Velut Luna - A Tribute to Sibilla Cumana

[bobinder]

Crux Art and Velut Luna 4

​

'The hot wind raises eddies of ash and slag. An incandescent sandstorm is rushing down from Vesuvius towards Pompeii. The defenceless walls are cracking, roofs exploding, tiles, bricks, beams, stones and human bodies all flying towards me, but in such a slow motion they seem in this long moment to be spinning in the air silhouetted against the dazzling light from the wave of fire, empty entities suspended in mid-air at the level of the roofs, the last image of the outside world, a world of shadow and dust.'

(From 'Amica, the Slavegirl of Pompeii' by Velut Luna.)

Following the detailed research which Eulalia and I have undertaken during the last five months, I have been able to attempt a recreation of Luna's vision of the way she liked to see her personal character portrayed. The prevalence of Aisii's expressive pictures in Luna's threads, as well as the fact that her only manipulation for 'Amica' employs Ana-Maria Ilinca, reveals much about the image with which Luna identified. I also have to thank Eulalia for her consultation and input on many of the new pictures which I have created for this thread, and especially for her views on the development of the crux manips.

I am not aware of any colour version of the source figure of Aisii which Luna employed, but since she was working with a black and white photograph of the 1944 eruption, and she expressed a personal preference for monochrome, she was simply not concerned with the prospect of producing a colour version of the crux scene. However, considering the dramatic nature of this scene, I felt that a colour version was justified. In fact there are now two colour versions based directly on Luna's concept, in addition to detail variations.

Using selective colourisation treatments in Photoshop, the original monochrome features of the volcanic eruption were transformed in slightly muted colours, appropriate for the distant background. The individual components in the picture were subjected to balancing for colour, tone and contrast adjustments, in order to achieve a convincing overall consistency for the backgrounds. The first of these depicts the Temple of Jupiter prior to its collapse during the eruption. Eul and I agreed that the temple obscurs much of the volcano whose sweeping lava flows are such a feature of Luna's visual concept. The issue was addressed by producing the second background, showing the fiery cloud emerging through the temple ruins shortly after its collapse. The two backgrounds are further differentiated by a subtle change in the lighting colour of the remaining buildings.

​

Once the figure of Amica was colourised, the crux components were subjected to further balancing adjustments to achieve appropriate blending with the backgrounds. Notwithstanding the various treatments in my interpretations, I like to think that these colour pictures remain visibly indebted to Luna's original vision of the crucifixion of Amica.

​

 

[bobinder]

Crux Art and Velut Luna 5

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'A horrendous crack rips through the air, like bones being snapped and crushed, and above these monstrous sounds rise the cries, screams of terror of the people running here and there through the streets groping like they are blind, a terrible cry, getting stronger and stronger, reaching to the sky. Vesuvius is shrieking, spitting out blood and ashes. A giant tree of fire arises high out of the mouth of the volcano, a huge, terrifying column of smoke and flames, which spreads through the sky to touch the pale stars.'

- - - - -​

'Every so often there’s a rip in the cloud, it spills out a flood of lava onto the earth and the sea, it falls on the fields and the hard crust over the waves with the sound of a wagonload of stones emptying out its cargo, as the fragments touch the soil and the hard crust of the sea, clouds of red dust arise to spread across the sky, obscuring the stars. Vesuvius shrieks horribly in the ruddy twilight that heralds a dreadful night, a desperate cry rises from the doomed city.'

(From 'Amica, the Slavegirl of Pompeii' by Velut Luna.)

Velut Luna's vivid descriptions of the devastating AD 79 eruption of Vesuvius are based on her sound knowledge of the history and geology of the area. More than this, her writing is presented in a style which is poetic, dramatic and ultimately inspiring. Amica's suffering is bound up inextricably with that of the natural world. When Luna describes Vesuvius shrieking and spitting blood, she is drawing a direct comparison, using the violent eruption as a metaphor for the extreme human agony of crucifixion. Such writing appeals for visual interpretation, and a further illustration seemed inevitable, the result being, 'Vesuvius Shrieks'.

Madiosi used a computer-generated screen shot from a documentary on Pompeii for his crux manip, and I discovered a similar source, probably from the same production. Whilst this is a small picture, it appears defocused when enlarged, and makes an appropriate image for a distant background, full of smoke and flying debris.

