The Lotos-Garland of Antinous by John Addington Symonds

The Lotos-Garland of Antinous
by John Addington Symonds

Behold a vision of the world-old Nile—
Of porch and palace-tower and peristyle
Glassed in the oily current smooth and calm,
With many a fringéd mile of sultry palm
Shimmering in noonday sunlight! O the roar
Of the full-voiced swart-visaged swarming shore,
As the gilt barge, with flash of oars, and cry
Cast on the waters of shrill minstrelsy,
Down the broad tide bears Adrian the king,
Lapped in luxurious ease and winnowing
All husk of hard thought from his heart this day—
So men surmise—to laughter given and play!

Lo the full sails of Tyrian silk out-spread
Like wings of wildest plumage overhead;
The cedar masts with crusted pearl and scale
Of Indian beetle rough; the bellying veil,
Star-sprent, gold-dusted, hyaline in hue,
That tempers like a mist the burning blue
Ofthose bronzed heavens; the heavy-scented flowers,
Plucked from what dim mysterious temple bowers
Deep in the dewy twilight—tuberoses,
Starred jasmines, lotos, crimson chalices
With myrtles woven! Mid that bloomy sea
Are girls, half-seen, reclining dreamily;
Some white as swans unruffled, pure and cold;
Some glowing with the delicate dim gold
Of amber, warm on throat and neck beneath
Black heavy coils of lustrous curls that wreathe,
Snake-like, smooth temples. O the subtle stir
Of laughter and of little feet, the whir
Of fans like night-moths fluttering, mid the wild
Voices of choiring boys, that naked piled
On Persian broidery, to the sound of flute,
Viol and fife and soul-subduing lute,
Make music, piercing shrill and sad and clear
With yearning memories the drowsy ear!

On glides the flashing galley. But the king,
In Roman strength austere, each goodly thing
Serenely reckons. He hath felt the glare
Of shadeless deserts; by the Libyan lair
Of lions hath out-watched the fiery day,
Patiently waiting for his royal prey:
The clash of arms he knows, the thirsty march
O’er sands with wormwood set, where fevers parch
Black lips and tongue, and hollow eyes grow dim:
No Syrian wreath or crown of rose for him
The circlet of the Empire! And behold,
This morn in Theban temples dusk with gold,
While spiry flames from smoking altars flew,
And incense clouds voluminously blue
Sun-proof involved those columned aisles, the seer
Foaming with eyes fixed on the unseen Fear,
A rede of death enwrapped in riddling gloom
Had uttered:—yea, that even for him the doom
Of icy death, unless some spirit free
Of man or boy, unbought, might willingly
Yield life for life, amid the dance and feast,
When hollow-eyed grim Death seems last and least,
Lurked shadow-like. So spake the shuddering priest.
And Adrian heard; yet trembled not, but read
As in a book the doom of Rome dismemberèd:
For on his life alone the Empire hung;
And to his single strength the nations clung,
As clings a vine with leaves and weighty fruit
To some strong pine’s stone-circling massy root.

And none but Adrian heard—save one who stayed
Beside him; one in whose quick pulses played
Fire of free life imperious; a boy
Of nineteen summers, framed for power and joy.
Crisp on his temples curled the coal-black hair;
White myrtle flowers and leaves were woven there:
His eyes had solemn light in them, and shone
Flame-like ‘neath cloudy brows: his cheeks were wan
With passion; and the soul upon his lips,
Smouldering like some fierce planet in eclipse,
Breathed fascination terrible and strong,
As though quick pride strove with remembered wrong.
But oh! what tongue shall tell the orient glow
Of those orbed breasts, smooth as dawn-smitten snow;
The regal gait, processional and grand,
As of a god; the sunny-marble hand,
Grasping a silk-enwoven cedar-wand?
He heard, Antinous! and in his breast
His heart leaped, and his flaming eyes confessed
The fervour of his spirit; still and calm
Standing the while, like some full-fruited palm
Tall by a river-bank. Then forth they went,
The youth divine and royal victim, blent
In silent awe and blind bewilderment.
Down to the Nile they came, and eager men
Pressed round them myriad-voiced with wonder: then
Taking their barge, upon the stream sailed forth,
Downwards all day steering by West and North.

All day the lazy ripple to the prow
Whispered; and all day long by palms arow,
By cities populous with blazing quays,
By tracts of flowering bean and verdant maize,
They glided. Towers and temples sunny bright,
Like mirage in the desert, swam from sight
Behind them; and the wild tumultuous noise
Of nations shouting with a single voice
Grew fainter on the current. All day long,
Lulled to a slumberous symphony of song,
Sails flapped, oars flashed, and boys and maidens made
Cool music in the silken scented shade.
But Adrian dreaming lay, and at his side
Antinous with large eyes blank and wide
Lay dreaming. Thus adown the sleepy tide,
As in a trance toward Lethe through still air,
Lost to the joy of living did they fare.

