ON the 13th of 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.
THE birthday of Antinous is November 27 and worshipers all over the world are planning celebrations.
But some people are unable to celebrate as expansively and as joyously as they would like.
We received the following succinct smart phone message yesterday from a very dear adherent of Antinous in the American Bible Belt who said:
"I am a bit envious that you get to celebrate his birthday openly. I've got two straight housemates. Oh well ... maybe some day ...."
And like many people, he also has to work on that day ... and others have to work perhaps at two jobs to make ends meet. And then there are the people who just don't have the money or the facilities for a formal celebration.
There is a common misconception that you need to have a large and elaborate ALTAR OR SHRINE in your home. But the truest shrine is in your heart. You can download a photo of Antinous and put it in your wallet ... and it truly becomes Antinous the Gay God if you see HIM in it.
A shrine or sacred image of Antinous can be very SMALL AND MODEST.
The Ancient Priests of Antinous were experts in such things ... though 1,800 years of Christianity has resulted in that knowledge having become lost for the vast majority of people in Western civilization.
For the Ancient Priests of Antinous, what existed on the physical level drew to itself the specific spiritual energies of which the physical form was a type.
For the Magical Consciousness, every ritual action done on the physical level, every form created, every word spoken or written, acted as the magnet to which its spiritual counterpart irresistably was pulled.
Thus, a consecrated image of Antinous is not an "idol" and his worshippers are not "idolators."
Why not?
Because an idol is a physical object and nothing more than a physical object. The statues of Antinous were not "idols" because the Ancient Priests of Antinous could never have conceived of such a notion. It is important that we remember that the Ancient Priests of Antinous conceived of a world which was ... unlike our own ... an ANIMATED world from the beginning. Everything in their physical world was alive with spiritual dimensions.
They didn't PROJECT a spiritual entity into a hunk of carved marble. Instead, they APPREHENDED the spiritual entity that was already inside the stone.
Anybody who has been around our own FLAMEN ANTONIUS SUBIA has seem him use his Inner Eye to do the same thing. He will look at a statue of a "Greek Ephebe" and will look inward for a moment and then will say, "It's Antinous!"
Some have criticized him for doing this, saying he can't possibly know the provenance of the statue and whether it was perhaps actually supposed to be Hermes or someone else. Antonyus uses his Inner Eye and "sees" the spiritual Blessed Boy in the stone ... or says it is not Antinous, as the case may be.
The Ancient Priests of Antinous did the same thing in carrying out religio-magical services for the faithful. Not only could a physical image (whether two-dimensional or three-dimensional) provide a "body" for an already existent spiritual entity, but images could also become the spiritual base for "thought forms" that were called into existence through their being represented in miniature on the physical plane.
The Ancient Priests of Antinous were deeply aware of the interdependence between the Divine World and the Human World. In the times in which they lived, these two spheres were not experienced as separate from each other in the way that they have come to be experienced today.
"As Above, So Below" was not just a catch-phrase for them, but instead it was a way of life.
It is our goal in this distant, soulless, post-modern age, to rediscover this ability to live in relationship to, and act as a conduit for, Antinous the Gay God.
We cannot recreate the ancient religion of Antinous. It is dead and we human beings have developed in other directions. We are not attempting to "reconstruct" the Religion of Antinous. Our goal is to fashion a Religion of Antinous which meets the spiritual needs of post-modern, post-Christian and post-pagan gay men.
But we can learn from the Ancient Priests of Antinous. The cosmos of which they were aware was primarily spiritual and only secondarily material. In their physical world, everything was spiritually alive ... even soft-toys, coins and bronze (or maybe brass) statuettes bought on eBay ... even a downloaded photo in a hip wallet.
The main task of the Ancient Priests of Antinous was to build a magical bridge between physical and spiritual reality, momentarily bringing them into conjunction.
So the answer to the question "Is that image really Antinous?" would be answered this way by an Ancient Priest of Antinous: "It is so if you MAKE it so. Open your eyes to the 'Antinous Within'. Apprehend HIS presence which is already inside the earthly reproduction. Through you, then, it IS Antinous!"
HOMOTHEOSIS ... Gay-Man-Godliness-Becoming-the-Same.
You don't need to build a temple of steel, stone and glass. You ARE the temple.
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.
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 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.
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.
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.
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!
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).
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 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.
English: Memento Mori Roman mosaic from Pompeii representing the Wheel of Fortune. The wheel turns. Rich people (symbolized by the purple cloth on the left) become poor. Poor people (symbolized by the goatskin at right) become rich. Both conditions are very precarious. Death is in the balance. Death hangs by a thread: when it breaks, the soul (symbolized by the butterfly) flies off. And thus are all made equal.
Português: 8 de novembro na Roma antiga foi Mundus patet: o dia em que o portão do submundo está aberto e mortos voltar para nós. Mosaico romano de Pompéia representando a Roda da Fortuna. A roda gira, os povos ricos (simbolizados pelo pano roxo na esquerda) tornam-se pobres. Os pobres (simbolizados pela pele de cabra à direita) se tornam ricos. Ambas as condições são muito precárias. A morte é o equilíbrio. A morte pendura por um fio: quando quebra, a alma (simbolizada pela borboleta) voa fora. E assim são todos iguais.
Español: El 8 de noviembre en la Roma antigua fue Mundus patet: el día en que la puerta del mundo subterráneo está abierta y los muertos regresan a nosotros. Mosaico romano de Pompeya que representa la Rueda de la Fortuna. La rueda da vuelta, la gente rica (simbolizada por el paño púrpura en el izquierdo) hace pobre. Los pobres (simbolizados por la piel de cabra a la derecha) se hacen ricos. Ambas condiciones son muy precarias. La muerte es el equilibrio. La muerte cuelga por un hilo: cuando se rompe, el alma (simbolizada por la mariposa) vuela. Y así se hacen iguales.