For this picture, I used one of the Aisii sources which Luna liked enough to present in the 'Wanted Backgrounds and Models etc...' thread. Whilst the colour photograph is in fairly low resolution, there is a hi-res version, albeit in black and white. That would not have worried Luna, since she loved monochrome. However, a colour manipulation would exploit the best features of the fiery background and provide the option of presenting monochrome variations, of which Luna might have approved.

​

I used the hi-res, black and white Aisii pose to ensure that the main figure remains in focus, rather than enlarging the smaller colour figure. Ana-Maria has the pale skin which Luna attributes to Amica, and so I colourised her using a slightly pink tinge for the reflected firelight. Clouds of dust, in reduced opacity, were added in the lower foreground, providing some extra depth within the scene. The cross is stylistically my usual construction, and it has the titulus described in the story. Amica observes that the wood and even the nails of her cross have been used previously, so I decided that my recycled timber would be consistent with Luna's vision. Once the colourised figure was securely attached to the wood, multiple variations became possible.

​

 

[bobinder]

The Ancient Mirror of the Sea

​

'We hear stories, memories of people known to have disappeared in the vast tragedy, of the survivors who miraculously escaped the disaster, and we hear of the desperate search for Amica. But of her there remains only a fanciful legend.

Behind a high rock which sheltered it from the wind there’s a tiny patch of meadow, dotted with bushes of rosemary and flowering broom, with grass that’s deep green, a raw, shiny green that glows so brightly, so unexpectedly, a fresh, virgin green. The grass that grows down almost to the sea, by contrast, has a tired, faded green, as if the sea belongs to an ancient world. All around, the countryside buried under the ashes, burnt and torn by the violence of nature, has reverted to chaos.

But there, on that little world of green grass springing fresh out of the chaos, stands a girl on the sandy shore, where the green grass yields to the waves, combing her hair, gazing at the sea. She watches the sea as a woman looks in a mirror. From that fresh grass, she peers into the ancient mirror of sea with a smile of happy surprise, and the ancient sea reflects with a tinge of green her long, soft, silvery-blonde hair, and her smooth, white skin. A crouching dog follows with its eyes the slow, calm gestures of the silent girl.'

(From 'Amica, the Slavegirl of Pompeii' by Velut Luna.)

Almost one year after the devastating eruption of Vesuvius, the Minerva returns to the Bay and sets her anchors on the beach - there is no trace remaining of the harbour at Oplontis. From the deck, Eulalia surveys the ruins of Pompeii, buried in ash and pumice. No longer enslaved, she has come back from Athens to search for Amica, knowing only that her friend had disappeared a few days before Lucius planned to take her to Rome. But there is no trace of Amica, apart from the fanciful legend of the girl and her dog on the sea shore.

Luna's vision of Amica peering 'into the ancient mirror of the sea' might have been inspired by one of her favourite Aisii pictures, showing Ana-Maria on a beach, holding a mirror in which her face is reflected with the sea.

​

My interpretation of the scene employs Ana-Maria in a three-quarter rear view, looking over her shoulder, as she turns to face us. The bouquet of flowers has been deleted and the left hand replaced. Amica's hair reverts to her original blonde in this scene, and so the appropriate colourisation treatment was applied.

​

The background was prepared as a composite image, in which multiple sections of the sea were inserted with soft blending between the sky and the beach. The grassy meadow in the foreground was applied in two further layers. A Neapolitan mastiff makes an accurate representation of Moloch, observing 'the slow, calm gestures of the silent girl.'

Amica's clothing was applied in multiple sections of fabric, blended together and reduced in opacity to allow the shape of the twisting body to show through the translucent material. The curve of the crescent moon is reflected by the nautilus shell, which makes a visual link with the earlier description of Amica on the sea shore, after the storm.

​

The legend of Amica gazing into the ancient mirror of the sea has no more reality than a dream. The account is not presented as a resurrection scene. And so the picture's sense of dream-reality is evoked by the use of transparent filter layers, tinted with rose and sepia, providing an overall lighting effect in sympathy with the sunset.

​

This final scene with Amica follows a much more destructive example of natural violence than the earlier storm which revealed the nautilus shell. The empty shell of the long deceased 'mysterious nautilus - a skeleton so white', becomes a symbol of the mystery surrounding Amica's death. It reminds us also of her sibylline qualities and the oracle voice she interpreted on the beach at Herculaneum, and in her poem to Eulalia.

A year later, Eulalia returns to the shore of Pompeii to discover a legend, and symbolically, Amica's promise of reunion is fulfilled.