But now the sun who all day long had driven
His glittering chariot o’er the enamelled heaven,
Began to wester. Level smote his rays,
A furnace-fire of splendour; and the blaze
Burned upon stream and city: in its fire
The pillared shrine and solitary spire,
Tall cypress or thick tamarisk-tangle, swam
Like clouds you scarce can see amid the flame
Of sunset; and the whole vast concave through,
Across the light-irradiate airy blue,
Ran conflagration. Then, ere day was dead,
The slaves who had that service came and spread
The Emperor’s table; and Antinous rose,
For his it was before the banquet’s close
To bear the wine-cup, at his master’s knee
Like Ganymede serving imperially.

He rose, and from his shoulder’s ivory
The veil fell fluttering to his rounded thigh:
Naked he stood; then on his forehead set
A crimson wreath of lotos, cool and wet,
Fresh from the tank, with ivy mixed; and bound
Roses about his breast; and from the ground
A tendril-tangled thyrsus raised, and flung
The quivering leaves aloft that clasped and clung.
Next half the lustre of his limbs he hid,
Like some night-reveller or Bassarid
Fresh-flown from Indian thickets, with the fur
Of panthers streaked and spotted, sleek with myrrh
And musky-fragrant. In his hand a bowl,
Carved of one beryl, soft as if a soul
Throbbed in its flush, he took, and called his crew.
They to their Bacchus with loud laughter flew,
Tossing flame faces, twinkling tiny feet
In measured madness to the timbrel’s beat—
Wild hair behind them flying, loosened zone,
And flowers about their flanks for girdles strewn.
Girls were they, girls with vine-leaves garlanded,
Or jasmines white as their own maidenhead!
Boys too; ye gods, the beauty of those boys,
Lithe as young leopards! the soul-thrilling noise
Of their shrill voices!—Bells are at their feet,
And silver armlets, tinkling as they meet,
Make the air mad.

Behold, in such wild glee,
With dance and music and with witchery,
Paced forth the youth, for whom it seemed that all
His life to come might be one festival.
Yet in his soul was sadness. Well he knew
That ere those lotos-flowers had lost their dew,
He forth would fare upon the dismal way
Of dying.—Thus of many thoughts that day
This one had triumphed: he would die to shield
Adrian from death, if so the doom revealed
By god-sent oracles might be withdrawn
From that great head.—Like Phosphor in the dawn,
Solemn he was and tender; larger eyed,
Of more majestic stature; and his wide
Bare bosom swelled with nobler weight of thought
Than e’er within his heart had yet been wrought,
Since from his fields Bithynian and the play
Of childhood, on a lustrous night of May,
He had been borne by pirate hands, and woke
To weep his mother.

Through the awning broke
The clear-voiced choir; but Adrian in good sooth
Rose from his pillowed couch to greet the youth,
So proudly paced he: and the dying sun,
Shooting that moment from low vapours dun,
Transfigured all his face; and in the glow
The ruddy lotos-flowers upon his brow
Blazed ruby-like, and all his form divine
Blushed into crimson, and the crystalline
Bowl of the gleaming beryl flashed, and dim
With dusky gold the fur that mantled him,
Spread tawny splendour. So he stood and smiled,
Bending his crowned head, like a god who, mild
To mortals, will be worshipped. Such a sight,
So framed, so sphered in music and sunlight,
Had ne’er in court or theatre or grove
Fashioned by Nero for his insolent love,—
Nay ne’er in Syrian valleys where the Queen
Mourns for her lost Adonis, on the green
Of Daphne or of sea-girt Tyre been seen.

He spake: ‘To thee, in semblance of a god,
To thee supreme, who Jove-like with thy nod
Scatterest states and kingdoms, lo! I come
Bearing strong juice of Bacchus. See the foam
Leaps in the crystal for thy lips, and red
As rose or maiden in her bridal bed,
Glows for thy kisses! Health for thee, my king,
Health and long life within the cup I bring.
Yea, were it mine, this youth thou thinkest fair,
(Fair in thy thought, for verily whate’er
Thine eyes have praised, is fairest,) were it mine,
Brief as it is, scarce worth one thought of thine,
(For lo, it blooms to-day, to-morrow dies,
Nay even now is fading, as the skies
Fade after sunset)—were it mine to give,
Thinkest thou, king and master, I would live?
Were it not well to die for thee, and know
There in the scentless myrtle bowers below,
That thou wert living this new life? What breath,
How sweet soe’er, were sweeter than such death?
Nay, Lord, I flatter not. This is no smile
Of hollow semblance on false lips to wile
Kind speech from thee, much prized by us who serve
For could I, from this will I would not swerve!’

Thus spake Antinous, and the table round
Murmured approval; for the honeyed sound
From those calm lips on idle ears like dew
Fell with fresh fragrance and a pleasure new.
Sophists were there, whom Adrian fed, and they
Clapped loud applause, averring the long day
Had kept till eve her flower of perfect speech:
For such fine flattery, like the perfumed peach
Most subtly flavoured, could no palate cloy.
Thus clamoured they, wine-wanton; but the boy,
Bending his lilied brow beneath the wand,
And kneeling to his master, with one hand
Lifted the cup:—a lotos falling stirred
The wine refulgent; then, without a word
Or smile, he raised the sunlight of his face.
But Adrian drank, keeping the flower to grace
His wreath; and bade Antinous take the bowl
Of beryl. Then he turned with graver soul
To some grey counsellor beside him placed;
And the cup-bearer with his revel passed
Forth from the tent imperial.

