Product Code Database
Antinous, also called Antinoös, (; ; – ) was a Greek youth from Bithynia, a favourite and lover of the Roman emperor Hadrian. Following his premature death before his 20th birthday, Antinous was deified on Hadrian's orders, being worshipped in both the Greek East and Latin West, sometimes as a god () and sometimes merely as a hero ().Renberg, Gil H.: Hadrian and the Oracles of Antinous (SHA, Hadr. 14.7); with an appendix on the so-called Antinoeion at Hadrian's Villa and Rome's Monte Pincio Obelisk, Memoirs of the American Academy in Rome, Vol. 55 (2010) 2011, 159–198; Jones, Christopher P., New Heroes in Antiquity: From Achilles to Antinoos (Cambridge, Massachusetts & London, 2010), 75–83; Bendlin, Andreas: "Associations, Funerals, Sociality, and Roman Law: The Collegium of Diana and Antinous in Lanuvium (CIL 14.2112) Reconsidered", in M. Öhler (ed.), Aposteldekret und antikes Vereinswesen: Gemeinschaft und ihre Ordnung (WUNT 280; Tübingen, 2011), 207–296.
Little is known of Antinous's life, although it is known that he was born in Claudiopolis (present day Bolu, Turkey), in the Roman province of Bithynia et Pontus. He was probably introduced to Hadrian in 123, before being taken to Roman Italy for a higher education. He had become the favourite of Hadrian by 128, when he was taken on a tour of the Roman Empire as part of Hadrian's personal retinue. Antinous accompanied Hadrian during his attendance of the annual Eleusinian Mysteries in Athens, and was with him when he killed the Marousian lion in Roman Libya, an event highly publicised by the Emperor. In October 130, as they were part of a flotilla going along the Nile, Antinous died amid mysterious circumstances. Various suggestions have been put forward for how he died, ranging from an accidental drowning to an intentional human sacrifice or suicide.
Following his death, Hadrian deified Antinous and founded an organised cult devoted to his worship that spread throughout the Empire. Hadrian founded the city of Antinoöpolis close to Antinous's place of death, which became a cultic centre for the worship of Osiris. Hadrian also founded games in commemoration of Antinous to take place in both Antinoöpolis and Athens, with Antinous becoming a symbol of Hadrian's dreams of pan-Hellenism. The worship of Antinous proved to be one of the most enduring and popular of cults of deified humans in the Roman empire, and events continued to be founded in his honour long after Hadrian's death.
Antinous became a symbol of male homosexuality in Western culture, appearing in the work of Oscar Wilde, Fernando Pessoa and Marguerite Yourcenar.
The year of Antinous's birth is not recorded, although it is estimated that it was probably between 110 and 112 Common Era. Early sources record that his birthday was in November, and although the exact date is not known, Royston Lambert, one of Antinous's biographers, asserted that it was probably on 27 November. Given the location of his birth and his physical appearance, it is likely that part of his ancestry was not Greek.
Lambert described Antinous as "the one person who seems to have connected most profoundly with Hadrian" throughout the latter's life. Hadrian's marriage to Vibia Sabina was unhappy, and there is no reliable evidence that he ever expressed a sexual attraction for women, in contrast to much reliable early evidence that he was sexually attracted to boys and young men. For centuries, pederasty existed among Greece's leisured and citizen classes, with an older (the "lover," aged between 20 and 40) undertaking a sexual relationship with an (the "beloved," aged between 12 and 18) and taking a key role in his (the latter's) education. There is no historical evidence available to support at what age Antinous became a favourite of Hadrian.118 Fox, T. E. (2014). The Cult of Antinous and the Response of the Greek East to Hadrian's Creation of a God Undergraduate. Such a societal institution of pederasty was not indigenous to Roman culture, although the practice was somewhat common among the patricians.
It is known that Hadrian believed Antinous to be intelligent and wise, and that they had a shared love of hunting, which was seen as a particularly manly pursuit in Roman culture. Although none survive, it is known that Hadrian wrote both an autobiography and erotic poetry about his boy favourites; it is therefore likely that he wrote about Antinous. During their relationship, there is no evidence that Antinous ever used his influence over Hadrian for personal or political gain.
