew in the age of the Antonines, and Antinous is the emblem, in my heart, of our blessedness, then as now."

Antonius then says non-pagans balk at our religion, but he also notes that traditional pagans also have problems with the concept of Antinous as the Gay God for the 21st Century, rather than remaining a reconstructed Classical deity from ancient times:

"Already I have encountered the difficulty of explaining what is so personal to an uninformed listener, and this conflict of interest, as it were, may only increase. My only hope is that Antinous has already prepared the way, as he has done with me, and a few others. However difficult and testing his message may be to bring to the world, I trust that those who are prepared to listen will need very little explanation, the truth being already ingrained within the depth of their soul.

"All I can ever do is turn the key that they alone suspected was there, but the door is for them to open. The statues, and the stark reality of his life, show that there are many sides to our Antinous, none of which is ultimately and universally true.

"However much we may delineate and formalize his religion, it must always remain founded on personal connection, and individual truth. 

"I am prepared to say that this is far more simple than it seems, if we are willing to succumb wholly to absolute freedom in ourselves, and in others."

Antonius (writing back in 2002, remember) has a final question ... a question he has posed to each new priest over the years:

"My question is this, if ever you felt yourselves to be secret priests, evangelists of beauty, and missionaries of sacred homosexuality among these barbarians of our age, what would you say to a soul in whom you could plainly see Antinous, just beneath the skin? But more importantly, why would you even mention his name?"

This weekend, as the shadow of the Super Moon Eclipse falls upon the Earth, and as we remember the story of the Lightning Omen on Mons Cassius, it is perhaps good to remember the founding tenets of our religion:

Antinous was a flesh-and-blood human being of lowly birth.

Antinous and Hadrian were male-male lovers.

Antinous died tragically, perhaps in sacrifice for his beloved Emperor.

Hadrian "wept like a woman" and issued a decree establishing the Religion of Antinous … declaring Antinous a God … the last Classical Deity.

And the question for us today is whether we would recognize a modern-day Antinous if he walked up to us on the street, or if we saw him on Netflix or on the Internet.

More importantly, can we see Antinous in the eyes of all gay men.

Because that's the first place to look for him.

WE ARE THE HUNTER AND THE HUNTED DURING THE EQUINOX STAG HUNT

ON the Equinox ... may Antinous-Cyparissus bless us with celestial alignment and let us be in harmony with the cosmos. 

We regard the September Equinox (Autumnal in the Northern Hemisphere and Vernal in the Southern Hemisphere) as the SACRED STAG HUNT in which Antinous spiritually pursues the magic stag through the spiritual forest ... the stag representing the male god force within us. 

The stag is a symbol for gay spirituality, a graceful, beautiful animal, crowned with horns, mighty and strong, yet pursued by hunters who yearn for the taste of his tender meat.

We look to the story of Cyparissus the beautiful boy who was lover of Apollo or in another version of the forest god Silvanus. 

As a gift of love, the god gave Cyparissus a beautiful stag, but while hunting the ever jealous god of the west wind fooled Cyparissus into accidentally shooting and killing his beloved stag. (Image: "Cyparissus" by Jacopo Vignali)

The boy was so consumed by grief that Sylvanus-Apollo took pity and immortalized him by turning him into the Cypress tree, which is an emblem of death. 

So it is the the Stag Hunt brings summer to a close and prepares the way for the Death and Transfiguration of Antinous.

We pray to the Horned God to come into our lives and direct our magical forces as gay men towards fulfilling our goals and accomplishing our dreams. We are both hunter and hunted.

Antinous is both the beautiful Cyparissus and his beloved stag, and between the two is a sacred gay mystery.

Ave Antinous the Stag Hunter

~ANTONIUS SUBIA

THE ROMAN GENERAL UNDER HADRIAN WHO HAD A VISION OF A STAG

SEPTEMBER 20th is the saint day of Saint Eustace, patron saint of hunters, firefighters and also anyone facing adversity, a Christian saint who is linked by legend to Emperor Hadrian.

Saint Eustace, also known as Eustachius or Eustathius in Latin, purportedly was a general named Placidus, who converted to Christianity and who ... again, according to legend ... was persecuted by Hadrian.

While hunting a stag in Tivoli near Hadrian's Villa, Placidus saw a vision of a crucifix lodged between the stag's antlers. 

He was immediately converted, had himself and his family baptized, and changed his name to Eustace (Greek: Εὐστάθιος Eustathios "well standing, stable, steadfast").

A series of calamities followed to test his faith: his wealth was stolen; his servants died of a plague; when the family took a sea-voyage, the ship's captain kidnapped Eustace's wife Theopista.

And as Eustace crossed a river with his two sons Agapius and Theopistus, the children were taken away by a wolf and a lion. Like Job, Eustace lamented but did not lose his faith.

He was then quickly restored to his former prestige and reunited with his family. 

There is a tradition that when he demonstrated his new faith by refusing to make a pagan sacrifice, Emperor Hadrian condemned Eustace, his wife, and his sons to be roasted to death inside a Brazen Bull ... a bronze statue of a bull or an ox ... in the year AD 118.

However, the Catholic Church rejects this story as "completely false".

Eustace became known as a patron saint of hunters and firefighters, and also of anyone facing adversity; he was traditionally included among the Fourteen Holy Helpers. He is one of the patron saints of Madrid, Spain. The island of Sint Eustatius in the Caribbean Netherlands is named after him.