Lo, the West
Bathing with liquid lustre brow and breast—
Lustre of orange, amber, green and blue,
Glassed on the waves, and gemlike in the dew
Of heaven translucent; the cool breeze that flew
Past silken sail and tent-roof; the black bars
Of palm-groves and of porches; shimmering stars,
And the low moon to eastward, pearly pale
Mid roseate refluence! In one woven veil
Of varied hues the universal world
Seemed by some hand omnipotent enfurled,
Where in the midst the barge, a moving spark
Herself of light, yet mid such splendour dark,
Slept on her shadow. And was this the night,
Centre of all things fair, for thee to blight
Thy blossom with cold frost of death—to die,
Sweetest of all sweet things beneath the sky?

The decks were vacant, as at even-tide
Of chills and sudden dew-fall. Free and wide
The sandal planks thick-matted with bright wool
And furs and flowered embroideries beautiful,
Spread for his pacing; and the lazy plash
Of rippling waves that round the galley wash,
Cooled the clear air. He went as in a dream
Forth to the prow, land o’er the luminous stream
Leaned; and behold, a golden lamp up-borne
By Isis (on her brow the sacred horn,
And at her waist the lotos, leaf by leaf,
And flower by flower, twined in a jewelled sheaf
Of lilies) cast a glimmer pure as pearl
On the veined marble of the watery swirl.
Here stayed Antinous, while the darkening west
Deepened from crimson into amethyst,
From fire to blood-red orange thin and still,
Under faint streaks of tenderest daffodil
Which faded. Soon, as drops of fiery dew
Gleam on a withered primrose, so there grew
Forth from this pallor the intensest glow
Of Hesper’s love-star: tremulous and low,
Poised o’er the palms, he panted; and his beam
Danced like a living lamp upon the stream.

Then spake Antinous: ‘My hour is nigh!
Night cometh, and the guardians of the sky
Illume their cressets!’ So he rose and spread
The panther skin and thyrsus, and the red
Wreath of dead lotos laid upon the ground:
Next in his hand the bowl of beryl, crowned
With roses, from a gleaming golden jar
He rilled; and gazing at the level star,
Thrice made libation, crying: ‘Father Nile,
And Isis and Osiris! ye who smile
On mortal births and burials! lo, I give
My life for Adrian’s! Wherefore should I live?
Have I not learned to trail my manhood’s pride
In the world’s golden gutters?—Like a bride,
Sumptuous with sacrifice and pomp and choir,
Forth from the doors I issued; and the fire
Of Flamens shone to light me: now, alone,
With saffron veil unbound and broken zone,
My blossom withered, lo, a wanton’s doom
Awaits me, or the purifying tomb!—
Nay, even now I weary. Day by day
It irks me to consume the hours with play;
Hearing soft speeches, propped on pillowed down,
To gather smiles; or, when I choose to frown,
Drink womanish tears. Better I ween were strife
With lions than this fulsome flower of life!
And when the flower is faded, what remains?
Yea, heaven, I thank thee: lo, the little pains
Of dying bring me guerdon of great gains!
For in my bloom I perish, having bought
Unending honour. What I give, is nought
But a mere piece of boyhood thrown away:
While he, the Emperor, lives. Even so. This day
Dates a new aeon in the age of Rome;
Wherethrough, a name for ever, in the dome
Of people’s praises, I shall pace, and be
Equalled with heroes in mine infamy!
Nay, what on earth more godlike? I have heard
Of soldiers dying at a general’s word;
Of patriots who drained their hearts to save
A nation: they beside their fathers’ grave,
Before their city walls and smoking shrines,
Fell on the long resounding foeman’s lines
And perished: this was easy; yet they bore
Victorious crowns and hymns for evermore.
But I, what city or what home have I?
What duty, dear or sacred, bids me die?
A slave—the toy and bauble of a king,
Picked from the dust to play with—a cheap thing,
Irksome as soon as used—a cup to sip,
Then fling with loathing from the sated lip!—
Therefore I die more nobly. Where are ye,
My father and my mother, and the glee
Of brothers and of sisters, who were dear
Far off in years forgotten? Not one tear
Shall your calm unfamiliar eyes let fall
For me.—How like a gilded dream is all
The life that I have lived in glorious Rome!
How like a dream it leaves me!—Lo, I come,
Ye awful, soul-exacting, pitiless Powers!
Prepare your laurels and the moony bowers
Of myrtles! Not ignoble, not a slave,
I perish, but of mine own will, to save
The Father of the Empire.—I have seen
In Roman theatres the dying queen
Of weak Admetus, pale Polyxena,
Cheiron, Menoikeus; and the people, ah!
The people how they shouted! Tears and cries
Greet even an actor when he nobly dies:—
Will not the people of the unnumbered dead,
Showering their pallid crowns upon my head,
Nobly receive me noble, dying thus,
Calm in my strength, young, proud, luxurious,
Not torn by pangs, not wasted, not outworn,
But in my splendour?’

