Jedakk's Masterpiece

[Wragg]

With the setting of her titulus at the top of her cross, Sabina's executioners have completed the work of crucifying her and she has begun the slow agonized struggle that will wring her life out, drop by drop. Now all of her weight hangs by the cold iron nails driven through her wrists and feet; her only possibility of any rest will come when she is desperate enough to fit the horn of the cornu between her legs either into her rectum or vagina; and the final humiliation is the sign above her head that tells everyone who she is and what she did to deserve this punishment.

Julia Lepida remarks on how many have died on this cross, and how the nail holes from their crucifixions are all beyond her fingertips and below her feet. She is the smallest of all of the victims who have agonized their lives away on this cross.

These timbers had held many tortured criminals and slaves before her; the gods only knew how many, but there were at least a dozen nail holes in the broad patches of dried blood beyond her fingertips and twice that many in the blood-soaked wood below her toes. Those who had struggled their lives out on this cross had all been much larger than either of us.

She and I had watched many crucifixions back in Pompeii, but those were all slaves and criminals that meant nothing to us, a morning’s entertainment. As horrible as the cross was, everyone accepted its torture as the fitting punishment for slaves, the slower the better, with death merely being the end of their punishment. A victim who died after suffering only two days on the cross was said to have died rather quickly.​

Is it just me,



or does the presence of another nude and suffering victim nearby somehow increase the eroticism?

 

[Loxuru]

does the presence of another nude and suffering victim nearby somehow increase the eroticism?

You have a point here!
(the more the merrier)

 

[Deleted member jedakk]

Is it just me,

View attachment 298718

or does the presence of another nude and suffering victim nearby somehow increase the eroticism?

It could be because we are used to seeing the ubiquitous scenes of three near-naked men suffering on crosses. Perhaps that bears some thought?

When I created the Sessorium set where Sabina is crucified, I wanted to portray it as a place of torture and death. There are crosses everywhere, piles of bones and skulls, bones partially buried at the base of Sabina's cross, and at least one corpse being eaten by crows in the background. This is a really alien place to us in our time. We don't have any places of punishment like those the Romans had.

And then there's a nude, crucified man who must have been nailed to his cross earlier this day or perhaps yesterday.



He's what Sabina sees as they lead her toward the empty stipes where she will be crucified. She's terrified because she's only a few steps away from being where he is. And the empty stipes for her cross is there next to him.



He's a picture of what they are about to do to her. He's clearly not wearing a loincloth, and they are about to take away hers as well.



And then they will nail her to a cross and hang her up to die in agony beside him.



When I was designing that scene, I decided I'd put another crucifixion victim there beside Sabina, first of all as a preview of what was about to be done to her, and second, to add to the perception of this place being a place of execution. Further, I chose to put a naked male victim there because I thought that the contrast between him and Sabina might reinforce our perception of her femininity rather than distract from it. She's the only naked girl in the picture, so we're not distracted wondering what's happening to some other naked girls in the scene. For me, she's the only one my girl-detecting radar picks up, so I'm focused on her.

To be honest, the Sessorium no longer existed in Sabina's time. Although it was in heavy use back in the first century BC and became "a forest of crosses," that whole area was cleaned up and covered over with earth about 15 BC by order of Caesar Augustus and Rome began to expand out over it. A few years ago I worked out that it's probably about where the parking lot for a train station is today.

By Sabina's time, about 80 AD, crucifixions were being carried out in public places and along heavily traveled roads where more people would see them rather than where they were less visible outside of the city. So I used some literary license to put Sabina on her cross in the Sessorium.

 

[Madiosi]

It could be because we are used to seeing the ubiquitous scenes of three near-naked men suffering on crosses. Perhaps that bears some thought?

When I created the Sessorium set where Sabina is crucified, I wanted to portray it as a place of torture and death. There are crosses everywhere, piles of bones and skulls, bones partially buried at the base of Sabina's cross, and at least one corpse being eaten by crows in the background. This is a really alien place to us in our time. We don't have any places of punishment like those the Romans had.

And then there's a nude, crucified man who must have been nailed to his cross earlier this day or perhaps yesterday.



He's what Sabina sees as they lead her toward the empty stipes where she will be crucified. She's terrified because she's only a few steps away from being where he is. And the empty stipes for her cross is there next to him.



He's a picture of what they are about to do to her. He's clearly not wearing a loincloth, and they are about to take away hers as well.



And then they will nail her to a cross and hang her up to die in agony beside him.



When I was designing that scene, I decided I'd put another crucifixion victim there beside Sabina, first of all as a preview of what was about to be done to her, and second, to add to the perception of this place being a place of execution. Further, I chose to put a naked male victim there because I thought that the contrast between him and Sabina might reinforce our perception of her femininity rather than distract from it. She's the only naked girl in the picture, so we're not distracted wondering what's happening to some other naked girls in the scene. For me, she's the only one my girl-detecting radar picks up, so I'm focused on her.