Français : La mosaïque représente la Roue de la Fortune qui, lorsqu'elle tourne, peut faire du riche (symbolisé par l'étoffe pourpre à gauche) un pauvre, et du pauvre (symbolisé par la peau de chèvre à droite) un riche ; en effet chaque état est très précaire, la Mort est aux aguets à tout moment, et la vie tient à un fil : lorsque ce dernier rompra, l'âme (symbolisée par le papillon) s'envolera. Et tout le monde sera sur un pied d'égalité.
Italiano: Questo mosaico romano rappresenta la ruota della fortuna che, girando su se stessa, può far diventare povero il ricco (simboleggiato dalla stoffa purpurea a sinistra) e ricco il povero (la pelle di capra a destra). Ma l'equilibrio è molto precario: la morte è in agguato in ogni momento e la vita è sospesa ad un filo: quando il filo si spezzerà, l'anima (raffigurata come una farfalla sotto il teschio) volerà via. E, a quel punto, tutti gli uomini saranno uguali.
Deutsch: Das römische Mosaik repräsentiert das Glücksrad / Rad der Fortuna, das wenn es sich dreht die Reichen (symbolisiert durch das purpurrote Tuch links) arm machen kann, und die Armen (symbolisiert durch das Ziegenfell rechts) reich machen kann, aber alles ist sehr prekär, der Tod lauert zu allen Zeiten, und das Leben hängt an einem Faden: wenn dieser reißt, fliegt die Seele (symbolisiert durch den Schmetterling) davon. Und alle werden gleich gemacht.
ANTINOUS says: Instead of wallowing in despair, I offer hope: Please embrace your LGBT friends, your non-white friends, your female friends, your non-Christian friends. The USA says they are unimportant ... Antinous diz: Por favor abrace seus amigos LGBT, seus amigos não-brancos, suas amigas, seus amigos não cristãos. Os EUA dizem que não são importantes ... Antinous dice: Por favor abrace a sus amigos LGBT, sus amigos no blancos, sus amigas, sus amigos no cristianos. Estados Unidos dice que no son importantes.
WE are thrilled to announce that Italian archaeologists have returned to the Sacred City of Antinous, the glorious city of ANTINOOPOLIS in Egypt to resume archaeological digs.
In 2017 American experts from Chicago discovered a mysterious, "deliberately buried stone structure" as well as an extraordinary temple CORNICE STONE which mentions the name of Antinous along with Hadrian, Empress Sabina, the goddess Hathor and intersex Nile inundation deity Hapi.
THE city of Antinoopolis was so wealthy that residents buried their dead in a "second skin" of precious gold leaf, turning each mummy into a veritable golden statue, archaeologists say.
People who lived in the city, also called Antinoé, during the hey day of the religion of Antinous routinely covered every square inch of the skin of their dead loved ones with precious gold leaf. Even lips and eyelids were lovingly sheathed in gold by the embalmers during the mummification process.
As the Religion of Antinous waned and was replaced by Christianity, the gilded-skin practice went out of fashion, but was replaced by shrouds of the most exquisitely embroidered linens and ornate Byzantine jewellery.
The amazing revelation comes from a stunning French documentary film entitled LE MYSTÈRE DES MOMIES COPTES D'ANTINOÉ (Secrets of the Antinoé Coptic Mummies) which aired this week on the French-German cultural TV network ARTE.
Antinoopolis became renowned around the world in 1896 when the French archaeologist Albert Gayet began exploring the vast necropolis burial grounds south of Antinoopolis. An estimated 40,000 mummies were buried in the Antinoé necropolis.
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 woollen 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 at age 60, impoverished and embittered after having spent 20 years of his life trying to raise funds for further exploration of Antinoopolis.
Gayet's dream of a "Musee d'Antinoé" in Paris died with him.
One hundred years later, at the end of the 20th Century, experts discovered that only 39 of Gayet's mummies had survived the rigors of time. For the past 15 years, the experts have studied these mummies to unlock the secrets of Antinoopolis.
What they have found is proof that Antinoopolis was a very rich city from its founding in 130 AD up until the Islamic onslaught in the 7th Century AD.
"All of the mummies indicate a very high standard of living," says Louvre Chief Curator Yannick Lintz. "They had had a healthy diet during their lives and had no indication of having had stunted growth or chronic illness. We knew that Antinoé had been an important city, but now we have proof that it was very prosperous indeed for 500 years."
The film provides never-before-seen footage of efforts to restore the famous Basilica of Antinoé by an Italian team of archaeologists headed by Rosario Pintaudi.
As the cameras roll, Pintaudi and his crew raise a column at the Basilica to the upright position where it originally stood at least 1,700 years ago. The column had been in pieces and represents the turbulent religious history of the Sacred City.
The base of the column is a stone with incised reliefs from the time of Ramses II in 1400 BC. The column itself has an inscription honoring Emperor Hadrian from the 2nd Century AD. And graffiti chiseled onto the upper parts of the column dates from the Christian era in the 5th Century AD.
"The history of Antinoopolis is the history of using existing stone buildings to build new structures. Each new religion re-used stone from monuments to earlier religions," says Pintaudi.
"Antinoopolis was a major center of religious thought in Egypt for at least 500 years, and the vying religious sects and groups variously lived, fought and coexisted with each other all of that time," says Pintaudi. "It was and continues to be a very extraordinary city indeed."
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 leaf, turning 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.
“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.
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.
“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.
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.”
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:
WHEN Hadrian fell in love with our god, he brought Antinous to Rome and cultivated the beautiful youth 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.