As he spake, a horn
Shrilled through the twilight; and he saw the tower
Of Besa, where that night they tarried, lower
Dusk o’er the champaign. Speechless from the bark
He dropped: she onward glided o’er the dark
Breast of the glimmering Nile with lamp and light:
He through the mirrors of the cool black night
Unruffled, dying drifted; and his death
Was seen by no man. Nay, there lingereth
Old legend in the town Antinoë,
Called by his name, a fair town and a free,
How that a flight of eagles from the sky
Down swooping, bore him, rosy breast and thigh
Lustrous like lightning on their sable plumes,
Up to the zenith, where, a star, he blooms
In that bright garden of the grace of Jove,
The martyr and the miracle of love.—
Of this the truth we know not; but we know
That in the town of Besa, where the flow
Of Nile is stayed upon the eastern bank
With wattles and with osiers, for a tank
That draws therefrom through sluices deep and wide
The living waters of the sacred tide,
There in the morn was found as though asleep,
The perfect body of the boy; and deep
Around him, known not till that day, there grew
Great store of lotos flowers, red, white, and blue,
But mostly rose-red, flaming in his hair,
And o’er his breast and shoulders floating fair,
And with his arms enwoven, pure and cool,
Screening his flesh from sunrise. Thus the pool
Burned with a miracle of flowers; but he,
Raised on their petals, pillowed tenderly,
And curtained with fresh leaves innumerous,
Smiled like a god, whom errands amorous
Lure from Olympus, and coy Naiads find
Sleeping, and in their rosy love-wreaths bind.


An Eighteenth Century Hymn/Prayer to the Gods by Mark Akenside (plus some Neoclassical Sculptures by Bertel Thorvaldsen)

Yes, there were even gay pagan poets in the 18th century. One of my obscure favorites is Mark Akenside (1721-1770), whose collected poems are available here via Project Gutenberg. According to the biographical introduction to his poems:
“Indeed, he [Akenside] never appears to have had much religion, except that of the Pagan philosophy, Plato being his Paul, and Socrates his Christ; and most cordially would he have joined in Thorwaldsen’s famous toast (announced at an evening party in Rome, while the planet Jupiter was shining in great glory), ‘Here’s in honour of the ancient gods.’” [More on Thorwaldsen below.]

Akenside was a lifelong bachelor (we all know what that often means), and was closely associated with his best friend (and sometimes patron), a lawyer by the name of Jeremiah Dyson. According to the 1911 Encylopedia Britannica: “His friendship with Dyson puts his character in the most amiable light. Writing to his friend so early as 1744, Akenside said that the intimacy had ‘the force of an additional conscience, of a new principle of religion’, and there seems to have been no break in their affection. He left all his effects and his literary remains to Dyson, who issued an edition of his poems in 1772.” This was the 1911 way of saying, “By the way, he happened to be gay and had a life partner.” An article on clarifies, saying that there was a circle of 18th-century gay men who joined together in ” a ‘little club’ formed in Leiden, Holland, that included the pre-Romantic English poet Mark Akenside and his lawyer-lover Jeremiah Dyson, and the group of European university students they fell in with.”

Biographical details aside, Mark Akenside wrote some beautiful neoclassical poetry. His (rather long) “Hymn to the Naiads” is justly praised as a remarkably early example of Pagan Romanticism, but the following hymn/prayer is especially lovely:

VIII. (From Inscriptions)
by Mark Akenside

Ye powers unseen, to whom, the bards of Greece
Erected altars; ye who to the mind
More lofty views unfold, and prompt the heart
With more divine emotions; if erewhile
Not quite unpleasing have my votive rites
Of you been deem’d, when oft this lonely seat
To you I consecrated; then vouchsafe
Here with your instant energy to crown
My happy solitude. It is the hour
When most I love to invoke you, and have felt
Most frequent your glad ministry divine.
The air is calm: the sun’s unveiled orb
Shines in the middle heaven. The harvest round
Stands quiet, and among the golden sheaves
The reapers lie reclined. The neighbouring groves
Are mute, nor even a linnet’s random strain
Echoeth amid the silence. Let me feel
Your influence, ye kind powers. Aloft in heaven,
Abide ye? or on those transparent clouds
Pass ye from hill to hill? or on the shades
Which yonder elms cast o’er the lake below
Do you converse retired? From what loved haunt
Shall I expect you? Let me once more feel
Your influence, O ye kind inspiring powers:
And I will guard it well; nor shall a thought
Rise in my mind, nor shall a passion move
Across my bosom unobserved, unstored
By faithful memory. And then at some
More active moment, will I call them forth
Anew; and join them in majestic forms,
And give them utterance in harmonious strains;
That all mankind shall wonder at your sway.