To be honest, the Sessorium no longer existed in Sabina's time. Although it was in heavy use back in the first century BC and became "a forest of crosses," that whole area was cleaned up and covered over with earth about 15 BC by order of Caesar Augustus and Rome began to expand out over it. A few years ago I worked out that it's probably about where the parking lot for a train station is today.

By Sabina's time, about 80 AD, crucifixions were being carried out in public places and along heavily traveled roads where more people would see them rather than where they were less visible outside of the city. So I used some literary license to put Sabina on her cross in the Sessorium.

Very interested background informations and expressive pictures.
Madiosi

 

[Hondoboot2]

It could be because we are used to seeing the ubiquitous scenes of three near-naked men suffering on crosses. Perhaps that bears some thought?

When I created the Sessorium set where Sabina is crucified, I wanted to portray it as a place of torture and death. There are crosses everywhere, piles of bones and skulls, bones partially buried at the base of Sabina's cross, and at least one corpse being eaten by crows in the background. This is a really alien place to us in our time. We don't have any places of punishment like those the Romans had.

And then there's a nude, crucified man who must have been nailed to his cross earlier this day or perhaps yesterday.



He's what Sabina sees as they lead her toward the empty stipes where she will be crucified. She's terrified because she's only a few steps away from being where he is. And the empty stipes for her cross is there next to him.



He's a picture of what they are about to do to her. He's clearly not wearing a loincloth, and they are about to take away hers as well.



And then they will nail her to a cross and hang her up to die in agony beside him.



When I was designing that scene, I decided I'd put another crucifixion victim there beside Sabina, first of all as a preview of what was about to be done to her, and second, to add to the perception of this place being a place of execution. Further, I chose to put a naked male victim there because I thought that the contrast between him and Sabina might reinforce our perception of her femininity rather than distract from it. She's the only naked girl in the picture, so we're not distracted wondering what's happening to some other naked girls in the scene. For me, she's the only one my girl-detecting radar picks up, so I'm focused on her.

To be honest, the Sessorium no longer existed in Sabina's time. Although it was in heavy use back in the first century BC and became "a forest of crosses," that whole area was cleaned up and covered over with earth about 15 BC by order of Caesar Augustus and Rome began to expand out over it. A few years ago I worked out that it's probably about where the parking lot for a train station is today.

By Sabina's time, about 80 AD, crucifixions were being carried out in public places and along heavily traveled roads where more people would see them rather than where they were less visible outside of the city. So I used some literary license to put Sabina on her cross in the Sessorium.

Great background information Jedakk. In the images of the crucified male, is that a whip mark on his penis that I am seeing?.....if so....OUCH.
Also great post yesterday, you included not one, but four great rear views of Sabina's great butt, my favorite of the four images being this one....

 

[Deleted member jedakk]

Great background information Jedakk. In the images of the crucified male, is that a whip mark on his penis that I am seeing?.....if so....OUCH.
Also great post yesterday, you included not one, but four great rear views of Sabina's great butt, my favorite of the four images being this one....View attachment 298759

Yes, that is a whipmark across his penis. There are whipmarks across the front of his thighs that sort of match up with it. With the kind of indiscriminate whipping he would have received, nothing would have been off limits.

I purposely included some extra butt shots of Sabina since you mentioned that you really appreciated those. So do I, which is why I have them.

 

[Wragg]

Great background information Jedakk. In the images of the crucified male, is that a whip mark on his penis that I am seeing?.....if so....OUCH.
Also great post yesterday, you included not one, but four great rear views of Sabina's great butt, my favorite of the four images being this one....View attachment 298759

Yes, that is a whipmark across his penis. There are whipmarks across the front of his thighs that sort of match up with it. With the kind of indiscriminate whipping he would have received, nothing would have been off limits.

I purposely included some extra butt shots of Sabina since you mentioned that you really appreciated those. So do I, which is why I have them.

Thank you for the suggestion, Hondo, and thank you for responding, Jedakk!

 

[Deleted member jedakk]

Sabina's crucifixion goes on. She begs her domina, Julia Lepida, for mercy and is refused. Here's how Julia Lepida narrates the scene:

When she begged me for mercy, I actually managed to put on a cruel smile as I told her that I hoped her death would be slow and painful so she’d have plenty of time to think about how she put herself on this cross. As a Roman, I could show no mercy to a slave who was being justly punished.

I also knew that I could not remain here at the foot of her cross, whether I wanted to or not. Balbus had already urged me to go, and now Rufus, in tears, was telling me that there was no more that I could do here, and that it was not seemly for me to stay among this crowd. Still I refused to leave. The truth was that I could hardly tear myself away from the sight of this girl I knew, naked and sweating with iron spikes driven through her wrists and feet, struggling on the cross. As horrible as her suffering was, I wanted to engrave the picture in my memory.
​

Sorry, I didn't do any renders of this particular scene from the rear, so no butt shots. There are some good ones in the next scene, however.

 

[thehangingtree]

We'll live with a post or two without butt shots...