So on this lonely shore
I come to meet you.



Amica - Velut Luna​

 

[Eulalia]

V

By now, our way of working together was well established, Luna would send me a short chapter in Italian, with her English version, I polished it, we often discussed words and phrases to be sure I was communicating what she really wanted to convey. And she was always eager to fill in my knowledge of the details, sharing her knowledge of the places, feeding me lots of additional information, along with literary pieces – poetry, stories – that our conversations prompted her to share. As well, of course, as news about what we were doing, her family and friends, the new career she was just starting in journalism - and just girl talk!

​

Each chapter revealed a new, beautifully clear, facet of life in and around Pompeii, from the luxury of the wealthiest households to the slums, brothels and, ultimately, the horror of the slave-labour camp, all seen and experienced by the questing, perceptive, insightful Amica. Each chapter turned another notch on the Wheel of Fortune, Luna’s archetypal symbol, through phases of exploration, discovery, growing understanding, bright prospects of happiness, then sudden reversal, increasing intimations of danger, looming threats, downfall and tragedy – all accompanied by the ever-increasing turbulence in and around the volcano – and ending with a classical, elegaic resolution, with the return of Eulalia now free and restored to ‘my’ rightful place, a kind of apotheosis of Amica on the seashore, and (as in ‘The Devil in the Convent’) a coming-together in identity of the heroine of the story and the young reporter who has related it.

I felt as I worked on ‘Amica, the Slavegirl of Pompeii’ that I was sharing in something very special, I have no hesitation in saying I think it’s an outstanding work of literature. Of course I’m claiming no glory, the entire story and the way it flows and achieves its structure were entirely the products of Luna’s lively imagination, deep knowledge, intelligent understanding and confident literary skills. I do feel proud and privileged to have been able to participate in creating an English version that I know Luna was very happy with.

‘Amica’ deserves to be more widely published, maybe one day it will be, but that of course would be very problematic under present circumstances. Still, we are very fortunate to be curating it (in both English and Italian versions) here in our Archive and e-book Library.

​

 

[Eulalia]

VI

Even before she had posted the final chapters of ‘Amica’, Luna had opened a new thread tantalisingly titled ‘Histoires de Luna’. On it, she started a new story, ‘Forbidden Games’, one that suggested from the outset that a modelling career is not so romantic a trade as some imagine. After that, there was a hiatus in ‘Histoires’ while we concluded the majestic story of Amica, and when that was completed in July 2015 she took a well-earned holiday. When she returned, she posted the second episode of ‘Forbidden Games’, but was then away from the Forums for more than six months: I was aware of the reasons, including getting started in her new career and experiencing some serious hacking of her computer. As she made contact from time to time, I wasn’t worried.

When she eventually returned in the spring of 2016, we had plenty to chat about, and, seeing Zephyros’ thread ‘Do Mermaids Really Exist?’ she sent me the wickedly funny story by Curzio Malaparte which we decided I should translate and post as ‘Mermaid with Mayonnaise’:

Do Mermaids Really Exist?



She had also acquired a ‘rescued’ greyhound, and that was another topic for our chats (I delighted her by managing to track down her pet’s pedigree in the on-line stud-book of the Irish Greyhound Association!) And when she told me of a lovely incident involving her hound, we turned it, with some fictional embellishment, into the short story ‘Stella’:

Stella

It was after this that she told me she had a new book-length story in mind, a ‘giallo’, mystery thriller: ‘it will take a long time because now it's just bubbling up in my head, very complicated, difficult ...’. I asked if she'd abandoned the ‘Forbidden Games’ story she’d started in ‘Histoires’, she replied 'Can be a new one ...', but then told me, ‘I already had in mind a chapter of (Forbidden Games) on a police topic ... but now I will skip the trip to Zanzibar; just before leaving Mara receives a terrible phone call and the trip is cancelled, a model that had disappeared some time before was found dead ... and here the giallo is inserted ...’

I’m quoting that (in my translation of Luna’s Italian), contrary to my usual practice of keeping PMs strictly private, because it’s the only evidence I have for the relationship between ‘Forbidden Games’ and the ‘giallo’ that followed. Like much of ‘Histoires’, it remains a mystery – at least to me.

