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Jedakk's Masterpiece

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More like a sculpture than a pose, and I mean that in the best possible way. Like, the way her expression amplifies her agonized figure, and vice versa. I would totally expect to see something like this dramatically carved in marble.

It actually captures a split second in time. If this were an animation, you might not even catch it, but you would see her body moving sinuously, straining, settling tentatively onto the tip of the cornu, trying to find some way to bear its pain so that it's a viable trade for some of the agony of those nails. But often the most dramatic expressions and poses last only a split second.

Imagining how a victim might move within the constraints of her nailed wrists and feet is a challenge, and capturing that is often yet another challenge. At least it is for me.
 
I was geekishly thinking in bed last night what Sabina would have said in Latin, which had no exact equivalent to 'no'.
Perhaps 'noli', 'don't' (telling herself not to give up, or 'don't let it happen')?
Or 'non', 'not' (thinking, but too weak to say, 'non possum' 'I can't...')?

I wonder about how she or others in that time period might turn a phrase too. I've got a collection of Latin terms I sometimes refer to, and occasionally try to use. I use "porcella", "cunnus", "podex", and "clunes" from time to time in stories but I wouldn't pretend to know enough Latin grammar to put together a Latin phrase that would stand up to scrutiny.

One thing I do, however, is try to have my characters speak using references that would be correct for the time. That is, in my stories, time is measured in hours or heartbeats, never minutes and seconds. When my characters talk about the crucified struggling for breath, fainting, their breathing becoming regular and then them waking up, they don't have any idea about dyspnea, hyperventilation, alkalosis and syncope. I try to make sure they never mention anything that they couldn't know back then. Sometimes I even have them confuse things that WERE known, like Salonina in "The Serpent's Eye" talking about the Jews cutting off the foreskins of their little boys as a sacrifice to their god. People getting things wrong like that was probably even more prevalent then than today.

I have another titulus I need some Latin wording for, but I haven't decided yet exactly what the crime will be. I hope to figure that out soon, just need to do some more research.
 
Yes, I've noticed your attention to details like that, Jedakk.
I had many fascinating discussions on such topics
with Velut Luna when we were working on her 'Amica, slavegirl of Pompeii',
it's fascinating getting into a different world-view.
As far as time's concerned, as I'm sure you know,
'hours' were fractions (twelfths) of the day and night,
so they varied in length with the seasons even in the Mediterranean world,
much more so further north. When hanging on a cross,
I'd have been very aware of where the sun was in the sky,
like I was the gnomon on a sundial!
 
your art is fantastic. thank you. are there anymore of her whipping or carrying her beam?

I replied to this earlier, but somehow my reply has disappeared.

The answer is yes, I have about 20 whipping scenes with anywhere from 5 to 10 renders of each from various perspectives. In addition to that, there are many other scenes that illustrate action earlier in the story. I plan to break off of he crucifixion scenes at some point and go back to the beginning of the story, catch up on what's gone before, then resume with the crucifixion.
 
I have another titulus I need some Latin wording for, but I haven't decided yet exactly what the crime will be. I hope to figure that out soon, just need to do some more research.

Alright Eulalia, I think the titulus I need now should say "disobedient slave", bearing in mind that the slave is feminine in this case. I don't want to say more than that, because I'd give too much of the story away.
 
Sabina has no other relief from the agony of hanging by the nails other than the point of the cornu. She continues to endure the bruising pain where it presses into her to get a little respite from her agony and a chance to breathe without fighting for breath. Julia Lepida describes what she sees:

Her eyelids fluttered and her quivering legs relaxed and sagged apart, then her head nodded forward until her chin was resting on her chest, eyes closed, teeth clenched against the pain. The point of the cornu was not sharp enough to pierce her flesh, but it must have been agonizing to rest on it like that. Several times she pushed up a little, only to settle back down onto the point, willing herself to accept its torture for the little relief it gave her elsewhere.​

Good, I thought with some satisfaction. Let her suffer for what she did to me.
What Julia Lepida says next is a bit long, but I think it's interesting. A crucifixion like this didn't just happen; someone had to pay for it, and that person might also have some decisions to make about how the victim would die. Julia Lepida describes her experience:

I continued to watch her tortured body twist and squirm, prodded by the pain of the nails and the spasms of her exhausted muscles, and my thoughts went back to the day I arranged for her punishment. Had it only been the day before yesterday?

Balbus was a business man. Once I made it clear that I would not consider his offer to buy my slave, we had to settle on the manner of her execution. In all of the crucifixions I had watched I never thought anyone put so much planning into it. Obviously, not everyone did, but Balbus’ reputation for exacting retribution from his victims did not come by accident.