The German digestif schnapps Jägermeister (German for "Master of the Hunt") has a round logo of a shining cross between the antlers of a deer/stag referring to two persons who had seen such a vision: Saint Hubertus and Saint Eustace.

THE BIRTH OF ANTONINUS PIUS

SEPTEMBER 19 the Religion of Antinous celebrates the birth of the Divine Emperor Antoninus Pius.

Caesar Titus Aurelius Fulvius Boionius Arrius Antoninus was born on this day 86 A.D. at Lanuvium, near Rome.

Under the Divine Hadrian he served as Proconsul of Asia minor from 130 to 135, the most crucial years in the development of the Religion of Antinous. After that he was summoned to Rome to be close to Hadrian as his health failed.

With the untimely death of the emperor's chosen heir, the blessed Lucius Aelius Verus Caesar, Hadrian chose Antoninus to be his successor. Thus Hadrian adopted him as his son and successor on the 25th of February 138, on condition that he himself adopted Hadrian's great nephew-by-marriage Marcus Aurelius, and Lucius Aelius Verus's son Lucius Verus, who was only 7 years old.

Hadrian's choice in successors proved to be infinitely wise. 

Following decades of political turmoil, civil strife and imperial excesses, Hadrian and his successors ushered one final period of peace and prosperity for Rome which would go done in history as the Sacred and Golden Age of the Antonines.

On Hadrian's death, Antoninus Pius was enthusiastically welcomed to the throne by the Roman people, whose hopes of a happy reign were not disappointed. For Antoninus came to his new office with simple tastes, kindly disposition, extensive experience, a well-trained intelligence and the sincerest desire for the welfare of his subjects.

One of his first acts was to persuade the Senate to grant divine honors to Hadrian, which they had at first refused (but later agreed to). This gained him the title of Pius (dutiful in affection). He built temples, theaters, and mausoleums, promoted the arts and sciences, and bestowed honors and salaries upon the teachers of rhetoric and philosophy.

Unlike his predecessors Trajan and Hadrian, Antoninus Pius was not a military man. His reign was comparatively peaceful. Insurrections amongst the Moors, Jews, and Brigantes in Britain were easily put down. The one military result which is of interest to us now is the building in Britain of the Wall of Antoninus (a few miles north of Hadrian's Wall), which was proclaimed in 2008 to be a UNESCO World Heritage Site.

During his reign, Antoninus issued coins celebrating the religious glory of Rome in celebration of the nine hundredth anniversary of the city in 147. The coins asserted the superiority of Romanism over the Empire.

Antoninus is said to have restored the sanctity of the ancient Roman faith, and to have reinvigorated its ceremonies, which is another possible reason why he was surnamed Pius.

The Religion of Antinous was in its infancy when Antoninus Pius came to power. The Blessed Boy's temples were under construction. The Sacred City of Antinoopolis was unfinished. It would have been easy for Antoninus Pius to pull the plug on the expense involved in the new religion. After all, Antoninus Pius was known as a penny-pincher who demanded fiscal restraint.

Instead, Antoninus Pius generously supplied the fledgling religion with imperial largess and was instrumental in the spread of the Faith of Antinous in those early years. Without him, the religion would have vanished at Hadrian's death. Instead, it flourished for centuries.

After the longest reign since Augustus (surpassing Tiberius by a couple of months), Antoninus died of fever on March 7, 161. His last public utterance was when the tribune of the night-watch came to ask the password — "aequanimit as" (equanimity). It was a fitting epitaph.

His body was placed in Hadrian's Mausoleam, a column was dedicated to him on Mars Field, and the temple he had built in the Forum in 141 to his deified wife Faustina was rededicated to the deified Faustina and the deified Antoninus. The Temple of Antoninus and Faustina still stands today in the Roman Forum (at right, now called the Church of San Lorenzo in Miranda).

We pay tribute to Antoninus Pius, who truly lived up to his title as a man of wisdom and piety.

PAMELA COLMAN SMITH SAINT OF ANTINOUS

MAGINATION is the key word. Just imagine the cramped artist's studio in London's Chelsea district and, with the help of the artist's images, you are there. It is December 1909. The solid-black walls of the apartment contrast starkly with the red-orange drapes. 

Jamaican folk artefacts share space on a Victorian curio shelf with photographs of friends and relatives — a mother in Jamaica, a father in Brooklyn Heights, a famous actress in a West End production, Bram Stoker, W.B. Yeats. The jet-black walls form a void-like exhibition space which highlights the dazzling Caribbean art as well as the dozens of paintings and sketches which line the walls. Suffragette posters. Oil landscapes. But particularly watercolor illustrations of dreamscapes and fairy tales.

A brightly painted miniature theatre with ornate proscenium and cloth curtain stands proudly in one corner, with its cast of tiny cardboard cut-out "actors" waiting patiently for their entrances.

An enormous gramophone stands in the opposite corner, and Debussy's La Mer is playing at full volume, as it has been all morning. The neighbours have long since stopped complaining about the music.


The artist, Pamela Colman Smith, is a petite woman in her early 30s who sits in the middle of the studio with paint brush in hand, mixing watercolors, her eyes trance-like as the music envelops her. She is wearing a vividly hued kimono with broad sleeves made even more colorful by splotches of paint.

One of the two Japanese combs pinning back her long dark hair has loosened, causing her tresses to sag to one side, but she is oblivious.  The paint is dripping from her brush, but she pays no mind, keeping her eyes firmly shut as Debussy transports her to a place she calls "the unknown country" of her artistic inner heart.