In March 127, Hadrian – probably accompanied by Antinous – travelled through the Sabine area of Italy, Picenum, and Campania. From 127 to 129, the Emperor was then afflicted with an illness that doctors were unable to explain. In April 128, he laid the foundation stone for a temple of Venus and Rome in the city of Rome, during a ritual where he may well have been accompanied by Antinous. From there, Hadrian went on a tour of North Africa, during which he was accompanied by Antinous. In late 128, Hadrian and Antinous landed in Corinth, proceeding to Athens, where they remained until May 129, accompanied by Empress Vibia Sabina; the Caesernii brothers, frequent companions of the Emperor; and Pedanius Fuscus the Younger (a great-nephew of Hadrian). It was in Athens in September 128 that they attended the annual celebrations of the Great Mysteries of Eleusis, where Hadrian was initiated into the position of in the Telesterion.Cassius Dio pp. 444-445 It is generally agreed, although not proven, that Antinous was also initiated at that time.
From there they headed to Asia Minor, settling in Antioch in June 129, where they were based for a year, visiting Syria, Arabia Petraea, and Judaea. From there, Hadrian became increasingly critical of Jewish culture, which he feared opposed Romanisation, and so introduced policies banning circumcision and building a Temple of Zeus-Jupiter on the Temple Mount of the Second Temple.Cassius Dio p. 447 From there, they headed to Egypt. Arriving in Alexandria in August 130, there they visited the sarcophagus of Alexander the Great. Although welcomed with public praise and ceremony, some of Hadrian's appointments and actions angered the city's Hellenic social elite, who began to gossip about his sexual activities, including those with Antinous.
Soon after, and probably in September 130, Hadrian and Antinous travelled west to Roman Libya, where they had heard of a Marousian lion causing problems for local people. They hunted down the lion, and although the exact events are unclear, it is apparent that Hadrian saved Antinous's life during their confrontation with it, before the beast itself was killed. Hadrian widely publicised the event, casting bronze medallions of it, getting historians to write about it, commissioning Pancrates to write a poem about it, and having a tondo depicting it created which was later placed on the Arch of Constantine. On this tondo it was clear that Antinous was no longer a youth, having become more muscular and hairier, perceptibly more able to resist his master; and thus, it is likely that his relationship with Hadrian was changing as a result.
Throughout history there has been much controversy concerning the relationship between Hadrian and Antinous. In Royston Lambert's book Beloved and God, he writes "But as far as the central issues go – the history of Antinous, his relationship with Hadrian and the death – we have precious little more information than the earliest writers." Many of these early writers were biased towards Hadrian especially in regard to his relationship with Antinous.
The controversy surrounding the relationship between Hadrian and Antinous is due to a lack of extant evidence for where Antinous was during the years from 123–130 CE.Fox, T. E. (2014). The Cult of Antinous and the Response of the Greek East to Hadrian's Creation of a God Undergraduate. The first mention of Antinous is from Pancrates and his Lion Hunt poem from 130 CE.A.R. Birley, Hadrian: The Restless Emperor, 241; T. Opper, Hadrian: Empire and Conflict (Cambridge: Harvard University Press, 2008), 173.
Hard evidence regarding Antinous's life is available in the form of the Pincian obelisk on Pincian Hill. On the west side of the relief is a mutilated phrase which states "he grew up to be a beautiful youth". This would suggest that Antinous was already an Ephebos and that he was established in his home in Bithynia when he met Hadrian.D.R. Cartlidge, D.L. Dungan, Documents for the Study of the Gospels, 195; R. Lambert, Beloved and God: The Story of Hadrian and Antinous, 60. Many scholars believe, with the circumstantial evidence, that the relationship of Hadrian and Antinous lasted approximately three years: from 127 CE to October 130 CE, when Antinous drowned in the Nile. The conclusion is that there is little documentation for or about the actual relationship of Hadrian and Antinous.
It is unknown exactly where Antinous's body was buried. It has been argued that either his body or some relics associated with him would have been interred at a shrine in Antinoöpolis, although this has yet to be identified archaeologically. However, a surviving obelisk contains an inscription strongly suggesting that Antinous's body was interred at Hadrian's country estate, the Villa Adriana at Tibur in Italy.
It is unclear whether Hadrian genuinely believed that Antinous had become a god. He would have also had political motives for creating the organised cult, for it enshrined political and personal loyalties specifically to him. In October 131, Hadrian proceeded to Athens, where from 131/32 he founded the Panhellenion, an attempt to nurture consciousness of Greek identity, to erode the feuding endemic to the Greek city-states, and to promote the worship of the ancient gods; being Greek himself, Antinous as a god assisted Hadrian's cause in this, presenting a symbol of pan-Hellenic unity. In Athens, Hadrian also established a festival to be held in honour of Antinous in October, the Antinoeia.