And speaking of Neoclassicism . . . the Thorwaldsen making a toast to the ancient gods in the above quote is the great Danish-Icelandic sculptor, Bertel Thorwaldsen [aka Bertel Thorvaldsen], who created some incredibly beautiful (and often homoerotic) Neoclassical statues. Below are some of my favorite examples (as always, all photos were found on the web and none were taken by me):

Ganymede Waters Zeus as an Eagle by Bertel Thorvaldsen. Located in the Thorvaldsen Museum, Copenhagen.

Bertel Thorvaldsen. Mercury. Marble Thorvaldsen Museum, Copenhagen, Denmark

Bertel Thorvaldsen: Adonis, 1808. The Thorvaldsen Museum, Copenhagen [photo by Bjørn Smestad]

Bertel Thorvaldsen: Cupid Triumphant. The Thorvaldsen Museum, Copenhagen

Bertel Thorvaldsen – Apollo [photo by Bjørn Smestad]

Bertel Thorvaldsen – Bacchus [photo by Bjørn Smestad]

Pagan in Paris: A Pagan Guide to The Louvre Museum

At this moment I am sitting on the balcony of a 12th-century chateau in the south of France, near the fortified city of Carcassone, in the middle of Cathar Country.  Swallows chirp and circle in the air over a beautiful vineyard.  Next door is a little park with Gallo-Roman grave monuments.  Wildstar and I are hosting a ten-person wine tour of the Langue d’oc region, visiting the vineyards of several amazing wine-makers, with side trips to villages in the surrounding area.  We’ve been incredibly busy so far, but our wi-fi is working and I must talk about the focus of my second day in Paris last week:  The Musée de Louvre.

The Louvre Museum is one of the most impressive museums in the world.  Frankly, it can be downright overwhelming as there is so much to see.  When we lived in Paris (from 2000-2005), I was blessed to be in my early 20s and therefore eligible to purchase the Louvre Carte Jeune, which was only 100 franc (later 20 euro) per year, and allowed anyone under the age of 28 to visit the Louvre at any time, bypass the line, and even visit the museum when it was otherwise closed to the public.  The Louvre became my second home.  I visited at least once a week, often more, where I would sit in the galleries and write (I wrote most of my first novel in this sublime environment).  This also afforded me ample opportunities to spend an entire day in a single room or section, enjoying the art at a leisurely pace, and most importantly (as a pagan), taking time to commune with the statues and pay homage to the deities and heroes they represent.

Which is not to say that it’s easy being a pagan at the Louvre.  So many of the classical sculptures are so impressive that one can’t help but feeling moved to pour a libation of wine onto the ground, leave an offering, or perform a full ritual before the sacred image.  Obviously, in a crowded public museum, with security guards and cameras everywhere, this is virtually impossible.  So we need to be creative, and instead find other more appropriate ways to honor the gods.  I call what I do “communing with the statues.”  I’m not sure if I can accurately describe something so intuitive and non-rational, but if you can understand the feeling of sitting on a beach or in a forest and “communing with nature,” then you can perhaps comprehend my process of communing with the statues.  These “objects” (and I use quotes here because they are so much more than that) are sacred images of the divine goddesses and gods.  They were created by artists who believed in the gods, who were capable of honing their creativity and skill to give a material form to their own visions of the divine.  The same feeling of reverence, the overwhelming shock of the sublime that I often feel in a beautiful landscape, is akin to my feeling for these statues.  And even in a crowded public place, that feeling can be shaped into a sacred moment, a genuine spiritual experience, in which we can communicate with and honor the gods.

I will often tune out the surrounding chatter and stand before a statue in silent prayer.  If there is a nearby bench in the room, I can sit in quiet contemplation, perhaps writing down my thoughts and impressions of the statue.  Artists may feel compelled to make a sketch of the statue, while my fellow poets may want to compose a hymn.  And there is nothing comparable to praying before one of these ancient statues, knowing that they are mediums between this world and the gods, and that you are not the only soul to have gazed upon the beauty of this human creation and perceived a glimpse of the divine.

If you are a pagan and have a chance to visit the Louvre, here are a few tips:

1.         You are not going to see everything.  It’s physically impossible.  The Louvre is the largest and most visited museum in the world.  I spent almost five years visiting the Louvre on a weekly basis and I still haven’t seen everything.  If you try to see too much in one visit, or spend too long without taking a break for lunch (or just a repose), you will become overwhelmed.  It’s almost too much beauty for the human mind and soul to take in at once. The sooner you accept this fact, the more enjoyable and positive your experience will be.  To put things in perspective, there are over 380,000 objects in the museum’s permanent collection (which doesn’t include rotating temporary exhibits).  If you wanted to spend one minute looking at every object, you would need to visit the Louvre for ten solid hours every day for nearly two years before you could see everything in the museum’s primary collection.  And considering you could spend hours contemplating a single painting or statue . . . you see the quandary.  You need to have realistic expectations and not get upset when you can’t see everything.