On the easel in front of her is a small canvas showing an androgynous person wearing a short kimono-like tunic with sleeves and an abstract floral design uncannily like the kimono she is wearing. The figure is striding to a precipice as a small white animal dances at his heels.

The painting is almost finished. The outline was done in pen. Only a  few more brush strokes are needed for the hand-coloring. Debussy will provide the musical sunrise which will be the cue that the illustration is finished.

And then the small illustration will join all the others (about 80 in all, give or take one or two) which are carefully arranged on drying shelves around the studio. The printer is waiting. The cards must be delivered by the end of December.


She has been working on the Tarot card project for about a year, since Arthur E.A. Waite asked her to illustrate "his" new pack of Tarot cards in his long-running one-upsmanship feud with other occultists in London. 

He had very strong ideas about the design of the 22 Greater Trumps but was unconcerned with the 56 Lesser Trumps. Only one other artist had ever illustrated all 78 cards, an unknown 15th Century artist whose dazzling cards were jealously guarded by the Sola Busca family of Italy. 

The Sola Buscas had grudgingly permitted photographic copies of the cards to be put on view at the British Museum in 1908.

And so it was, that a petite 30-something sufragette took a tweedy advertising executive for the Horlick's bedtime powdered milk drink  (Waite's "day job" when he wasn't doing occult spellwork) and dragged him to the British Museum and said she would do the job but only on condition that she illustrate all 78 cards with artistic license for design and color.

It had taken months of pain-staking work. "A big job for very little cash!" she would write to her friend and benefactor Alfred Stieglitz,  who had made room in his famed New York photography gallery for exhibitions of some of her "Pictures in Music", watercolors she painted in a trance-like state while listening to her favorite composers, such as Mozart, Tchaikovsky and Debussy. On a visit to Paris, she had even been bold enough to introduce herself to Debussy and show him paintings she had done to his music. She was greatly flattered when he said she had captured the very essence of his music.


"You ask me how these pictures are evolved," she said. "They are not the music theme — pictures of the flying notes — not conscious illustrations of the name given to a piece of music, but just what I see when I hear music-thoughts loosened and set free by the spell of the sound."

She explained that, for example, "Often when I hear Bach I hear bells ringing in the sky, rung by whirling cords held in the hands of maidens dressed in brown."

Stieglitz had shown her music paintings to rave reviews in New York in 1907. The New York Sun critic wrote: "Pamela Colman Smith is a young woman with the quality rare in either sex — imagination."

Pamela — "Pixie" to her few close friends (mostly women) — had grown up in London and New York City, as well as in Jamaica. Her father was a globe-trotting businessman who spent little time at home. Her mother came from a long line of women poets and children's story-book writers. The details of her childhood are fuzzy. She had a dark complexion and facial features which prompted speculation that she had been adopted during her father's many trips to Jamaica. At any rate, she spent her formative years in Jamaica, where she learned the patois dialect perfectly and became a master story-teller of Jamaican tales of magic and wonder.


But when her mother died at an early age, little Pixie moved to Brooklyn Heights where she lived with her father and pursued art classes at the renowned Pratt Institute, a progressive school which encouraged students to explore new avenues of expression.

And when her father also died suddenly, she was shipped back to England to live with a troupe of actors who were friends of her eccentric father. She was relieved to be back in England, since her skin color had exposed her to racist discrimination in the States.

The rarified atmosphere of London's Leicester Square theatre district was an invigorating change. In New York she had been "a mulatto". 

In London's West End she was simply exotic. She lived with the high-profile actress Ellen Terry, who became her mother, mentor and best friend. Sir Henry Irving, a leading thespian and empresario, became her ersatz father. The three of them toured Britain in productions when they weren't staging their own plays in the West End. Pixie lived in Irving's theatre. She learned set design, costume design (and how to mend costumes between acts) and she learned how the stage is the world-in-small.

A century on, it is hard for us to appreciate how mind-opening the theatre was. There was no radio, no television. Even the cinema was in its infancy. To see the world, you went to the theatre. Pamela didn't just go to the theatre. Surrounded by actors and directors 24 hours a day, she truly LIVED the theatre. She said it was the perfect place for a budding artist.


"Go and see all the plays you can," she advised young artists. "For the stage is a great school — or should be — to the illustrator — as well as to others."

She openly admitted she had learned more in the theatre than at her famous New York art institute.

"The stage has taught me almost all I know of clothes, of action and  of pictorial gestures," she said, and her advice to other artists was to  throw away the textbook and just open their eyes and ears. An artist should always have a sketch pad at hand. She even took her sketch pad to the ballet to see Nijinsky dance.


"Learn from everything, see everything, and above all feel everything! And make other people when they look at your drawing feel it too!"

She was dismissive of painters who are interested only in their medium and who shun other liberal arts.

"Keep an open mind to all things," she said. Even though you are a painter, listen to music, go to the ballet.


"Hear all the music you can, for sound and form are more closely related than we know."

And she dismissed turn-of-the-century painters who strove only for beauty, ignoring ugliness.

"For through ugliness is beauty sometimes found," she observed. She recalled having seen a very dark and brutal stage production which in a way reminded her of the gritty beauty of poverty-stricken Jamaica.

"All through that play I thought that ugly things may be true to nature, but surely it is through evil, that we realize good. The far-off  scent of morning air, the blue mountains, the sunshine, the flowers, of a country I once lived in, seemed to rise before me — and there on the stage was a woman sitting on a chair, her body stiff, her eyes rolling, a wonderfully realistic picture of a fit."