There were choices to be made for everything, from the type of cross to what she’d be allowed to wear on her way to the cross. Balbus noted everything on his wax tablet as we went over the arrangements. How long did I want her to suffer? He had ways of making her die within a few hours or prolonging her suffering for as many as four days. I’d have to pay extra for one of his helpers to stand guard at her cross for longer than two days.

For a little extra cost, I could have had her put up on a tall cross, or one in the shape of an X. I could have her crucified upside down, but she would die more quickly that way. I told him to nail her to an ordinary cross just like a common criminal, and make her punishment as slow and painful as he could; I’d pay the extra expense.

When should she be stripped? I wanted her naked for her whipping, and that should be done in the forum where she would be seen by a larger crowd. Balbus said that his practice was to have the victim wear a loincloth to the place of execution, so those that saw her along the way would follow to see her uncovered. She would be bare-breasted, her only covering hiding what was between her legs. I agreed to that. Should he remove her loincloth before the nailing or after she was hanging on the cross? I wanted her utterly humiliated. Strip her before nailing her so the onlookers would see her writhing naked on the ground when the nails went in.

Then there were the choices of what to put between her legs; a sedile, a cornu, perhaps some special touches, or nothing at all? Giving her an option to bear her weight on something other than her nails would prolong her suffering, and add to her shame. Mercy would have been to give her nothing and allow her a quicker death. In keeping with my choice to make her suffer, I chose a cornu. Just one horn, not too sharp so it doesn’t offer her a way to wound herself and maybe bleed to death. “Let her ride the unicorn,” I told him.

Balbus made note of all these things on a wax tablet he carried. We agreed on the price for her crucifixion, I paid him half up front, and he carried out my instructions to the letter.​
 

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That's a very nice touch in your story, Jedakk - one thought occurs to me,
of myself as a condemned slave, imprisoned in a place
where I could hear the details of my execution being negotiated like that...
 
that would just be:

SERVA NON OBOEDIENS

At least in Classical Latin, 'non' seems to be preferred to using a prefix like dis-.​

Thanks! This will be the excuse the public will see for crucifying her, but the real reason will be much different.

Another question: I'm wondering if the Romans might have had a particular name that was used for prostitutes, similar to 18th century British prostitutes commonly being called "Polly." I've never run across anything like that, but it would be useful in this story I'm working on.
 
That's a very nice touch in your story, Jedakk - one thought occurs to me,
of myself as a condemned slave, imprisoned in a place
where I could hear the details of my execution being negotiated like that...


I like that idea, having the victim hear what's going to be done to her, the extra-cost cruelties, the description of her humiliation! Definitely have to consider using that.
 
Thanks! This will be the excuse the public will see for crucifying her, but the real reason will be much different.

Another question: I'm wondering if the Romans might have had a particular name that was used for prostitutes, similar to 18th century British prostitutes commonly being called "Polly." I've never run across anything like that, but it would be useful in this story I'm working on.
I think the answer is probably no,
not any single name with that connotation,
at least in Classical literature or surviving records.

But I'm looking into it, the names, nicknames, trade-names,
of courtesans and prostitutes are a fascinating topic,
I'll see if I can come up with some suggestions ;)
 
I think the answer is probably no,
not any single name with that connotation,
at least in Classical literature or surviving records.

But I'm looking into it, the names, nicknames, trade-names,
of courtesans and prostitutes are a fascinating topic,
I'll see if I can come up with some suggestions ;)

Thanks. This is a fascinating resource, but no names that I could use: https://maggiemcneill.wordpress.com/2010/11/03/meretrices-and-prostibulae/

This name, if I can find one that works, is going on a titulus in place of the victim's real name. If I can't find one with the connotation I want, I'll either pick some common Roman name or leave her name off altogether.
 
Here's some information I've pulled together from various sources. It's a pity Velut Luna's not about, she did a lot of research on Roman prostitutes, especially in Pompeii, while we were working on 'Amica'.

Prostitutes in ancient Rome ranged very widely, from aristocratic courtesans, concubines and ‘kept women’ through to wretched paupers and slavegirls in brothels. Sex-workers in public brothels had to be registered and licensed by the Ædiles, civic officials, who recorded both their ‘real’ names and their trade-names, probably given them by their brothel-keepers. Once registered as a meretrix (‘earner’), a girl could never have her name deleted. Although there seems to be no single ‘typical’ whore-name, many of the nicknames were pretty obvious – for example Novellia ‘fresh, young’, Epulia ‘like a feast, tasty’, advertised themselves with graffiti in Pompeii.

Some nicknames refer, not always very politely, to appearance: Eburnea ‘ivory’ sounds attractive, Sila ‘snub-nose’ perhaps just cute, Nuda – well, say no more! Character could range from Venatrix ‘huntress’ to Saga ‘witch’, but Deliciae (sic) ‘darling, sweetheart’ is more obvious.