She quickly produced, I translated and she posted (with a re-run of the first two parts), a third episode of ‘Forbidden Games’, ending on a cliff-edge with the heroine, Luna, in a hospital emerging from some mysterious, life-threatening trauma, apparently being treated for a serious drug overdose, but not of drugs she’s knowingly taken. So readers could follow it more easily, we put all three episodes together:

http://www.cruxforums.com/xf/threads/histoires-de-luna.4007/post-248620

​

And, straight after that, the first scene, a prelude – or not? – to the ‘giallo’, a scarily claustrophobic episode (typed, I’m sure significantly, in italics) called ‘The Round World’.

http://www.cruxforums.com/xf/threads/histoires-de-luna.4007/post-249059

The only, somewhat riddling, clue she gave me anent this was ‘she is the protagonist who speaks in first person’. The ‘protagonist’, or at least the central female character, of the story that unfolds is Corinne, a forensic medical detective whose career has been shattered by (yet another!) obscure, traumatic event. She is, once more, a ‘Luna-like’ young woman, but she is paired in the mind-twisting case with the even more troubled character of Didier, portrayed with superb psychological insight, certainly Luna’s most interesting and complex male character.

Luna asked me if I wanted her to explain the story, I declined, feeling it better for the ongoing translation if I know no more than other readers. Of course, on one level, I regret this now, it’s frustrating not to know the end. But I said what I firmly felt was right, and, in the same circumstances, would say the same again.

She also told me that she had written an earlier version of the story set in Naples, two friends had read it and they had liked it – which raises the tantalising possibility that someone in Italy still has that original, ‘Neapolitan’, text, maybe one day they’ll publish it! But to link it with the first story, ‘Forbidden Games’, she'd switched the location to Paris, again implying that somehow this ‘giallo’ is in some way a story within that story.

For me, I’ll admit, that geographical shift slightly diminished the pleasure I’d got from her earlier writings – although this story shows Luna’s ability to portray vividly a range of scenes, especially parts of Paris where she must have spent some time (she didn’t mention to me how she’d come to know the city), it lacks the deep sense of ‘rootedness’ in her home territory, that make ‘The Devil in the Convent’ and ‘Amica’ so richly real on so many levels.

But of course it displays other of her strengths at even greater pitch – the razor-sharp dialogue, the tightening of tension to almost unbearable degrees, the teasingly complex plot-line with its flashbacks, hints of past horrors and threats of what might come. As the comments of a great many readers show, we were finding it a superbly gripping story ...

​

 

[Eulalia]

VII

And then it ceased.

I – and other friends of Luna – had been concerned by things she’d said about her health in PMs during August 2016. She was out of contact for about 3 weeks, but I was aware she was taking a restful break, and hoped she’d soon be well again. She came back on September 16th and her posts on the ‘Histoires’ thread seemed to herald the return of the bright, lively Luna we knew and loved, but the same evening she sent me a message giving a very different picture, though she still said twice, in her lovely fractured English, ‘I hope to be right! If not send to me a warning!’

After that, silence. Days passed, then weeks, after three months I posted my announcement, quoting her last message to me:

http://www.cruxforums.com/xf/threads/histoires-de-luna.4007/post-291093

There can be no doubt she died of some serious illness, I found reliable information later that there was an outbreak of meningitis in Italy in the summer of 2016 which claimed the lives of a significant number of young adults, Luna may very well have been one of them.

But I don’t want this Tribute to engage in futile speculation or to dwell on the tragedy – if any of her friends wants to contact me for the little more information I can add, please send a PM – but here I want to celebrate what she gave, to me and to all of us.

I was surprised how deeply her loss affected me, our friendship and working together had become a very special part of my life, she’d told me so much about herself I felt I knew her closely – and yet, in a sense, we didn’t know each other at all! We never exchanged our ‘real life’ names, never questioned or pressed each other for personal information. As I wrote a year later on the ‘Histoires’ thread, ‘the fact that we respected each other's privacy and anonymity absolutely ... meant our friendship was so uncomplicated, we just clicked, had so much in common to share and chat about. If we'd ever really met, I think we'd have got on very well, but it would have been much more complex. Like I, and others, have said, it was a privilege and a joy to know Luna in this strange way. She's a memory I'll always treasure’.

I’m grateful to Bob for his initiative in creating this Tribute. For three years, I’ve found it hard to re-read Luna’s wonderful stories, and almost impossibly painful to re-visit our thousands (literally) of posts we exchanged in PMs. Now I’ve done so, I feel a sense of ‘closure’, I can pass from grieving to gratitude, feeling personally thankful to have had the chance to communicate with such a very wonderful person, and I’m sure I can say for very many here on the Forums, we’re all eternally grateful for the legacy of superb stories that are now treasured in our Archive.