Through Ellen Terry and Henry Irving, Pamela made friends with literary luminaries such as "Dracula" author Bram Stoker, "Peter Pan" playwright J.M. Barrie and and poet/playwright W.B. Yeats.

In fact, "Sherlock Holmes" was her uncle — because her real-life great uncle was the actor William Gillette, who brought Holmes to the stage in London and on Broadway. It was Gillette who introduced many of the mannerisms and props (the deerstalker cap, the meerschaum pipe) which have been intrinsically associated with Sherlock Holmes by succeeding generations. Her Uncle Bill even saw to it that Pamela illustrated the programs for his Holmes productions.



Pamela became well-known for her afternoon literary teas, at which Yeats, Stoker and other luminaries would gather in her studio while she put on the costume of a Jamaican wise woman and sat cross-legged on the floor, relating Jamaican folk tales in dialect.

She used a miniature theatre and tiny cardboard characters to illustrate her hugely delightful tales.

Her literary friends encouraged her to publish and illustrate the stories under her own name, which she did. The book is still in print.

One frequent male visitor described one such literary evening, saying, "The door was flung open, and we saw a little round woman, scarcely more than a girl, standing in the threshold. She looked as if she had been the same age all her life, and would be so to the end. She was dressed in an orange-colored coat that hung loose over a green skirt, with black  tassles sewn all around over the orange silk, like the frills on a Red Indian's trousers. She welcomed us with a little shriek. She was very dark, and not thin, and when she smiled, with a smile that was peculiarly infectious, her twinkling gypsy eyes seemed to vanish altoghether. Just now, at the door they were the eyes of a joyous, excited child."

This was shortly after the turn of the 20th Century, and she had perfected her artistic style and was busy as a book and magazine illustrator. While publishers mandated style to some extent, Pamela Colman Smith advocated the Arts and Crafts style, also known as the Secession style or, in the US, as the Craftsman or, especially in California, called the Mission style.

The Arts and Crafts Movement was a style which dominated in the years before World War I, and which was between the Art Nouveau style of the 1890s and the Expressionist style which would revolutionize art after the Great War. The Arts and Crafts Movement was an attempt to reject superfluous Victorian "wedding cake" adornment and to simplify things to the basics of simple lines and solid colors, in defiance of bourgeouis homeowners who wanted clutter.

For one brief moment, in the cosy years before the war, idealistic artists such as Pamela depicted a magical world in which machines did not dominate humankind. They were artists who sought to recreate pre-industrial, even primitive styles in art, architecture and decoration. Lines were simple. Colors were bold and earthy.


Pamela's generation of artists saw that a world driven by steam pistons was heading blindly, full-steam ahead for collision with the cold and immutable forces of nature. The Titanic disaster in 1912 was only a symbolic inevitable disaster waiting to happen, as far as these artists were concerned.

The Arts and Crafts Movement flourished in the first decade of the 20th Century, and Pamela managed to get by financially with her illustrations in that style. She also provided illustrations and even wrote articles for Gustav Stickley's "The Craftsman" magazine which was a leading purveyor of the style.

Not surprisingly, her Tarot cards are an enduring monument to the Arts and Crafts Movement and its philosophy which holds that a return to timeless styles in the Arts can help the human race return to timeless virtues and ageless wisdom. She was seeking to create a world in which racist thought and moral hypocrisy would vanish along with high-button shoes and celluloid shirt collars. She wanted everyone to sit on the floor, cross-legged, and discover the childlike magic of just being alive.

The cards were published with very little fanfare in December 1909. Only a few occultists took notice, and most of them were engaged in feuds with each other. The general public did not notice. Tarot cards were considered to be "French". The only Tarot cards hitherto available were from France, and they were considered only slightly less objectionable than saucy French porn postcards. Pamela was keenly aware that her cards were not going to make inroads into popular culture.


"Oh, the prudishness and pompous falseness of a great mass of intelligent people!" she wrote in an article for Stickley's "The Craftsman". It was an article aimed at inspiring young artists. "Lift up your ideals, you weaklings, and force a way out of that thunderous clamor of the steam piston, the hurrying herd of blind humanity, noise, dust, strife, seething toil!"


Those 78 cards are a veritable map of the place which she called "the unknown country" within an artist's heart. Many of her book illustrations are variations on that theme, such as "The Hill of Heart's Desire" at left.

To look at each card in succession is to take a trip through a magical land where cosmic wisdom and virtue prevail. You can spot  recurring landmarks, such as castles, bridges and towers, which recur from different vantage points throughout the "journey". This magical land is peopled by beings who at times wear Renaissance clothing and at other times wear chitons and togas. The whole magical world is a place beyond linear time and space.


Waite never adequately acknowledged her work. In the book accompanying the cards he failed to mention her by name, saying only that a "young woman artist" had illustrated them on his instructions. 
But in fact, Pamela had been a member of the Order of the Golden Dawn along with Stoker and Waite. In a way it was only natural since the English-speaking world's first esoteric book store, Watkins, had just opened its doors a few steps away from the Leicester Square theatre district.

Pamela never wrote about her initiation into occult mysteries. But the very first card in the deck, The Magician, is graphic proof that she was privy to occult knowledge of the most secret sort. In 1909 only a handful of people had read a badly translated copy of Das Buch Abramelin, a 15th Century German-language grimoire written by a German-Jewish sorcerer who claimed to have been initiated into ancient mysteries by a master living in a desert cave on the banks of the Nile.