2.         Take your time.  Since you have accepted the fact that you cannot see everything, there’s no need to rush.  It would be better to take a few minutes (or longer) to truly appreciate and contemplate a single statue (or painting or objet d’art) than to rush through an entire room so that you can “see everything” without really taking anything in at all.  It’s like skimming a good book.  I have seen tourists (often my fellow Americans unfortunately) with a video camera pointing to the side at the walls, while they race forward, not actually looking at anything.  I don’t get it!  It would be better to just buy a few postcards, or art books, or even just look at high-quality images online!  A friend of mine used to tell a horror story about once witnessing an American mother and child at the Louvre.  The mother was a stereotypical American tourist (I’ll let your imagination fill in the aesthetically unpleasant details . . . I like to imagine the requisite fanny pack, stretch pants, cowboy hat, and the culturally offensive “Texas is bigger than France” t-shirt.  I think it was David Sedaris who asked, “Why do Americans visit other countries dressed like they’re there to mow the lawn?”).  She was rushing through the Louvre at a breakneck speed, with a video camera in one hand, dragging her poor child (a little boy of about eight or nine) in the other.  When the little boy stopped and said, “Mom!  Wait!  Look!  It’s the Mona Lisa!”, his ogress of a mother slapped him on the behind and barked, “You can see it on the video when we get home!”  Obviously, this is horrific on so many levels.  So take your time to contemplate and enjoy these sublime works of art, these cultural treasures, these pinnacles of human achievement.  Don’t be an ogress.

3.         Focus.  Choose a general area/topic to focus upon on your visit, perhaps two if you are feeling ambitious and have both the stamina and willingness to take a break when you’re tired.  If you are pagan, the three primary collections you will probably most enjoy (from a spiritual standpoint) are  The Department of Greek, Roman, and Etruscan Antiquities, The Department of Egyptian Antiquities, and The Department of Near Eastern Antiquities.  That being said, the Italian Renaissance paintings and sculptures are justly famous, and many (especially the sculptures) involve classical themes.  And many of the large-scale 18th and 19th-century neoclassical French paintings will also be of interest to Hellenists and Latinists.  The Dutch masters, Napoleon’s opulent salon, and sections on subjects ranging from Islamic Art to the Medieval Decorative Arts are all valuable and worth seeing.  But there’s just not time to do everything.  So pick a department or two, perhaps find a few specific works of art you definitely want to see, and plan your route in advance.  To give you one example, last week I spent over six hours at the Louvre (which is honestly more than I would recommend for most people) and I only saw a small portion of the Greek and Roman Antiquities collection (not even half) and nothing else.

4.         Be aware that the items on display are constantly changing.  The Louvre collection is so huge that everything cannot possibly be on display at the same time.  Many amazing and important works of art are on loan to other museums, in storage, or located in a hall that is closed or under renovation.  This is *especially* true of the Greek and Roman antiquities section.  Due to room closures and renovation, right now *less than half* of the classical sculptures that were on display twelve years ago are on display now.  This means that many significant works of art are just not available.  I was honestly shocked during this visit to see so many room closures, with several giant halls of precious statues wrapped in plastic and unavailable to the public, including many, many iconic statues of the gods.  So try not to be too disappointed if the Ares Borghese or Braschi Antinous are nowhere to be seen.

All that being said, here are some highlights from my visit last week.  This post is fairly enormous, so I’m going to spare you the commentary and just put up photos.  As I’ve said previously, I am not a photographer, so all of these photographs (and accompanying descriptions, which vary in quality and detail) are from the Wikimedia Commons.

Statue of the type of Apollo Sauroctonus (lizard-killer). Roman copy from the AD 1st century (?) after a Greek original of ca. 350 BC with 17th and 18th century restaurations. Found in Rome, 17th century (?).

Artemis of the Rospigliosi type. Marble, Roman artwork of the Imperial Era, 1st–2nd centuries AD. Copy of a Greek original, maybe the bronze group mentioned by Pausanias (I, 25, 2), which represented a gigantomachia.

Artemis with a hind, better known as “Diana of Versailles”. Marble, Roman artwork, Imperial Era (1st-2nd centuries CE). Found in Italy.

The three Graces. Marble, Roman copy of the Imperial Era (2nd century AD?) after a Hellenistic original. Restored for a large part in 1609 by Nicolas Cordier (1565-1612) for Cardinal Borghese.

Drunken Silenus. Parian marble, Roman artwork of the 2nd century CE. May be inspired by the Pouring Satyr by Praxiteles.

Sleeping Hermaphroditus. Hermaphroditus: Greek marble, Roman copy of the 2nd century CE after a Hellenistic original of the 2nd century BC, restored in 1619 by David Larique; mattress: Carrara marble, made by Gianlorenzo Bernini in 1619 on Cardinal Borghese’s request.

Statue of Aphrodite, known as the Venus of Arles. Hymettus marble, Roman artwork, imperial period (end of the 1st century BC), might be a copy of the Aphrodite of Thespiae by Praxiteles. The apple and the mirror were added during the 17th century. Found in the antic theatre of Arles, France.

Nymph with a shell. Marble, Roman copy of the 1st century CE after the known Hellenistic type of a young girl playing a game of knuckle-bones. The head is antique but does not belong to the statue; left arm, right hand and shell are modern restorations, altering the original type.

Apollo, Roman copy of the Kassel type (original ca. 450 BC). Pentelic marble, early 2nd century AD (?), found in Italy.