Antinous was understood differently by his various worshippers, in part due to regional and cultural variation. In some inscriptions he is identified as a divine hero, in others as a god, and in others as both a divine hero and a god. In Egypt, he was often understood as a daemon. Inscriptions indicate that Antinous was seen primarily as a benevolent deity, who could be turned to aid his worshipers and cure them of ailments. He was also seen as a conqueror of death, with his name and image often being included in coffins. In the west, Antinous was associated with the Celtic Solar deity Belenos.Craig A. Williams, Roman Homosexuality : Ideologies of Masculinity in Classical Antiquity. Oxford University Press: 1999, , pp. 61
Emperor Hadrian established quinquennial games and annual celebrations in honour of Antinous which were called Antinoea (τὰ Ἀντινόεια). Harry Thurston Peck, Harpers Dictionary of Classical Antiquities (1898), Antinoēa
Hadrian proclaimed that games would be held at the city in Spring 131 in commemoration of Antinous. Known as the Antinoeia, they would be held annually for several centuries, being noted as the most important in Egypt. Events included athletic competitions, chariot and equestrian races, and artistic and musical festivals, with prizes including citizenship, money, tokens, and free lifetime maintenance.
Antinoöpolis continued to grow into the Byzantine era, being Christianised with the conversion of the Empire. However, it retained an association with magic for centuries to come. Over the centuries, stone from the Hadrianic city was removed for the construction of homes and mosques. By the 18th century, the ruins of Antinoöpolis were still visible, being recorded by such European travellers as Jesuit missionary Claude Sicard in 1715 and Edme-François Jomard the surveyor . However, in the 19th century, Antinoöpolis was almost completely destroyed by local industrial production, as the chalk and limestone were burned for powder while stone was used in the construction of a nearby dam and sugar factory.
An excavation of the city in the early twentieth century revealed a relatively realistic funeral tondo painted on wood. Although the men in the portrait are traditionally identified as brothers, there is speculation that they were lovers, the reason for this being that behind the beardless figure is a representation of Antinous-Osiris, the only pictorial representation that has survived of a statue of the deified young man.
The cult of Antinous was never as large as those of well-established deities such as Zeus, Dionysus, Demeter, or Asclepios, or even as large as those of cults which were growing in popularity at that time, such as Isis or Serapis and was also smaller than the official imperial cult of Hadrian himself. However, it spread rapidly throughout the Empire, with traces of the cult having been found in at least 70 cities. The cult was most popular in Egypt, Greece, Asia Minor, and the North African coast, but a large community of worshippers also existed in Italy, Spain, and northwestern Europe. Artefacts in honour of Antinous have been found in an area that spans from Britain to the Danube.
Although the adoption of the Antinous cult was in some cases done to please Hadrian, the evidence makes it clear that the cult was also genuinely popular among the different societal classes in the Empire. Archaeological finds point that Antinous was worshipped in both public and private settings. In Egypt, Athens, Macedonia, and Italy, children would be named after the deity. Part of the appeal was that Antinous had once been an ordinary person himself, and thus was more relatable than many other deities. It is also possible, however, that his cult borrowed power from parallels between Antinous and beautiful young male immortals in the Greco-Roman pantheon like Apollo, Dionysus, and Silvanus as well as mortal youths beloved by gods in classical mythology like Ganymede, Hylas, Hyacinth, and Narcissus, and that images of the sensuous youth invited imaginary erotic bonding between him and his worshippers. These characteristics were common also to the cults of Attis, Endymion, and Adonis. Like the latter, Antinous was treated as a dying-and-rising god not only in Egypt, but in Rome and Greece; the Obelisk of Antinous in Rome describes the honour and, "Osirantinous" as "the Reborn" and "the Everlasting."
At least 28 temples were constructed for the worship of Antinous throughout the Empire, although most were fairly modest in design; those at Tarsos, Philadelphia, and Lanuvium consisted of a four-column portico. It is likely, however, that those which Hadrian was directly involved in, such as at Antinoöpolis, Bithynion, and Mantineia, were often grander, while in the majority of cases, shrines or altars to Antinous would have been erected in or near the pre-existing temples of the imperial cult, or Dionysus or Hermes. Worshippers would have given votive offerings to the deity at these altars; there is evidence that he was given gifts of food and drink in Egypt, with libations and sacrifices probably being common in Greece. Priests devoted to Antinous would have overseen this worship, with the names of some of these individuals having survived in inscriptions. There is evidence of oracles being present at a number of Antinoan temples.