Even now, a century after Pamela painted that card, very few people have read the Book of Abramelin, certainly not in the original German. To this day there is no full English translation. Those few who have read it immediately realize that The Magician card is a very precise portrait taken straight from the ancient book.

In it, the novice magician is instructed to wear a clean white tunic bound at the waist by a symbolic ouroboros serpent. He is to wear a  crimson mantle over the tunic while standing before a simple wooden table upon which are his magical tools. The book then says that, for best results, the magician's magical work space should look out over a witch's garden of flowers and magical herbs.

Whatever Waite thought of "his" cards — and he was very vague in  saying what their purpose should be other than clearly to aggrandize  himself — Pamela knew they were tools not for TELLING the future, but for SHAPING the future through ancient Abramelin magical spells. That occult secret, sealed in the colorful symbolism of her cards, was destined to die with her — to be rediscovered a century after she created the cards by priests of ANTINOUS THE GAY GOD.


With that first card, The Magician, and with Renaissance alchemical symbolism throughout the deck, Pamela shows she was highly knowledgeable in the occult arts.

The rest of her story is quickly told. The Titanic sank but the age of the steam pistons did not go down with it. Instead, the First World War swept aside the lofty dreams of Pamela's generation of artists. The Arts and Crafts Movement was the first casualty. By 1915 Gustav Stickley's "The Craftsman" magazine ceased publication and his design company went bankrupt.

Pamela's illustration assignments dried up. By the mid-1920s she was unable to get even one job a year. When a distant uncle died and left her a modest nest egg, she took the money and left London, buying a village cottage at the far western tip of England — not far, in fact, from the fictional location of Baskerville Hall, which had figured so prominently in Uncle Bill's Broadway-hit Sherlock Holmes plays.


She lived in isolation with a woman companion. She died penniless at age 72 on September 18, 1951. The cottage and all her possessions were auctioned to pay back taxes, leaving her companion with nothing.

In December 1909 she had told her New York gallerista friend Alfred Stieglitz that she would send him a pack of the Tarot cards which she said were being "printed in color lithography (probably very badly) as soon as they are ready" and that she would also "send over some of the original drawings as some people MAY like them." By "some people", she meant "buyers". But the original art work has never surfaced. Not one of the 78 originals is known to exist.

The printed card decks vanished into obscurity for decades until the  American playing card connoisseur Stuart R. Kaplan resurrected them in about 1970. It is largely thanks to him that anyone knows anything about this extraordinary artist, who created a single work which is ageless and timeless and which continues to appeal to new generations.

The final word belongs to Pamela Colman Smith, and it is a statement of inner strength which could just as easily be the catch-phrase of The Fool card in her Tarot:

"Banish fear, brace your courage, place your ideals high up with the  sun, away from the dirt and squalor and ugliness around you and let that power that makes the 'roar of the high-power pistons' enter into your work — energy — courage — life — love. Use your wits. Use your eyes. Perhaps you use your physical eyes too much and only see the mask. Find eyes within, look for the door into the unknown country."

FRENCH EGYPTOLOGIST ALBERT GAYET IS A SAINT OF ANTINOUS

WE are proud to consecrate French archaeologist Albert Gayet as a Messenger Saint of Antinous for his pioneering efforts to reclaim the city of Antinoopolis from the sands of oblivion.

The city that Hadrian built and dedicated to his lover Antinous flourished for hundreds of years before being looted and plundered and lost to the desert sands of Egypt.

Napoleon's French team of proto-archaeologists mapped and catalogued the remains at the turn of the 19th Century. 

But it was this rather curious and eccentric French bachelor who would make the lost city ... Antinoopolis ... famous again.

Antinoopolis became renowned around the world in 1895 when Gayet began exploring the vast necropolis burial grounds south of Antinoopolis. 

An estimated 40,000 mummies were buried in the Antinoé necropolis.

Between 1895 and 1911, Gayet worked tirelessly at Antinoé, the French name for the city which became synonymous with his own name. 

He stood out against the squalor of the wretched modern village and the moonscape of ancient ruins ... dressed impeccably in a three-piece black linen suit and tie, with a boater hat, a cane and white gloves ... more befitting a stroll on the Champs Élysée in Paris than overseeing Egyptian workers toiling in the blistering Egyptian sun as they unearthed mummies from the sands.

Gayet's crews worked day and night unearthing hundreds of mummies representing all social classes and historical epochs.

To his utter astonishment, many of the mummies were gilded, many were swathed in priceless woolen wraps and others wore Byzantine jewellery and headdresses.

He returned to Paris, where the most exquisite mummies were put on display at the Louvre, attracting throngs of visitors and spawning a "Coptic Craze" throughout Europe and America.

Antinoopolis embroidery and linens inspired Matisse, Renoir and the leading Paris fashion designers, who incorporated the rich colors and designs into their work.

But the craze soon waned. The mummies were packed away in storage, most of them to disintegrate or become lost. 

Gayet died in Paris at age 60, impoverished and embittered after having spent 20 years of his life trying to raise funds for further exploration of Antinoopolis. 

Unmarried, he bequeathed a number of Antinoopolis artefacts which he had kept for himself to his sister in Dijon, where the artefacts are in the local museum and a street is named after him.

Gayet's dream of a "Musee d'Antinoé" in Paris died with him.