Asclepios, god of medicine. Marble, Roman copy (2nd century CE) of a Greek original of the early 4th century BC, restored by the workshop of Bartolomeo Cavaceppi (?) in the 18th century. Found in Italy.

So-called “Velletri Pallas”: Helmeted Athena. Marble with traces of red colour, Roman copy of the 1st century CE after a bronze original of the 5th century. Found in 1797 in the ruins of a Roman villa near Velletri.

Capitoline Venus, after the Aphrodite of Cnidus. Marble, Roman artwork of the Imperial Era (2nd century CE). From Rome.

Crouching Aphrodite. Marble, Roman variant of the Imperial Era after a Hellenistic type: the goddess is raising her left hand towards her neck whereas the protype used to cross her arms on her breast.

Dancing satyr from the group “Invitation to the dance”. Roman copy (1st-2nd century CE) of a hellenistic original (2nd century BC) known by coins of Cyzicus (Asia Minor) and numerous copies (such as Louvre Ma 528). Found in Rome in 1630, it was heavily restored: a large part of the arms and legs, the cymbals and the tree trunk are modern. It seems that the satyr originally was beating time, snapping fingers in rhythm and using a kind of Greek castanets with his foot.

Eros stringing his bow. From the ruins of the Imperial Palace on the Palatine Hill, Rome.

Statue of Hermes. The identification is secured by the fragment of caduceus held in the left hand and the small holes bored into the hair to support small wings (now lost). Roman copy of the Imperial Era after a bronze original of the late classicism.

Portrait of Homer, known as Homer Caetani. Pentelic marble, Roman copy of the 2nd century CE after a Greek original of the 2nd century BC. From the Palazzo Caetani in Rome.

Lycian Apollo. Roman copy (Imperial era) of a Greek original.

Apollo carrying his kithara holds a phiale (flat cup) for Nike (Victory) to pour a libation in; they are standing on both sides of the omphalos. Marble, Roman copy of the late 1st century CE after a neo-Attic original of the Hellenistic era.

Nike (Victory) offering an egg to a snake entwined around a column topped with the Palladion; a warrior wearing helmet and armour has laid down his shield at the feet of the trophy and stands in a contemplative posture. Marble, Roman copy of the late 1st century AD after a neo-Attic original of the Hellenistic era.

Dramatic poet receiving drunken Dionysos, escorted by maenads and satyrs. Probably a votive relief dedicated by the winner of a theatrical contest. Marble, Roman copy (1st-2nd century CE) of a hellenistic original (late 2nd century BC?), found in Rome.

Young satyr playing the flute. Roman work of the 1st-2nd century CE . From Italy.

Silenus holding the child Dionysos. Marble, Roman copy of the 1st–2nd century CE after a Greek original of the late 4th century BC. From the Horti Sallustiani in Rome, 16th century.

Hermes agoraios and the Charites, relief of the Passage of Theori, from the agora of Thasos. Thasian marble with traces of polychromy on Hermes’ shoes and bronze ornaments (Hermes’ caduceus, fibulae), ca. 480 BC. Inscription: “To the Charites one may not sacrifice goat nor pig”.

Male torso, Parian marble, ca. 480 BC–470 BC, found in Miletus.

Athena of the Hope-Farnese type. Marble, Roman copy from the 1st–2nd centuries AD after a Greek original, probably the late 5th century BC bronze cult-statue of Athena Itonia (near Koroneia) by Agoracritos, described by Pausanias (IX, 34, 1). The antique head, of the Mattei type, does not belong to the statue.

Athena of the Athena Parthenos type. Parian marble (body) and Pentelic marble (head), Roman copy from the 1st–2nd century AD after the 5th century BC original.

Statue of an ephebe, traditionnally identified as Narcissus or Hyacinthus. Marble, Roman copy from ca. 100 AD after a Greek original of the late 5th century BC. Found in Italy

Statue of a youth with Phrygian cap, identified as Paris. Marble, Roman copy from the 2nd century AD after a Greek original. Found by Gavin Hamilton at Villa Adriana in Tivoli, 1769.

Dioscurus wearing the pilos, marble. From the northern area of the circus of Carthage.

Adonis. Marble, antique torso restored and completed by Duquesnoy.

Antinous as Aristaeus, god of the gardens. Bought in Rome in the 17th century by Cardinal Richelieu for his collections.

Statue of Dionysus. Marble, 2nd century CE (some restorations in the 17th century).

Bust of Antinous (117–138 CE). Modern copy after an original coming from the villa Adriana now in the Prado Museum.

Colossal portrait of Anrtinoos. The eyes and the attribute on the top of the head (uraeus or lotus flower?) were added on later. The bust was inserted into a body of a different material.

Statue of a goddess, probably Juno, restored as Urania. Marble, 2nd century AD (nose, mouth, neck, arms and feet are modern restorations).

