User:Antinoos69

Bust of Antinous (detail), marble, 0.67 m high, from Patras, Peloponnese, 130–138 CE (National Archaeological Museum, Athens).

Intermissa, Venus, diu
   rursus bella moves? Parce, precor, precor.
Non sum qualis eram bonae
   sub regno Cinarae. Desine, dulcium
mater saeva Cupidinum,
   circa lustra decem flectere mollibus
iam durum imperiis: abi,
   quo blandae iuvenum te revocant preces.
Tempestivius in domum
   Pauli, purpureis ales oloribus,
comissabere Maximi,
   si torrere iecur quaeris idoneum.
Namque et nobilis et decens
   et pro sollicitis non tacitus reis
et centum puer artium
   late signa feret militiae tuae,
et quandoque potentior
   largi muneribus riserit aemuli,
Albanos prope te lacus
   ponet marmoream sub trabe citrea.
Illic plurima naribus
   duces tura, lyraeque et Berecyntiae
delectabere tibiae
   mixtis carminibus non sine fistula;
illic bis pueri die
   numen cum teneris virginibus tuum
laudantes pede candido
   in morem Salium ter quatient humum.
Me nec femina nec puer
   iam nec spes animi credula mutui,
nec certare iuvat mero
   nec vincire novis tempora floribus.
Sed cur heu, Ligurine, cur
   manat rara meas lacrima per genas?
Cur facunda parum decoro
   inter verba cadit lingua silentio?
Nocturnis ego somniis
   iam captum teneo, iam volucrem sequor
te per gramina Martii
   campi, te per aquas, dure, volubilis.
   (Horace, Odes 4.1)

τῆς γάρ τοι γενεῆς ἧς Τρωΐ περ εὐρύοπα Ζεὺς
δῶχ' υἷος ποινὴν Γανυμήδεος, οὕνεκ' ἄριστοι
ἵππων ὅσσοι ἔασιν ὑπ' ἠῶ τ' ἠέλιόν τε
(Homer, Iliad 5.265–267)

Τρωὸς δ' αὖ τρεῖς παῖδες ἀμύμονες ἐξεγένοντο
Ἶλός τ' Ἀσσάρακός τε καὶ ἀντίθεος Γανυμήδης,
ὃς δὴ κάλλιστος γένετο θνητῶν ἀνθρώπων:
τὸν καὶ ἀνηρείψαντο θεοὶ Διὶ οἰνοχοεύειν
κάλλεος εἵνεκα οἷο ἵν' ἀθανάτοισι μετείη.
(Homer, Iliad 20.231–235)

Red-figure kylix, 15.5 cm high, 36.5 cm in diameter, ca. 470 BCE (National Archaeological Museum of Ferrara, Italy).

Marble statue, Roman copy of Greek original by Leochares, bronze, 103 cm high, ca. 325 BCE (Vatican Museums).

Peter Paul Rubens, *The Rape of Ganymede*, oil on canvas, 181 x 87.3 cm, 1636–1638 (Prado Museum, Madrid).

José Álvarez Cubero, *Ganymede*, plaster, 182 cm high, 1804 (Real Academia de Bellas Artes de San Fernando, Madrid).

Frank Kirchbach, *The Rape of Ganymede*, engraving, 1892.

Budweiser magazine advertisement, *Theatre Magazine*, February 1906. See color version and more Budweiser ads.

Christian Wilhelm Allers, *Ganymede*, 1913.

Carl Milles, *Boy with Eagle*, bronze, outside the National Museum of Fine Arts, Stockholm.

Hermann Hubacher, *Ganymed*, bronze, 1952, Bürkliterrasse, Bürkliplatz, Zurich.

See also
Robert Rauschenberg, Canyon, combine, 207.6 x 177.8 x 61 cm, 1959 (Museum of Modern Art, New York).
Ibid., Pail for Ganymede, combine, 1959 (Robert Rauschenberg Foundation, RRF 59.020).
Pierre et Gilles, Ganymede, triptych ([1] [2] [3]), 2001 (François Pinault Collection). See paintings together (seventh image).
Rick Herold, Zeus and Ganymede, enamel on vinyl, reverse painting, 32 x 48 in.
Marco Zagato, painting depicting Zeus and Ganymede (third painting).
Ran Valerhon, depiction of Zeus and Ganymede (sixth image).

Il Gabinetto Segreto

Roman sarcophagus (National Archaeological Museum of Naples).
Ancient statuette, bronze (National Archaeological Museum of Naples).
Ancient erotic terracotta sculptures, ex-votos, from Cales, Italy (National Archaeological Museum of Naples).
Etruscan black-figure amphora, fifth century BCE, from Capua, Italy (National Archaeological Museum of Naples).
Detail of preceding Etruscan black-figure amphora.

Sculpture from St. Peter of Maillezais Cathedral, France.

Domenico Cresti, *Bathers at San Niccolo* (detail, colors modified), ca. 1600 (private collection). See full version.

Detail of preceding *Bathers at San Niccolo*.

Walt Whitman (L) and Peter Doyle (R), ca. 1869 (Ohio Wesleyan University, Bayley Collection).

Oscar Wilde (R) and Lord Alfred Douglas (L), ca. 1894.

Thomas Eakins, *Swimming* or *The Swimming Hole*, oil on canvas, 70 x 92 cm, 1885 (Amon Carter Museum of American Art, Fort Worth, Texas).

Henry Scott Tuke, *Ruby, Gold and Malachite*, oil on canvas, 117 x 159 cm, 1902 (Guildhall Art Gallery, London).

Édouard-Henri Avril, illustration in *Manuel d'érotologie classique* (1906), French translation of *De figuris Veneris* (1824), by Friedrich Karl Forberg.

Édouard-Henri Avril, illustration, plate XVIII in *Manuel d'érotologie classique* (1906).

Károly Ferenczy, *Wrestlers*, 1912 (Ferenczy Museum, Szentendre, Hungary.

Charles Demuth, *Three Sailors*, watercolor and pencil on paper, 1917.

Charles Demuth, *Turkish Bath with Self Portrait*, watercolor, 1918.

Raphael Perez, *Couple Peeing*, acrylic on canvas, 200 x 150 cm, 1999 (private collection). See more by and regarding Perez.

Cover of gay newsletter from Cornwall, UK.

The spotted hawk swoops by and accuses me . . . . he complains of my gab and my loitering.

I too am not a bit tamed . . . . I too am untranslatable,
I sound my barbaric yawp over the roofs of the world.

The last scud of day holds back for me,
It flings my likeness after the rest and true as any on the shadowed wilds,
It coaxes me to the vapor and the dusk.

I depart as air . . . . I shake my white locks at the runaway sun,
I effuse my flesh in eddies and drift it in lacy jags.

I bequeathe myself to the dirt to grow from the grass I love,
If you want me again look for me under your bootsoles.

You will hardly know who I am or what I mean,
But I shall be good health to you nevertheless,
And filter and fibre your blood.

Failing to fetch me at first keep encouraged,
Missing me one place search another,
I stop some where waiting for you

(Walt Whitman, final lines of "Song of Myself," 1855 ed.)