Sculptures of Antinous became widespread, with Hadrian probably having approved a basic model of Antinous's likeness for other sculptors to follow. These sculptures were produced in large quantities between 130 and 138, with estimates being in the region of around 2,000, of which at least 115 survive. Forty-four have been found in Italy, half of which were at Hadrian's Villa Adriana, while 12 have been found in Greece and Asia Minor, and 6 in Egypt. Over 31 cities in the Empire, the majority in Greece and Asia Minor, issued coins depicting Antinous, chiefly between the years 134–35. Many were designed to be used as medallions rather than currency, some of them deliberately made with a hole so that they could be hung from the neck and used as . Most production of Antinous-based artefacts ceased following the 130s, although such items continued to be used by the cult's followers for several centuries. Later survivals of his cult largely rested in the Eastern Roman Empire, where his acceptance into the pantheon of gods was better received.
Games held in honour of Antinous were held in at least 9 cities and included both athletic and artistic components. The games at Bythynion, Antinoöpolis, and Mantineia were still active by the early 3rd century, while those at Athens and Eleusis were still operating in 266–67. Rumours spread throughout the Empire that at Antinous's cultic centre in Antinoöpolis, there were "sacred nights" characterised by drunken revelries, perhaps including sexual orgies. The cult of Antinous endured far beyond Hadrian's reign.see Trevor W. Thompson "Antinoos, The New God: Origen on Miracle and Belief in Third Century Egypt" for the persistence of Antinous's cult and Christian reactions to it. Freely available. The relationship of P. Oxy. 63.4352 with Diocletian's accession is not entirely clear. Local coins depicting his effigy were still being struck during Caracalla's reign, and he was invoked in a poem to celebrate the accession of Diocletian, who reigned more than a century after Antinous' death.
During the struggles between Christians and pagan worshippers in Rome during the 4th century, Antinous was championed by members of the latter. As a result of this, the Christian poet Prudentius denounced his worship in 384, while a set of seven depicting Antinous were issued, based upon the designs of those issued in the 130s. Many sculptures of Antinous were destroyed by Christians, as well as by invading barbarian tribes, although in some instances were then re-erected; the Antinous statue at Delphi had been toppled and had its forearms broken off, before being re-erected in a chapel elsewhere. Many of the images of Antinous remained in public places until the official prohibition of pagan religions under the reign of Emperor Theodosius I in 391.
Some contemporary Neo-Pagan groups have re-sacralized Antinous. Because of his same-sex relationship with Hadrian, Antinous's modern cult mainly appeals to members of the LGBT community, especially gay men.
About a hundred statues of Antinous have been preserved for modernity, a remarkable fact considering that his cult was the target of intense hostility by Christian apologists, many of whom vandalized and destroyed artefacts and temples built in honour of the youth. By 2005, classicist Caroline Vout could note that more images have been identified of Antinous than of any other figure in classical antiquity with the exceptions of Augustus and Hadrian. She also asserted that the Classical study of these Antinous images was particularly important because of his "rare mix" of "biographical mystery and overwhelming physical presence".
Lambert believed that the sculptures of Antinous "remain without doubt one of the most elevated and ideal monuments to pederastic love of the whole ancient world", also describing them as "the final great creation of classical art".
There are also statues in many archaeological museums in Greece including the National Archaeological Museum in Athens, the archaeological museums of Patras, Chalkis and Delphi. Although these may well be idealised images, they demonstrate what all contemporary writers described as Antinous's extraordinary beauty. Although many of the sculptures are instantly recognizable, some offer significant variation in terms of the suppleness and sensuality of the pose and features versus the rigidity and typical masculinity. In 1998, monumental remains were discovered at Hadrian's Villa that archaeologists claimed were from the tomb of Antinous, or a temple to him,Mari, Zaccaria and Sgalambro, Sergio: "The Antinoeion of Hadrian's Villa: Interpretation and Architectural Reconstruction", American Journal of Archaeology, Vol. 111, No. 1, January 2007, though this has been challenged both because of the inconclusive nature of the archaeological remains and the overlooking of patristic sources (Epiphanius, Clement of Alexandria) indicating that Antinous was buried at his temple in Antinoöpolis, the Egyptian city founded in his honour.Renberg, pp. 181–191.