Altar of the twelve gods. Original in Louvre, cast in Pushkin museum. Use unknown: maybe the brink of a well or an Zodiac altar. The object represents the twelve gods of the Roman pantheon, each identified by an attribute: Venus and Mars linked by Cupid, Jupiter and a lightning bolt, Minerva wearing a helmet, Apollo, Juno and her sceptre, Neptune and his trident, Vulcan and his sceptre, Mercury and his caduceus, Vesta, Diana and her quiver and Ceres. Marble, found in Gabii (Italy), 1st century CE.

Statue of Dionysus. Marble, 2nd century CE (arms and legs were heavily restored in the 18th century), found in Italy.

Narcissus, also known as the “Mazarini Hermaphroditus” or the “Genie of eternal rest”. The statue is composed of an antique funeral bust and of an antique lower part, assembled in modern times. Marble, 3rd century CE.

Statue of a male deity known as “Jupiter of Smyrna”. Found in 1670 in Smyrna (now İzmir in Turkey), the statue was brought to Louis XIV and restored as a Zeus ca. 1686 by Pierre Granier, who added the arm raising the thunderbolt. Marble, middle 2nd century CE.

Relief known as “the three Tyches”—Tyche is the Greek goddess of Fortune; since the Hellenistic period, each city has its own Tyche, represented with a crown of ramparts. This relief, found at the Via Appia, is known since the 18th century and belonged to the Borghese collections. It may come from the Triopius, the funeral complex built by Herodes Atticus for his wife Annia Regilla. Marble, ca. 160 CE.

Bust of Antinous as Dionysos; small holes bored into the hair used to support a metal ivy wreath. Marble, ca. 130 BC, origin unknown.

Mithras killing a sacred bull (tauroctony), side A of a two-faced Roman marble relief, ca. 2nd or 3rd century AD.

Side B (reverse) of a two-sided Mithraic relief. Found at Fiano Romano, near Rome “couché dans un petit réduit de briques” in 1926. White marble (H. 62cm, W. 67 cm, D. 16 cm) on a travertine base (H. 10cm, W. 76cm, D. 50cm). 2nd-3rd century.

This (reverse) face of the monument depicts a banquet scene. In the middle, a bull’s hide, of which the head and one hindleg are visible. Sol and Mithras recline on its side by side. Mithras holds a torch in his left hand and extends his right hand behind Sol. Sol is dressed only in a cape, fastened on his right shoulder with a fibula. Around Sol’s head is a crown of eleven rays. He holds a whip in his left hand and extends the right towards a torchbearer who offers him a rhyton. In the lower right is another torchbearer, with raised torch in his left hand. In his right hand, a caduceus held into the water emerging from the ground. In the middle, an altar in the coils of a crested snake. In the upper left corner, Luna in a cloud, looking away. Traces of red paint on the attire of Sol, Mithras and the torchbearers.


I am returning to the Louvre next Monday when we get back to Paris, and there’s one thing I wanted to ask all my pagan friends out there:  Any messages or prayer requests you would like me to make to the gods on your behalf?  As I tried to explain above, I spend time communing with the statues.  And every time I saw a statue of Antinous, I couldn’t help but take a moment and communicate to the statue (and consequently the god): “Antinous, I honor you. And I know someone named P. Sufenas Virius Lupus who honors you!  And I know someone named Kallimakhos who honors you!  May they be blessed.”  Whenever I saw a statue of Dionysos (or a member of his retinue), I said something similar on behalf of Sannion and Dver.  Likewise, at statues of Apollon on behalf of Dver, Lykeia, and Kallimakhos.  At statues of Zeus, I thought of Melia.  At statues of Eros, I thought of Ruadhan.  At the bust of Serapis, I thought of Edward (because of his gravatar!).  Artemis reminds me of Brendan.  At various altars of the Twelve Olympians I thought of many of you.  Thetis and various sea nymphs remind me of my mom.  I prayed and made a request to Asclepius on behalf of my friend Scarlett.  And so forth . . .

I didn’t ask anyone’s permission to do this, but it felt right, and I hope my actions didn’t offend anyone.  It’s just that there are so many of my fellow pagans out there, scattered all over the world, whose blogs and websites I enjoy, whose words (and songs and art) inspire me, and who I wish could have been there with me at the Louvre, honoring the gods together (even though I haven’t met very many of you yet!).  It’s not like the Louvre is a cathedral where I can light a candle in your name, so I took quite a few moments on this visit to think of you all and to send a personal message to the gods on your behalf (via these sacred statues), simply asking the gods to send you blessings.  If I overstepped, I sincerely apologize, as my intentions were positive!

Since I am returning next Monday, is there anyone out there reading this who would like me to “send a message” or make a prayer request to any specific deities (or heroes/heroines) on their behalf?  I would be honored to do so.  I’m not claiming to have any more or less of a connection to the gods than anyone else, and please let me be clear that I am *not* implying that we need ancient statues, temples, or anything special whatsoever to communicate with the deities.  The gods are always there, and I know they hear us.  It’s just that there’s something especially charged about these statues, and like I said earlier, it feels right.

I will mostly be in the Greek & Roman Antiquities section, but I am hoping I can spend some time in the Egyptian section as well.  Please let me know in the comments if you have any requests, and I will make another post when I can!

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