Words for animals were popular, those of athletic, graceful creatures weren’t necessarily reserved to prostitiutes – Dorcas ‘gazelle’ and Damaris ‘heifer’ are both respectable ladies in the Acts of the Apostles, though these names were also used by courtesans. Others suggest varied characters – Leæna ‘lioness’ sounds exciting, Cerva ‘doe, hind’ (like Dorcas already mentioned) graceful and athletic, Philomela ‘nightingale’ or Hirundo ‘swallow’ more romantic, Passer ‘sparrow’ a cocky wee lass, but Canis ‘dog, bitch’, and certainly Lupa ‘she-wolf’ would have been nasty labels to be stuck with (lupa was a slang word for a whore in general, but used as a personal nickname for some); Rana ‘frog’, Cochlea ‘snail’, and Culex ‘gnat’ sound pretty rude too, all of these probably had double meanings.

Such double meanings or heavy hints are more or less obvious in names like Fava ‘honeycomb’, Patella ‘little dish’ (cf. Epulia already mentioned), Alvea ‘kneading-trough’, Pila ‘mortar’ (as in ‘pestle and’), Scapha ‘skiff, small boat’, Lucatrix ‘wrestler’ (and even Palaestra, ‘wrestling ground’), and Vigilia ‘night-watch’ carries an obvious message.

Diminutives were very popular. Animals include Vitula ‘calf, young heifer’, Lepuscula ‘little hare, leveret’. Facula ‘little firebrand’ is a nice one, Viticula ‘little vine’ – perhaps clingy? Bacula ‘little kiss’ and Lingula ‘little tongue’ quite explicit, Pupilla ‘little girl, doll’ probably all too close to the truth.
 
Here's some information I've pulled together from various sources. It's a pity Velut Luna's not about, she did a lot of research on Roman prostitutes, especially in Pompeii, while we were working on 'Amica'.

Prostitutes in ancient Rome ranged very widely, from aristocratic courtesans, concubines and ‘kept women’ through to wretched paupers and slavegirls in brothels. Sex-workers in public brothels had to be registered and licensed by the Ædiles, civic officials, who recorded both their ‘real’ names and their trade-names, probably given them by their brothel-keepers. Once registered as a meretrix (‘earner’), a girl could never have her name deleted. Although there seems to be no single ‘typical’ whore-name, many of the nicknames were pretty obvious – for example Novellia ‘fresh, young’, Epulia ‘like a feast, tasty’, advertised themselves with graffiti in Pompeii.

Some nicknames refer, not always very politely, to appearance: Eburnea ‘ivory’ sounds attractive, Sila ‘snub-nose’ perhaps just cute, Nuda – well, say no more! Character could range from Venatrix ‘huntress’ to Saga ‘witch’, but Deliciae (sic) ‘darling, sweetheart’ is more obvious.

Words for animals were popular, those of athletic, graceful creatures weren’t necessarily reserved to prostitiutes – Dorcas ‘gazelle’ and Damaris ‘heifer’ are both respectable ladies in the Acts of the Apostles, though these names were also used by courtesans. Others suggest varied characters – Leæna ‘lioness’ sounds exciting, Cerva ‘doe, hind’ (like Dorcas already mentioned) graceful and athletic, Philomela ‘nightingale’ or Hirundo ‘swallow’ more romantic, Passer ‘sparrow’ a cocky wee lass, but Canis ‘dog, bitch’, and certainly Lupa ‘she-wolf’ would have been nasty labels to be stuck with (lupa was a slang word for a whore in general, but used as a personal nickname for some); Rana ‘frog’, Cochlea ‘snail’, and Culex ‘gnat’ sound pretty rude too, all of these probably had double meanings.

Such double meanings or heavy hints are more or less obvious in names like Fava ‘honeycomb’, Patella ‘little dish’ (cf. Epulia already mentioned), Alvea ‘kneading-trough’, Pila ‘mortar’ (as in ‘pestle and’), Scapha ‘skiff, small boat’, Lucatrix ‘wrestler’ (and even Palaestra, ‘wrestling ground’), and Vigilia ‘night-watch’ carries an obvious message.

Diminutives were very popular. Animals include Vitula ‘calf, young heifer’, Lepuscula ‘little hare, leveret’. Facula ‘little firebrand’ is a nice one, Viticula ‘little vine’ – perhaps clingy? Bacula ‘little kiss’ and Lingula ‘little tongue’ quite explicit, Pupilla ‘little girl, doll’ probably all too close to the truth.