Antinous has attracted attention from the homosexual subculture since the 18th century, the most illustrious examples for this being Prince Eugene of Savoy and Frederick the Great of Prussia. Vout noted that Antinous came to be identified as "a gay icon." Novelist and independent scholar Sarah Waters identified Antinous as being "at the forefront of the homosexual imagination" in late 19th-century Europe. In this, Antinous replaced the figure of Ganymede, who had been the primary homoerotic representation in the visual arts during the Renaissance. Gay author Karl Heinrich Ulrichs celebrated Antinous in an 1865 pamphlet that he wrote under the pseudonym of "Numa Numantius." In 1893, homophile newspaper The Artist, began offering cast statues of Antinous for £3 10s. At the time, Antinous's fame was increased by the work of fiction and writers and scholars, many of whom were not homosexuals.
The author Oscar Wilde referenced Antinous in both "The Young King" (1891) and "The Sphinx" (1894). In "The Young King", a reference is made to the king kissing a statue of 'the Bithynian slave of Hadrian' in a passage describing the young king's aesthetic sensibilities and his "...strange passion for beauty...". Images of other classical paragons of male beauty, Adonis and Endymion, are also mentioned in the same context. Additionally, in Wilde's The Picture of Dorian Gray, the artist Basil Hallward describes the appearance of Dorian Gray as an event as important to his art as "the face of Antinous was to late Greek sculpture." Furthermore, in a novel attributed to Oscar Wilde, Teleny, or The Reverse of the Medal, Des Grieux makes a passing reference to Antinous as he describes how he felt during a musical performance: "I now began to understand things hitherto so strange, the love the mighty monarch felt for his fair Grecian slave, Antinous, who – like unto Christ – died for his master's sake." Teleny, or the Reverse of the Medals, vol. 1 p.14
In Les Misérables, the character Enjolras is likened to Antinous. "A charming young man who was capable of being a terror. He was angelically good-looking, an untamed Antinous." Hugo also remarks that Enjolras was "seeming not to be aware of the existence on earth of a creature called woman."
In "Klage um Antinous", Der neuen Gedichte anderer Teil (1908) by Rainer Maria Rilke, Hadrian scolds the gods for Antinous's deification. "Lament for Antinoüs", translation by Stephen Cohn.
In 1915 Fernando Pessoa wrote a long poem entitled Antinous, but he only published it in 1918, close to the end of World War I, in a slim volume of English verse..
In Marguerite Yourcenar's Mémoires d'Hadrien (1951), the romantic relationship between Antinous and Hadrian is one of the main themes of the book.Yourcenar, Marguerite. Reflections on the Composition of Memoirs of Hadrian in Memoirs of Hadrian. English Edition. 2005. p. 326, 329.
In Aldous Huxley's utopian novel "Island" (1963), the youthful character Murugan is likened to Antinous because of his relationship with dictatorial leader, Colonel Dipa. While on a trip to Rendang to pick up his mother, Murugan also secretly saw Dipa but did not want the island people of Pala to know because "they think he's awful." After Murugan called Dipa a "remarkable man," Huxley wrote that "Murugan's sulky face lit up with enthusiasm and there, suddenly, was Antinous in all the fascinating beauty of ambiguous adolescence," and later, "Will felt quite sure, he hadn't been mistaken when he thought of Hadrian and Antinous" while speaking to Murugan.
The story of Antinous' death was dramatized in the radio play "The Glass Ball Game", Episode Two of the second series of the BBC radio drama Caesar!, written by Mike Walker, directed by Jeremy Mortimer and starring Jonathan Coy as "Suetonius", Jonathan Hyde as "Hadrian" and Andrew Garfield as "Antinous." In this story, Suetonius is a witness to the events before and after Antinous's death by suicide, but learns that he himself was used as an instrument to trick Antinous into killing himself willingly to fulfil a pact made by Hadrian with Egyptian priests to give Hadrian more time to live so that Marcus Aurelius may grow up to become the next Emperor.
On 13 October 2018, in Toronto, the Canadian Opera Company premiered Hadrian, the second opera by Rufus Wainwright, which tells the tale of the Emperor's grief and his all-consuming need to discover the details surrounding Antinous's death.
In June 2023, Hadrian and Antinous were the subject of the podcast The Rest is History by Tom Holland and Dominic Sandbrook.
|
|