Tree

 

[Deleted member jedakk]

Sabina could no longer bear the pain of hanging by the nails in her wrists and found that she had to raise herself, even though that meant struggling against the agony of the nails in her feet and wrists to push and pull her body higher on the cross. It also meant humiliating herself even further by giving the onlookers a show as her naked body twisted and writhed. She gathered her strength, closed her eyes and pushed down hard against the nails in her feet. According to Julia Lepida:

Just then she reached the point where the pain in her wrists and shoulders was beyond bearing, and she began working to raise herself on the cross. She closed her eyes and gritted her teeth as she prepared to struggle upward, then arched her body outward toward the crowd and began to push up. She let out a loud moan as she pushed her wounded feet down against the nails, squeezing dribbles of dark blood from the wounds.​

 

[Wragg]

Sabina could no longer bear the pain of hanging by the nails in her wrists and found that she had to raise herself, even though that meant struggling against the agony of the nails in her feet and wrists to push and pull her body higher on the cross. It also meant humiliating herself even further by giving the onlookers a show as her naked body twisted and writhed. She gathered her strength, closed her eyes and pushed down hard against the nails in her feet. According to Julia Lepida:

Just then she reached the point where the pain in her wrists and shoulders was beyond bearing, and she began working to raise herself on the cross. She closed her eyes and gritted her teeth as she prepared to struggle upward, then arched her body outward toward the crowd and began to push up. She let out a loud moan as she pushed her wounded feet down against the nails, squeezing dribbles of dark blood from the wounds.​

Yep!

Lovely views from the rear!

 

[thehangingtree]

Sabina could no longer bear the pain of hanging by the nails in her wrists and found that she had to raise herself, even though that meant struggling against the agony of the nails in her feet and wrists to push and pull her body higher on the cross. It also meant humiliating herself even further by giving the onlookers a show as her naked body twisted and writhed. She gathered her strength, closed her eyes and pushed down hard against the nails in her feet. According to Julia Lepida:

Just then she reached the point where the pain in her wrists and shoulders was beyond bearing, and she began working to raise herself on the cross. She closed her eyes and gritted her teeth as she prepared to struggle upward, then arched her body outward toward the crowd and began to push up. She let out a loud moan as she pushed her wounded feet down against the nails, squeezing dribbles of dark blood from the wounds.​

Does she give into cornu???

 

[Madiosi]

Sabina could no longer bear the pain of hanging by the nails in her wrists and found that she had to raise herself, even though that meant struggling against the agony of the nails in her feet and wrists to push and pull her body higher on the cross. It also meant humiliating herself even further by giving the onlookers a show as her naked body twisted and writhed. She gathered her strength, closed her eyes and pushed down hard against the nails in her feet. According to Julia Lepida:

Just then she reached the point where the pain in her wrists and shoulders was beyond bearing, and she began working to raise herself on the cross. She closed her eyes and gritted her teeth as she prepared to struggle upward, then arched her body outward toward the crowd and began to push up. She let out a loud moan as she pushed her wounded feet down against the nails, squeezing dribbles of dark blood from the wounds.​

Phantastic. This rich spring of pictures. 245 MB in my Serpents Eye folder!

 

[Deleted member jedakk]

Does she give into cornu???

Eventually.

 

[Deleted member jedakk]

Does she give into cornu???

Sorry didn't have time to reply to this more earlier. There are over 40 scenes in Sabina's crucifixion sequence, and we're only into the third one of those right now. A lot happens, and this is all in the story, so you could download it and look to see what's going to happen.

I think it was in Stephen King's book, "Stephen King on Writing" where he mentioned that in a story, if you show a gun, then at some point you have to fire it. Similarly, if you have a story where you show a naked girl nailed to a cross, and you show this ugly cornu, its horn pointed straight up between her legs, then you've got to have her impale herself on it. And she does, but only in desperation when she's done all she can bear to do to avoid having it enter her.

So patience, that is coming!

 

[thehangingtree]

So patience, that is coming!

I'll just have a drink...

Tree

 

[admihoek]

I'll just have a drink...

Tree

nice girl our redhead Ariel isn't?​

 

[Deleted member jedakk]

Phantastic. This rich spring of pictures. 245 MB in my Serpents Eye folder!

I'm not sure how many images I'll end up posting, and how many of these are tests not fit for posting, but adding them all up, looks like I've got about 2.1 gigabytes of images for this project!

 

[thehangingtree]

I'm not sure how many images I'll end up posting, and how many of these are tests not fit for posting, but adding them all up, looks like I've got about 2.1 gigabytes of images for this project!

A gig here, a gigabyte there... what's the difference??? It's like 210 or 220... Would you like a beer?

Tree, it is nine in the morning!!!

Scotch???

Tree

...just trying to help...

 

[phlebas]

Does she give into cornu???

EVERYONE gives in to the cornu, eventually, Tree.

Many of them secretly desire it, in their hearts.

But only a woman gets a choice as to where it goes . . . . . . .