ACACIA TREE

BY STEPHANOS KILGORE 

SACRED KNIGHT OF ANTINOUS

Silent I have been

Silent I will be

Sitting under an acacia tree

Pondering the turning

Wheel of all

Gods returning

Vibrations strong

Past lives converging

Great Sphinx

Waiting

Knowing all

Saying nothing

Antinoo

Standing tall

Obelisk

Reminder to all

Bambikilgore

Sept 16 2012

YOU CAN SPEAK TO ANTINOUS

OURS is not a rigid religion of rules and dictates of how you should live your life and of how you should conduct yourself towards Antinous. 

We encourage YOU to define your relationship with the god, to find his contribution and what his role in your life is to be. He can be a friend and a companion, a confidant, a healer, a comfort, sharing your life.

And he can help you manifest your truth and your ambitions, help you realize your ambitions and dreams.

He understands the plight and experiences of LGBTQ people and assists in overcoming related problems.

He empowers LGBTQ people and endorses your right to defend yourself and endorses our fight for our place and our rights. 

Perhaps Antinous' primary role is to be a helper to humanity. 

You can offer your problems and lay them at Antinous' feet. Start by having a conversation with Antinous, it would count as a prayer, but you can simply speak. Speak to Antinous.

Ave Antinous!

ROMAN SKELETONS BURIED HOLDING HANDS NOW HAVE BEEN IDENTIFIED AS TWO MALES

TWO ancient Roman skeletons, who mysteriously were buried holding hands, now have been identified as two males, researchers have revealed.

In 2009, archaeologists discovered the remains in the Italian city of Modena. The pair were dubbed the "Lovers of Modena" by the media, the assumption being that they were a heterosexual couple.

The researchers at that time could not determine the gender of the skeletons when they were found in Italy in 2009 because they were badly preserved.

But a new technique, using the protein on tooth enamel, revealed their sex.

The actual relationship between the skeletons from the 4-6th Century AD remains a mystery.

The researchers say the two adult males were intentionally buried hand-in-hand.

Some of the suggestions for the link between the two skeletons are that they are siblings, cousins or soldiers who died together in battle, study author Federico Lugli told Italy's Rai news site (in Italian).

Researchers suggest that their burial site could have been a war cemetery.
The researchers from Italy's University of Bologna said in Scientific Reports that the findings had profound implications for understanding funeral practices at that time in Italy.

ROME'S GREAT TEMPLE OF JUPITER DEDICATED ON THIS DAY IN 509 BC

ON the 13th of September the Temple of Jupiter Optimus Maximus atop the Capitoline Hill was dedicated in 509 BC. The ascent of Rome began! 

In the old Roman calendar, September was the seventh month of the year in counting March as the first. Among the festivals observed in September were several honoring Jupiter. 

He was hailed as the chief of the gods and had many epithets as a result.

As Jupiter Optimus Maximus, he occupied the temple of Jupiter Capitolinus on the Capitoline hill with the goddesses Juno and Minerva. With them, he received a Lectisternium (September 13) and the Ludi Romani  (September 5-19). 

RUN LIKE PHEIDIPPIDES JUST DON'T DIE LIKE PHEIDIPPIDES

ON September 12, 490 BC, 10,000 Greeks use superior tactics to push 100,000 Persians back into the sea at the Battle of Marathon Bay ... forever changing the course of Western Civilization.

Though outnumbered 10 to 1, the Greeks won thanks to their new tactics.

Instead of individual soldiers fighting one-to-one duels, the Greeks rolled out their "phalanx" battle line of Hoplite soldiers who fought as one impenetrable unit.

The Battle of Marathon was a watershed in the Greco-Persian wars, showing the Greeks that the Persians could be beaten; the eventual Greek triumph in these wars can be seen to begin at Marathon. 

The battle also showed the Greeks that they were able to win battles without the Spartans, as they had heavily relied on Sparta previously. 

This win was largely due to the Athenians, and Marathon raised Greek esteem of them. Since the following two hundred years saw the rise of the Classical Greek civilization, which has been enduringly influential in western society, the Battle of Marathon is a pivotal moment in history.

The battle is perhaps now more famous as the inspiration for the marathon race. 

Although thought to be historically inaccurate, the legend of the Greek messenger Pheidippides running to Athens with news of the victory became the inspiration for this athletic event, introduced at the 1896 Athens Olympics, and originally run between Marathon and Athens.

Pheidippides was a professional "hemerodrome" (foot courier) who was sent to Sparta to request help when the Persians landed at Marathon, Greece. 

He ran 240 km (150 mi) in two days. Thanks to him, the Persians were defeated. 

He then ran the 40 km (26 mi) from the battlefield near Marathon to Athens to announce the Greek victory over Persia in the Battle of Marathon (490 BC) with the words "Chairete, nikomen!" ("Rejoice, we are victorious!") ... before collapsing and dying ... uttering "Cairete" (Rejoice) with his final rasping gasp of breath.

Image at top of entry: "Man Runs First Marathon To Bring News of Greek Victory Over Persia" painting by Tom Lovell (1909–97)

GAY MARTYRS OF TERRORISM

ON September 11th we remember those gay and lesbian men and women who have died in terrorist attacks.

The magnificent Religion of Antinous is not just about beauty and male-on-male sex and it's not just one continuous gay cocktail party. Alas!