​

 

[Wragg]

This is wonderful work by the two of you, not just an amazing tribute to a phenomenal woman, but truly breathtaking in conveying the impact of Luna through words and images that come from the depths of your hearts.

 

[Jollyrei]

A beautiful tribute, and so very rich. There's so much here that it needs more than one read. Each paragraph and image tell a story. It very much captures the beauty of Luna, both as a person and a writer/contributor to CF. Sometimes we make a special connection with someone here, and this thread serves not only as a tribute to the Luna we knew, but also to the special friendship of Luna and Eulalia. We also feel the loss, but also the privilege of that relationship. Thanks for this work to both Eul and Bob.

 

[hammers]

VII

And then it ceased.

I – and other friends of Luna – had been concerned by things she’d said about her health in PMs during August 2016. She was out of contact for about 3 weeks, but I was aware she was taking a restful break, and hoped she’d soon be well again. She came back on September 16th and her posts on the ‘Histoires’ thread seemed to herald the return of the bright, lively Luna we knew and loved, but the same evening she sent me a message giving a very different picture, though she still said twice, in her lovely fractured English, ‘I hope to be right! If not send to me a warning!’

After that, silence. Days passed, then weeks, after three months I posted my announcement, quoting her last message to me:

http://www.cruxforums.com/xf/threads/histoires-de-luna.4007/post-291093

There can be no doubt she died of some serious illness, I found reliable information later that there was an outbreak of meningitis in Italy in the summer of 2016 which claimed the lives of a significant number of young adults, Luna may very well have been one of them.

But I don’t want this Tribute to engage in futile speculation or to dwell on the tragedy – if any of her friends wants to contact me for the little more information I can add, please send a PM – but here I want to celebrate what she gave, to me and to all of us.

I was surprised how deeply her loss affected me, our friendship and working together had become a very special part of my life, she’d told me so much about herself I felt I knew her closely – and yet, in a sense, we didn’t know each other at all! We never exchanged our ‘real life’ names, never questioned or pressed each other for personal information. As I wrote a year later on the ‘Histoires’ thread, ‘the fact that we respected each other's privacy and anonymity absolutely ... meant our friendship was so uncomplicated, we just clicked, had so much in common to share and chat about. If we'd ever really met, I think we'd have got on very well, but it would have been much more complex. Like I, and others, have said, it was a privilege and a joy to know Luna in this strange way. She's a memory I'll always treasure’.

I’m grateful to Bob for his initiative in creating this Tribute. For three years, I’ve found it hard to re-read Luna’s wonderful stories, and almost impossibly painful to re-visit our thousands (literally) of posts we exchanged in PMs. Now I’ve done so, I feel a sense of ‘closure’, I can pass from grieving to gratitude, feeling personally thankful to have had the chance to communicate with such a very wonderful person, and I’m sure I can say for very many here on the Forums, we’re all eternally grateful for the legacy of superb stories that are now treasured in our Archive.

View attachment 751559​

I am also inclined to say "GRAZIE EULALIA"

 

[MahaShiva]

Wow, Bob and Eul! You two left me almost speechless. Such a beautiful tribute! When Eul first mentioned the Vesuvius scene in Luna's story in that comment on dA, I could sense immediately that it would be a powerful, moving and epic scene even without reading it, and now I get to know the powerful, moving and epic story behind that story. All I can say right now is: Thank you all for the wonderful collaboration among your brilliant minds!

 

[bobinder]

This is wonderful work by the two of you, not just an amazing tribute to a phenomenal woman, but truly breathtaking in conveying the impact of Luna through words and images that come from the depths of your hearts.

Thank you for your kind words, Wragg.
I think it is fair to say that the creation of this thread has been an emotional experience, but a very worthwhile one.

I am indebted to Eulalia for her support, input and insights, all of which have been invaluable to the success of our joint endeavour.
And, of course I am grateful to Luna, who shared so much with us.
I feel privileged to be giving something in return, and I hope her work will reach the wider audience it deserves.

 

[messaline]

I did two manips with Velut in my thread "Anjou'Calvaries" by the past ...

 

[messaline]

... and for me, she did that ...

