In a neatly constructed scene showing the inside of the battlements for the first time, the Proconsul discovers how it feels to lose control of a situation when his verbal threats are no longer taken seriously. The next picture provides the view from the walls, as we follow his despairing gaze downwards to witness the methodical nightmare of the latest crux scene.
Aerial views are challenging in terms of finding figures in the correct orientation which actually work together. What we're seeing is an impressive piece of co-ordination in which three Romans restrain Josephine on the cross by her wrists and feet. The right hand is convincingly trodden down whilst the left is gripped by the wrist, about to be pulled out upon the patibulum. This Femjoy pose has become well known, appearing in crux art by Damian and myself, but this is the first time I have seen it manipulated in its original orientation as a reclining pose, and it is very effective.
The crux group is completed with the titulus for the new offender - this time announcing a traitor. The whole scene conveys its sense of scale with the de-focused close-up of the Proconsul on the left, balanced by the next closest figure of Jasmine crucified on the right. The perspective of her stipes tapers down accurately towards the ground to define her position. Between them, Josephine lies on her back - father and daughter are capable of direct eye contact in such close proximity. Further back the figures of Valeria and the recently rescued Cassia define the middle distance.
The background is entirely ground cover, placed at precisely the correct, oblique angle, and diminishing with the appropriate, receding perspective for this overhead view. The ground is further detailed by the long shadows cast by the evening sunlight. I think this is one of the most complex manipulations I have ever seen in terms of multiple figure interaction, scale, viewpoint and lighting, and the successful result has a haunting impact. It is altogether a remarkable achievement!