The word "alas," by the way is a Latin corruption of the Greek name "Hylas" ... the beloved young companion of Herakles/Hercules. In Mysia, handsome young Hylas was abducted by water nymphs and vanished below the waters of a stream.

Heartbroken Herakles went mad with grief, bellowing "Hylas! Hylas!" and ripping out trees as he frantically searched for his beloved. He never abandoned his search, and his cries of "Hylas! Hylas!" continue to echo through the ages every time we say the word "alas!"

Hadrian and his beloved drowned Antinous have always been associated with Herakles and his beloved drowned Hylas. And so ... alas! ... the Religion of Antinous is profoundly and irrevocably associated with tragedy and with grief. That is the reason why the sculptures of the Beauteous Boy never show him smiling and boyish. He always gazes off to one side, his head tilted slightly downward, with a wistful and slightly melancholy expression on his face.

It's as if he is always whispering, "Alas!"

And so it is fitting that the Ecclesia Antinoi Annals of Saints and Martyrs and Exemplars includes the names of many, many people who have died under tragic circumstances.

Some died of overdoses or suicide. Others, such as the gay college student Matthew Shepard who was bludgeoned to death in Wyoming, were murdered simply because they were gay. 

In Iran, coming out is tantamount to a death sentence. 

Many, many others have been taken by the scourge of AIDS.

And still others on our list, Aula Sancti Ecclesiae Antinoi, have suffered and died because they just happened to be at the wrong place at the wrong time.

On September 11th we remember those gay and lesbian men and women who  have died in terrorist attacks.

They include the gay waiters and pastry chefs in the Windows on the World restaurant on the 110th floor of the World Trade Center, and also the gay and lesbian office workers in the Twin Towers, and the gay passengers and crew aboard the hijacked planes.

They also include the gay victims of the subsequent bombings and atrocities in London, Madrid, Orlando and many other cities.

We don't know the names of most of those people. But one name stands out: Mark "Bear Trap" Bingham.

Mark, 31, was a passenger aboard United Airlines Flight 93 and was flying home to see his mother. 

He made a phone call to his mother. He was so distracted by the chaos on  board the plane that he identified himself by his full name, saying, "Hi, Mom, this is Mark Bingham." 

He just had time to tell her he loved her and that his plane was being hijacked before the phone call abruptly ended.

Mark was a big man at 6 ft 4 in (1.93 m) and 225 pounds (102 kg) and was a rugged rugby athlete. He is believed to have been among the passengers who attempted to storm the cockpit to try to prevent the hijackers from using the plane to kill hundreds or thousands of additional victims.

That assumption is based on the fact that his lover of six years said he had repeatedly fought back against muggers and gay bashers and that Mark definitely would not have surrendered to his fate without first putting up a fight. "Mark was a fighter. He hated to lose ... at anything!"

Mark Bingham may never have even heard of Antinous, and the Ecclesia Antinoi had not been founded yet before he died. He most definitely never expected to be remembered as a gay martyr. And he scarcely could have imagined being memorialized in movies and on websites and in books and TV docu-dramas.

He surely never expected to become a symbol and an icon. But that is what he has become.

And so, on September 11th, we remember Mark "Bear Trap" Bingham as a symbol for all those gay people who happen to be at the wrong place at the wrong time when terrorists strike — as can happen to any of us.

Like Mark (and like Herakles, for that matter), we fight and struggle to do the best we can in our day-to-day lives, but sometimes things just turn out far differently from anything we could ever imagine. Sometimes tragically so ... Alas!

GAY TEEN MARTYR JOÃO ANTÔNIO DONATI FIRST BRAZILIAN SAINT OF ANTINOUS

ON September 10th we remember the brutal mutilation murder of a gay teenager on this date in 2014 in Brazil ... the first official saint of Antinous in Brazil.

The death of 18-year-old JOÃO ANTÔNIO DONATI galvanized worshipers of Antinous into proclaiming him the first martyr saint of Antinous in Brazil.

His severely beaten body was found in the city of Inhumas in the state of Goiás with his neck fractured and both legs broken and with his mouth and trachea stuffed with a plastic bag and a paper note, on which had been scrawled an anti-gay hate message saying that this is what should happen to all queers.

His horrific bruises, lacerations and contusions showed that he had put up a desperate struggle against his attackers.

On the same day that João was killed, two other gays were beaten and a transvestite was murdered in the same state. But the images of João's smiling Facebook selfies instantly touched the hearts of millions.

Outrage swept the nation, with protest marches and vigils held in numerous cities.

Brazil has the largest Antinous faith community in the non-English speaking world, and adherents of Antinous have taken the unprecedented move of proclaiming João the first Saint of Antinous in Brazil. 

Brazilian Novitiate Priest DECO RIBEIRO says more than 300 LGBTIU victims of homophobic murders were reported in Brazil in 2015 alone, though the true figure is unknown.

"Hundreds more have died since then," says Deco. "Each and every one of these is a martyr who is symbolized by João Antônio Donati. He was a vibrant young man filled with all the hopes and dreams of so many his age, and who became yet another victim of homophobia in Brazil, and who so deeply touched us that we have been moved to initiate something in our country that has long been in the offing: the Declaration of Apotheosis and canonization of the martyrs of homophobia in Brazil."

Noting that anti-gay hate crimes and murders are frequent in Brazil, Deco says: "This is the first statement and official nomination amid many others that will follow continuously over time honoring the names of many victims who have died in the past and who inevitably will be murdered in the future."