 

[Migoz2]

I am so moved by this thread. One of those times I can't, having just read it, find the words to articulate how it make me feel. Thank you so much @bobinder and @Eulalia

 

[hammers]

Crux Art and Velut Luna 2

(Image hosted on DeviantArt - https://sta.sh/0rd2idvtdto )​

Arguably the best known example of crux art by Velut Luna is the spectacular manipulation she created to illustrate the crucifixion of Amica, with Vesuvius erupting in the background. Here, Luna indulges her love of monochrome, combining the black and white source images in a deceptively simple composition. A sepia version, which appears in the 'Amica' PDF, is identical apart from the addition of nails in the palms and feet. Neither version displays wounds or bloodstains. A background photograph of the impressive 1944 eruption of Vesuvius provides a strong diagonal emphasis, the smoke and volcano filling the lower right area, leaving a triangular space of open sky at the upper left which is occupied by the crucified Amica.

View attachment 751508​

Thus Luna presents two subjects of powerful drama, which are juxtaposed in a visually effective manner. The theme of 'volcano-crux', first suggested in 'The Devil in the Convent', is now realised by photo manipulation in the symbolic crux scene from 'Amica'. There is no attempt to depict the destruction being inflicted on the buildings of Pompeii, which would otherwise appear between Amica and the mountain. In the story, she takes her place in a mass crucifixion in the Forum, within sight of the Temple of Jupiter, but the simplicity of Luna's image is what makes it so effective.

Luna was working with monchrome elements and the lack of colour in her chosen sources was of no consequence. There are probably no more than three or four visible layers in the picture - the figure, the cross and the background. The cross looks a bit like the one used by Ramon Martinez in his 'Passion of a Goddess' pictures, although it is desaturated beyond positive recognition. The titulus may be an additional component, together with an item suspended from the right half of the patibulum.

The model is Ana-Maria Ilinca, in a pose which Luna found so irresistible that she posted the full original image as well as a detail in the thread, 'Wanted Background Pics Models e-t-c'. It is probably the most traditionally 'crucified' of the various cruciform poses, 'sans croix', by Ana-Maria, although it does not seem to be widely used by crux manip artists. Perhaps the absence of colour is part of the reason for its lack of appeal?

View attachment 751509

View attachment 751510​

Consequently, this particular crux figure pose is associated almost exclusively with Velut Luna, 'Amica' and the corresponding image of Vesuvius. An exception which appeared earlier this year is a manip, entitled 'Temple Crucifixions' by @hammers - also known as Nailhand on DeviantArt - https://www.deviantart.com/nailhand

Ana-Maria is the most prominent of six crucified females, in a mass crux scene, within sight of a ruined temple. The simple composition and broad, flat colouring suggest the influence of the Symbolist movement, and notwithstanding the absence of a volcano, this could almost represent the crux scene in 'Amica'. Hammers has introduced elements of realism by colourising the figure and adding ropes, nails and bloodstains.

View attachment 751511View attachment 751512View attachment 751514​

We can see how hammers has adapted the same figure for two further manipulations on the Roman theme - 'Scenes in the Arena' and 'Ruthless Repression by Rome of the Zealot Uprising'. His modifications include the use of different heads, which disguise the identity the original model. It would be interesting to learn whether hammers was initially influenced by Luna's 'Amica' manipulation, or whether he shared with her the inspiration originally provided by the Aisii source image.

Crux Art and Velut Luna 2

(Image hosted on DeviantArt - https://sta.sh/0rd2idvtdto )​

Arguably the best known example of crux art by Velut Luna is the spectacular manipulation she created to illustrate the crucifixion of Amica, with Vesuvius erupting in the background. Here, Luna indulges her love of monochrome, combining the black and white source images in a deceptively simple composition. A sepia version, which appears in the 'Amica' PDF, is identical apart from the addition of nails in the palms and feet. Neither version displays wounds or bloodstains. A background photograph of the impressive 1944 eruption of Vesuvius provides a strong diagonal emphasis, the smoke and volcano filling the lower right area, leaving a triangular space of open sky at the upper left which is occupied by the crucified Amica.

View attachment 751508​

Thus Luna presents two subjects of powerful drama, which are juxtaposed in a visually effective manner. The theme of 'volcano-crux', first suggested in 'The Devil in the Convent', is now realised by photo manipulation in the symbolic crux scene from 'Amica'. There is no attempt to depict the destruction being inflicted on the buildings of Pompeii, which would otherwise appear between Amica and the mountain. In the story, she takes her place in a mass crucifixion in the Forum, within sight of the Temple of Jupiter, but the simplicity of Luna's image is what makes it so effective.

Luna was working with monchrome elements and the lack of colour in her chosen sources was of no consequence. There are probably no more than three or four visible layers in the picture - the figure, the cross and the background. The cross looks a bit like the one used by Ramon Martinez in his 'Passion of a Goddess' pictures, although it is desaturated beyond positive recognition. The titulus may be an additional component, together with an item suspended from the right half of the patibulum.

The model is Ana-Maria Ilinca, in a pose which Luna found so irresistible that she posted the full original image as well as a detail in the thread, 'Wanted Background Pics Models e-t-c'. It is probably the most traditionally 'crucified' of the various cruciform poses, 'sans croix', by Ana-Maria, although it does not seem to be widely used by crux manip artists. Perhaps the absence of colour is part of the reason for its lack of appeal?

View attachment 751509

View attachment 751510​

Consequently, this particular crux figure pose is associated almost exclusively with Velut Luna, 'Amica' and the corresponding image of Vesuvius. An exception which appeared earlier this year is a manip, entitled 'Temple Crucifixions' by @hammers - also known as Nailhand on DeviantArt - https://www.deviantart.com/nailhand

Ana-Maria is the most prominent of six crucified females, in a mass crux scene, within sight of a ruined temple. The simple composition and broad, flat colouring suggest the influence of the Symbolist movement, and notwithstanding the absence of a volcano, this could almost represent the crux scene in 'Amica'. Hammers has introduced elements of realism by colourising the figure and adding ropes, nails and bloodstains.

View attachment 751511View attachment 751512View attachment 751514​

We can see how hammers has adapted the same figure for two further manipulations on the Roman theme - 'Scenes in the Arena' and 'Ruthless Repression by Rome of the Zealot Uprising'. His modifications include the use of different heads, which disguise the identity the original model. It would be interesting to learn whether hammers was initially influenced by Luna's 'Amica' manipulation, or whether he shared with her the inspiration originally provided by the Aisii source image.

Crux Art and Velut Luna 2

(Image hosted on DeviantArt - https://sta.sh/0rd2idvtdto )​

Arguably the best known example of crux art by Velut Luna is the spectacular manipulation she created to illustrate the crucifixion of Amica, with Vesuvius erupting in the background. Here, Luna indulges her love of monochrome, combining the black and white source images in a deceptively simple composition. A sepia version, which appears in the 'Amica' PDF, is identical apart from the addition of nails in the palms and feet. Neither version displays wounds or bloodstains. A background photograph of the impressive 1944 eruption of Vesuvius provides a strong diagonal emphasis, the smoke and volcano filling the lower right area, leaving a triangular space of open sky at the upper left which is occupied by the crucified Amica.

View attachment 751508​

Thus Luna presents two subjects of powerful drama, which are juxtaposed in a visually effective manner. The theme of 'volcano-crux', first suggested in 'The Devil in the Convent', is now realised by photo manipulation in the symbolic crux scene from 'Amica'. There is no attempt to depict the destruction being inflicted on the buildings of Pompeii, which would otherwise appear between Amica and the mountain. In the story, she takes her place in a mass crucifixion in the Forum, within sight of the Temple of Jupiter, but the simplicity of Luna's image is what makes it so effective.

Luna was working with monchrome elements and the lack of colour in her chosen sources was of no consequence. There are probably no more than three or four visible layers in the picture - the figure, the cross and the background. The cross looks a bit like the one used by Ramon Martinez in his 'Passion of a Goddess' pictures, although it is desaturated beyond positive recognition. The titulus may be an additional component, together with an item suspended from the right half of the patibulum.

The model is Ana-Maria Ilinca, in a pose which Luna found so irresistible that she posted the full original image as well as a detail in the thread, 'Wanted Background Pics Models e-t-c'. It is probably the most traditionally 'crucified' of the various cruciform poses, 'sans croix', by Ana-Maria, although it does not seem to be widely used by crux manip artists. Perhaps the absence of colour is part of the reason for its lack of appeal?

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Consequently, this particular crux figure pose is associated almost exclusively with Velut Luna, 'Amica' and the corresponding image of Vesuvius. An exception which appeared earlier this year is a manip, entitled 'Temple Crucifixions' by @hammers - also known as Nailhand on DeviantArt - https://www.deviantart.com/nailhand

Ana-Maria is the most prominent of six crucified females, in a mass crux scene, within sight of a ruined temple. The simple composition and broad, flat colouring suggest the influence of the Symbolist movement, and notwithstanding the absence of a volcano, this could almost represent the crux scene in 'Amica'. Hammers has introduced elements of realism by colourising the figure and adding ropes, nails and bloodstains.

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We can see how hammers has adapted the same figure for two further manipulations on the Roman theme - 'Scenes in the Arena' and 'Ruthless Repression by Rome of the Zealot Uprising'. His modifications include the use of different heads, which disguise the identity the original model. It would be interesting to learn whether hammers was initially influenced by Luna's 'Amica' manipulation, or whether he shared with her the inspiration originally provided by the Aisii source image.

Hello Bobinder! I feel honoured by your mention of my work: thank you once more. In "Temple Crucifixions" I was for the first time impressed by the sensual body and cute expression of the Romanian model appearing in some black and white photographs. Later on my attention was drawn on Velut Luna. This happened at the time I had shortly reviewed the movie "The Nuns of Saint Archangel" in CF thread "Bondage,Captivity,Interrogation,Torture Scenes in Mainstream movies" when somebody mentioned that a writing by Velut Luna on same events already existed.
Please accept my compliments for your new illustration of the crucified slavegirl of Pompeii and for the passion both yourself and Eulalia showed for this story.

 

[bobinder]

I did two manips with Velut in my thread "Anjou'Calvaries" by the past ...

... and for me, she did that ...

Many thanks for presenting these wonderful pictures in this tribute, Messa.

It is good to see how you have adapted the source image of Luna's avatar for your manipulations. Whilst we are familiar with the avatar, this is the first time I have seen the full figure used in a crux manip. Like the Aisii 'Vesuvioeluna' image, this black and white figure is closely associated with Luna's crux art, and both of your pictures represent your characters in a most identifiable manner.

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The monochrome version, with its desaturated background, is certainly evocative of Luna's style. The scale and composition work very well here. Your colourised version of the figure makes a dramatic impact against the garden background, which appears to have an artistic treatment similar to a painting. I wish I had known about your Luna manips earlier.

Ironically, I was aware of the two 3D crux renders, but I was unable to identify them positively as Luna's work. Her 3D pictures are stylistically similar to those of Ascanio and others, and she did not sign them. Since I was uncertain of their origins, I did not include them in the overview, but I am grateful for your confirmation that they form part of Luna's oeuvre. She has created a very convincing Messaline character, the blonde hair with a floral crown presenting signature features. The portrait image shows these to good effect, and makes a very attractive picture.

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Thank you very much for your information and contributions.

 

[bobinder]

A beautiful tribute, and so very rich. There's so much here that it needs more than one read. Each paragraph and image tell a story. It very much captures the beauty of Luna, both as a person and a writer/contributor to CF. Sometimes we make a special connection with someone here, and this thread serves not only as a tribute to the Luna we knew, but also to the special friendship of Luna and Eulalia. We also feel the loss, but also the privilege of that relationship. Thanks for this work to both Eul and Bob.

Thanks very much for your appreciation, Jolly.
I hope you will enjoy revisiting this tribute as much as you evidently enjoyed Luna's original threads.
Luna's writing continues to provide inspiration, and is always worth revisiting.

 

[montycrusto]

Still only half way through this dense thread (I mean dense in terms of information density..) So much to digest and so packed with information yet shot through with nostalgia and sadness too. I have not given Velut Luna’s writing yet the attention it clearly deserves, but was always aware of her subtle spirit floating through the forum.. thanks @bobinder and @Eulalia for this beautiful retrospective, I am quite captivated!

Also with renewed appreciation of Eulalia’s skill and sensitivity as translator/editor/collaborator.. and Bob’s ingenuity and diligence as artist/editor/compositor..

 

[Kathy]

Well done Bob and Eulalia , it will take some time to read all your posts on this thread , I will be busy the next few days doing so. I did a quick scan thru several of them and enjoyed what I saw.

 

[messaline]

She has created a very convincing Messaline character, the blonde hair with a floral crown presenting signature features. The portrait image shows these to good effect, and makes a very attractive picture.

Yes, an attractive picture but perhaps a little idealized : in reality, I'm not exactelly like her, I'm not a top model ...
I used of the crucified pic elsewhere , always in my Anjou'Calvaries ...

She did this one too , like a wink to my avatar , but without the fairies that I added myself ...