I will have to give this some thought. This is a great reference, lots of possibilities here. For the character I've got in mind, it needs to be derogatory - the name she'd have wouldn't be endearing. Canis or Lupa might be the nearest in connotation. Saga fits her personality.
 
Within a few moments, the pain of the point of the cornu digging into Sabina's buttock was so agonizing that she had to raise herself off of it. She struggled to raise herself fully on the cross, to stretch her body upward where she would be able to breathe more easily and lessen the pain in her wrists. Julia Lepida describes it this way:

It was only a few heartbeats until the bruising pain of the cornu digging into the cheek of her buttocks defeated her and she had to trade it for the full pain of the nails again. She let out a long groan as she pushed down on the spikes in her feet again and lifted herself off of it.

She gritted her teeth and pushed with her legs, pulling against the nails in her wrists at the same time to struggle higher. She moved upward with tortured slowness, jerking to a stop and screaming each time her movement caused her wrists and feet to twist around their nails. Her welted back scraping along the rough wood of the cross made her arch her body outward as she rose. Her breath came in deep, ragged moans of agony.​
 

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Sabina pushed up as high as she could go, trying to straighten her legs as much as she could so that she could hold herself up longer before fatigue and the agony of the nails in her feet defeated her. Julia Lepida describes it:

When she had lifted herself as high as she could, her head hid most of the titulus so that she was looking down on the crowd. Her legs trembled with the strain of holding herself up while fighting against the excruciating pain of the nails in her feet. There were tears in her eyes, whether from the pain, shame, or sorrow from knowing that she was dying, I couldn’t say.​
 

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One tactic that I used to see Makar's girls employ on the cross was to lean forward and press their butts against the timber to take the weight off of their feet. How well that worked would have depended on the coefficient of static friction between the skin of their ass and the wood, sweat, bark roughness, etc., but I noted that it worked so well in one video that the girl was actually able to pull her feet up in their ropes. That was an indication that all of her weight was being held up by her butt, at least for a second or so.

I've never seen this pose in any of the religious art; it probably would have been considered as a bit undignified. But it seems that given the situation, a lot of girls that Makar put on crosses naturally found it an option to enable them to take the pressure and chafing of the ropes around their feet.

I'm saying this to give some background for Sabina's poses in the next couple of scenes. Like many of her poses on the cross, I created these after watching a lot of Makar's videos, probably the best resource available for an artist trying to create realistic crucifixion poses. I'll show Sabina's next scene in a following post, but for now, here are a few of the 137 images I collected over the years as references for this particular pose.
 

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Now having shown you a few of the reference pictures I used for Sabina's next pose, here she is. She's trying to plant her butt against the cross and use it to help hold herself up. She did this before, when the executioner was nailing her feet, to keep from dropping onto the cornu when the agony of the last nail took away her last source of support below. Salonina had warned Sabina about that and advised her to use her butt to hold herself up when she was talking about her crucifixion:

“It’s going to be hard to think, but try to remember this: Straighten your legs, get as high as you can, get your butt back hard against the wood and lean forward as far as you can. Your wrists will pull against the nails, but it’s not as bad as hanging by them. Your butt will press against the wood, and you’ll be able to take some of your weight there without it slipping."​

Now she's naturally employing the same position to try to relieve her feet while she tries to breathe a little longer. Julia Lepida describes it this way:

I was surprised at the silence of the crowd. Most of them had their eyes fixed on my crucified slave, spellbound by the spectacle of her naked display, probably unaware of their hardened male members that bulged their tunics. Whores in flame-red togas worked the crowd. There would be other women with their backs against crosses today, impaled on stiff penises rather than a rough wooden cornu between their legs. I turned my eyes back towards her.

Her chest was thrust forward, as if that made it easier to straighten her legs and perhaps force her buttocks back against the cross to help bear her weight. With the iron nails pressing the soles of her feet solidly against the cross, it was impossible for her to fully straighten her legs. From time to time she would jerk her head back, groaning, sometimes shrieking at some sudden stab of pain, and then at other times her head would drop and she would seem to be staring at her nailed feet.​

Besides the pain of the nails in her feet, her legs would be exhausted soon. As I watched, she shifted her weight onto her right foot in order to try to relieve the other for a few heartbeats. Her whole body tensed with the strain as she fought the agony. She threw her head back and groaned at the pain of resting almost all of her weight on a single nail. She shifted her weight to her quivering left leg, but it was no good. She needed the strength of both legs to keep herself raised.​
 

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there's something - for me at least - very arousing
about those bare, dispassionate instructions from Salonina
on 'how to cope on the cross'. In my own fantasies,
in a more present-day context, I imagine,
after I've been condemned, being given an instruction booklet,
or shown a video, spelling out in that cold way
what's going to happen to me...
 
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