He adds, "We are setting out upon a long and arduous road which will entail hard battles for criminalization of homophobia in a country that has become increasingly Christo-Fascistic, homophobic and intolerant in a grotesque throwback of catastrophic and irreparable proportions. This is a turning point in history."

At the Hollywood Temple of Antinous, the founder of the modern religion of Antinous, ANTONIUS SUBIA, says:

"My prayer goes out to Antinous to take João Donati into his embrace, to give him a place of glory and bliss and show him that the world is not merely a place of hatred and violence, but that love still exists here.  

"May his short beautiful life prove to be a changing point for Brazil, may his violent death awaken his country to the darkness and hatred that has infiltrated their society.  May he be a martyr whose violent death brings an end to such things in the future," Antonius said in the statement issued moments ago.

After João's death, his FACEBOOK page was filled with messages of condolence. 

A month before his murder, he updated his profile image with the accompanying message: "Determination, courage and self-confidence are decisive factors for success.

"No matter what obstacles and difficulties. If we are possessed of an unwavering determination, we will be able to overcome them."

Though Brazil passed same-sex marriage into law in May 2014, homophobic attacks and transphobic attacks are still common.

'QUINTILIE VARE, LEGIONES REDDE!' COINS CONFIRM SITE OF TEUTOBURG BATTLE

WHERE was the Battle of Teutoburg Forest fought in the year 9 AD? That is a trick question which school teachers have loved to spring on their pupils for generations.

The answer, of course, is that the Battle of Teutoburg Forest was fought at Teutoburg Forest, changing the course of Western Civilization. But where is that?

Now, for the first time, archaeologists say they have found eight gold coins which confirm the location was at a place called Kalkriese Hill … which is a short distance from the modern-day Teutoburg Forest.

Such a find is extremely rare, the researchers say, and this recent discovery at Kalkriese Hill expands the number of gold coins collected at the site by more than double the previous amount.

The coins featured images of the Emperor Augustus, with the imperial princes Gaius and Lucius Caesar on the back, and all date back to a period before the ancient battle. Thus they were carried by the legions into the battle.

The defeat of the crack troops, who were led to their deaths by ex-Consul Publius Quinctilius Varus, effectively changed the course of Western Civilization.

Prior to 9 AD, Emperor Augustus Caesar pursued a course of military expansion across the Rhine and into central and northern Europe. After 9 AD, the Rhine became the frontier between the "civilized" Roman world and the "barbaric" lands to the east and north.

Prior to becoming emperor, Hadrian himself had served a stint of duty along the Rhine. As emperor, he consolidated the borders of the empire and his forces never ventured across the Rhine into across-the-Rhine Germania.

Historians have always referred to the Battle of Teutoburg Forest as a defining moment which affected the course of history. 

It has even been cited as a factor in both world wars, especially by the French and British, who considered themselves to have a Roman heritage, as opposed to the Germans, whom war propagandists condemned as the descendants of barbarians.

As a result, Germany was never incorporated into the Roman Empire, leaving that region a breeding ground for barbarian incursions which eventually would bring down the empire and eventually (according to Allied war-time propaganda) result in two world wars.

Arminius, known as Herrmann to the Germans, has indeed come down through German history as a heroic symbol of liberty and German national strength. Herrmann turned back the Roman occupation forces forever, according to the popular interpretation by German nationalists. 

In the late 19th and early 20th Century, unscrupulous German leaders used Hermann as a rallying figure in wars of aggression.

A monument near the site of the Teutoburg Forest battlefield celebrates Herrmann as a national hero. Thousands of German tourists visit the site annually. And the regional soccer team (in Bielefeld) is called Bielefeld Arminia. "Armin" is a popular name for German boys to this day.

Archaeologists in recent years have determined the exact location of the battle near the modern village of Engter north of the city of Osnabrueck. Bones, weapons and armour from the fleeing soldiers of the XVII, XVIII and XIX Legions are strewn along a narrow 17-km-long stretch of marshy woodlands bounded by confining hills to the north and south.

Now the coins definitely confirm that location.

Arminius had been educated in Rome and had become a trusted friend of Varus. The idea was that raising future chieftains in Rome would bond them to Rome when they returned to their families on the frontier.

Arminius was an example of how that policy could backfire and result in knowledge of Roman ways being used against the Romans. Arminius ingratiated himself with Varus, who was one of the most influential men in Rome, a friend of Augustus Caesar himself. 

It was that trust in Arminius which resulted in Varus leading a punitive expedition into an indefensible, boggy forest without sentries or reinforcements ... on advice of his trusted friend Arminius.

In the resulting massacre, Roman soldiers fled for their lives. Most were cut down in the mud. Blue markings in the graphic show where Roman bodies and armament have been found. 

Those who survived were sold into slavery or else were placed in wicker cages and burned alive as sacrifices to the Germanic deities. 

Reports of the battle are sketchy for the simple reason that almost no one survived to report what had happened.

Never before had three entire legions been wiped out in a single battle. The defeat was so devastating that the numbers of the Legions XVII, XVIII and XIX were retired forever, never again to appear in the Roman Army's order of battle. 

Augustus was so traumatized by the loss of three elite legions that he went into a prolonged state of mourning as though for a beloved son ... he tore his clothes, refused to cut his hair for months and, for years afterwards, was heard to moan from time to time, "Quintilie Vare, legiones redde!" ("Quinctilius Varus, give me back my Legions!").

This scene from the epic BBC/PBS mini-series I, Claudius dramatically recreates how Augustus received the news: