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Victim's Eye View

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jedakk said:
Talking about watching herself being tied reminds me of these pictures of Lucilla from The Serpent's Eye, watching as they tie her wrists to the cross. First, she's trying to see where she's going, what's going to happen to her once they have her wrists tied. From her viewpoint she might be able to see the base of the cross and the dirt piles around the hole where they will drop it when it's lifted up.

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Then she's watching in fascination as they secure her wrists to the cross so that she can't work herself loose and perhaps escape her torture during the coming days of endless, agonized struggle.

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Jedakk, seria about 12th crucifixion of Lucilla - is my dream!
 
jedakk said:
One of the scenes I always think of as being very dramatic and pivotal is when the victim is stripped of her loincloth just before being nailed to the cross. Something changes in that moment; before that, there is this feeling (maybe, at least I think there would be) that until they take away her loincloth, until she's completely naked, they won't nail her to the cross. In some of my stories, the victim tries to hold onto her loincloth as it's pulled away, grasping for it, desperately clenching her thighs together, anything to keep them from taking it away because

...when I am naked, they will nail me to the cross.

These scenes have been notoriously difficult to do in Poser because the clothing we usually use just doesn't fold and stretch and move the way real cloth does. I wanted to do a stripping scene with Sabina for The Serpent's Eye, but it was just too technically challenging. Now I've finally managed to do something that looks acceptable, I think.

The first two pictures show views of the larger scene for context:



One of the executioner's helpers holds Sabina's arms back so she is helpless to interfere as the other one pull her loincloth down. She grasps at the loincloth futilely; she knew with certainty that this was about to happen, and yet she wants to put it off, even for a few moments because she knows what will come next.

Here are some views from above. The first couple are close to what Sabina would see from a victim's-eye view, while the others are more from an executioner's view.

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Yes, the slow, public stripping of the female victim stresses her nakedness and increases her humiliating shame as she watches the covering cloth being torn off her intimate feminine genitals. The public entertainment value is, of course, another positive factor.
 
jedakk said:
In this scene, the executioner's helpers have lifted her patibulum, pulling her upward by her nailed wrists, until she is in a standing position as they pause to change their grip on the patibulum for the final lift. This is the last time her feet will ever touch the ground; a few inches higher, and she will be hanging by her wrists, the first time her full weight has been borne by her impaled wrists.



The executioner's helpers have to take care at this point. With the victim's wrists nailed to the face of the timber, her weight on the nails will make it tend to rotate in their grasp, which could break her wrists. Note also in the first picture how Sabina's left foot is poised so that she can go up on her tiptoes when they begin to lift, so that she can support herself for as long as she possibly can before they make her hang by her wrists.

In the second picture, we can see the top of the stipes above her; this shows how much higher they will lift her in a moment. And in the third picture, the man on the cross next to hers is visible; Sabina will be hanging like him soon.

Here are a couple of close-ups:



And here are some victims-eye views:



In the first one, she's looking a little behind her, where the executioner waits to finish his work. We can also see his helper with his hands braced and ready to lift. In the second picture, Sabina looks at Julia Lepida once again, hoping for mercy even at this point but finding none. And in the third picture, she looks down her naked body yet again. I probably shouldn't keep doing these "looking down" views, but I'm trying to capture what the victim would actually see while being crucified.
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Ex Sabrina semper aliquid novo
 
andy01 said:
Ex Sabrina semper aliquid novo
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(always something new from Sabrina!)

varium et mutabile semper Sabrina, summe in cruce

(Sabrina's never still, especially on the cross :devil:)

Incidentally, as several here no doubt know, Sabrina is actually
the Roman-British name of the longest river in Britain,
Severn to the English, modern Welsh Hafren.

And why did Virgil write varium, not varia?
I've often wondered - I think Dryden had the answer:
'Varium et mutabile semper femina is the sharpest satire, in the fewest words, that ever was made on womankind; for both the adjectives are neuter, and animal must be understood, to make them grammar. Virgil does well to put those words into the mouth of Mercury. If a god had not spoken them, neither durst he have written them, nor I translated them.'
 
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Eulalia said:
(always something new from Sabrina!)

varium et mutabile semper Sabrina, summe in cruce

(Sabrina's never still, especially on the cross :devil:)

Incidentally, as several here no doubt know, Sabrina is actually
the Roman-British name of the longest river in Britain,
Severn to the English, modern Welsh Hafren.

And why did Virgil write varium, not varia?
I've often wondered - I think Dryden had the answer:
'Varium et mutabile semper femina is the sharpest satire, in the fewest words, that ever was made on womankind; for both the adjectives are neuter, and animal must be understood, to make them grammar. Virgil does well to put those words into the mouth of Mercury. If a god had not spoken them, neither durst he have written them, nor I translated them.'
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But it's Sabina, not Sabrina.
 
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