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Jedakk's Masterpiece

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To be clear, these two posts contain the fantasy, like a daydream, that has been playing itself over and over again in Sabina's mind not only since she was condemned to be crucified, but long before that. It both terrifies and excites her, but at the same time it is exhausting her. It's the reason she contrived to get herself crucified, because she can't bear this obsessive need any longer. She has to experience the cross even if it destroys her.
 
Jedakk,
Thank you for the amazing oeuvre you are continuing to roll out before our wondering eyes.

Question about filenames. Mostly the ordering is obvious, but I am not sure about
Sabina_Crucified_Scene_2-2_0001.jpg
versus
Sabina_Crucified_Scene_2x5-11_0001.jpg
... what does the "x" mean? Is 2x5-11 before 3-anything?
 
Jedakk,
Thank you for the amazing oeuvre you are continuing to roll out before our wondering eyes.

Question about filenames. Mostly the ordering is obvious, but I am not sure about
Sabina_Crucified_Scene_2-2_0001.jpg
versus
Sabina_Crucified_Scene_2x5-11_0001.jpg
... what does the "x" mean? Is 2x5-11 before 3-anything?

Ok, first of all, the naming is of the form <scene number>-<take number>, which kind of follows the system used in filming movie scenes, such as "scene 5, take 3". So "Sabina Crucified Scene 2-2" is scene 2, take 2 of the "Sabina Crucified" section. The "0001" at the end is the frame number of the scene within the Poser file, and that gets added onto the file name by Poser Queue Manager automatically when I send it to render, so I just leave it.

Now in some cases, I went back and did scenes that I had not included originally. In this particular case that you mentioned, I added a scene between scenes 2 and 3. I originally wanted to call that "Scene 2.5", but I found out that wouldn't alphabetize correctly into the file list with that decimal point in it. So I used a format with an "x" in it instead, i.e. "Scene 2x5", which does alphabetize with the other scenes in the file list correctly.

Does that make sense?
 
Ok, first of all, the naming is of the form <scene number>-<take number>, which kind of follows the system used in filming movie scenes, such as "scene 5, take 3". So "Sabina Crucified Scene 2-2" is scene 2, take 2 of the "Sabina Crucified" section. The "0001" at the end is the frame number of the scene within the Poser file, and that gets added onto the file name by Poser Queue Manager automatically when I send it to render, so I just leave it.

Now in some cases, I went back and did scenes that I had not included originally. In this particular case that you mentioned, I added a scene between scenes 2 and 3. I originally wanted to call that "Scene 2.5", but I found out that wouldn't alphabetize correctly into the file list with that decimal point in it. So I used a format with an "x" in it instead, i.e. "Scene 2x5", which does alphabetize with the other scenes in the file list correctly.

Does that make sense?
...sure, if you drink enough...

No really, interesting to hear how you file!

T
 
The beginning of the whipping scenes is actually in the first chapter of the book. Sabina, in chains, stands waiting for her whipping to begin.



While waiting, her mind replays for the hundredth time what is about to be done to her:

...in spite of my efforts to push the thoughts away, I drifted into the nightmare of my own crucifixion once again. It played itself out inevitably just as it had whether I was awake or asleep during the past two days and nights as I lay in the darkness of the executioner’s ergastulum.

I scream and struggle, trapped by powerful arms like iron that grip me tightly as I fight to keep the last rags that cover me from being torn away. My loincloth is all that is between me and slow, agonizing death. When I am naked, they will nail me to the cross.



I fight desperately, squeeze my legs together, anything to stave off my coming execution, but in a few heartbeats I am totally naked. I feel the eyes of the crowd on me, devouring my quivering breasts and exploring my sex.



My executioners savor my panic and draw out the moment, displaying me to the jeering crowd while they squeeze my breasts, pinch my nipples, and fondle my porcella. I want to tell them yes, take me, enjoy my body, do anything if it lets me avoid the torturing nails for a little longer, but my voice is paralyzed by fear and all that comes out is meaningless babble.



And then I scream as they push me back and down, down onto the timber that waits for me. I fight and kick, I scream at them to stop, but they are so strong and I am like a child in their grasp.


Too many pictures, have to continue this in the next post! :)

Greetings from the future, Boxing Day (for our US friends, the day after Christmas).

I love the scene where she is stripped. Small, exposed, naked and helpless in front of the crowd. It would be shameful enough for her, but it is just the start. These people will witness her total humiliation, nailed and hoist on the cross in front of them, no dignity, no privacy. No freedom from public pain and degredation.
That 5th picture, between two strong men, mocked by the crowd. Anticipation and anxiety. And a secret thrill?
 
That 5th picture, between two strong men, mocked by the crowd. Anticipation and anxiety. And a secret thrill?

I'd say so; she's surrendered to her overwhelming desire to experience this, but at the same time she's terrified of the agony and ultimately, her death, which are the price she has to pay to get it. Kind of like the mouse that's fascinated by a serpent's eye and can't look away, even though it will be destroyed. :)
 
I honestly don't think these reactions are far-fetched at all, considering the times.
Just re-reading recent pages of this wonderful thread -
one famous account of the atmosphere around the amphitheatre -
not watching crucifixion, but gladiators fighting,
is in Augustine's Confessions, VI.viii:

13. He had gone on to Rome before me to study law -- which was the worldly way which his parents were forever urging him to pursue -- and there he was carried away again with an incredible passion for the gladiatorial shows. For, although he had been utterly opposed to such spectacles and detested them, one day he met by chance a company of his acquaintances and fellow students returning from dinner; and, with a friendly violence, they drew him, resisting and objecting vehemently, into the amphitheater, on a day of those cruel and murderous shows. He protested to them: "Though you drag my body to that place and set me down there, you cannot force me to give my mind or lend my eyes to these shows. Thus I will be absent while present, and so overcome both you and them." When they heard this, they dragged him on in, probably interested to see whether he could do as he said. When they got to the arena, and had taken what seats they could get, the whole place became a tumult of inhuman frenzy. But Alypius kept his eyes closed and forbade his mind to roam abroad after such wickedness. Would that he had shut his ears also! For when one of the combatants fell in the fight, a mighty cry from the whole audience stirred him so strongly that, overcome by curiosity and still prepared (as he thought) to despise and rise superior to it no matter what it was, he opened his eyes and was struck with a deeper wound in his soul than the victim whom he desired to see had been in his body. Thus he fell more miserably than the one whose fall had raised that mighty clamor which had entered through his ears and unlocked his eyes to make way for the wounding and beating down of his soul, which was more audacious than truly valiant -- also it was weaker because it presumed on its own strength when it ought to have depended on Thee. For, as soon as he saw the blood, he drank in with it a savage temper, and he did not turn away, but fixed his eyes on the bloody pastime, unwittingly drinking in the madness -- delighted with the wicked contest and drunk with blood lust. He was now no longer the same man who came in, but was one of the mob he came into, a true companion of those who had brought him thither. Why need I say more? He looked, he shouted, he was excited, and he took away with him the madness that would stimulate him to come again: not only with those who first enticed him, but even without them; indeed, dragging in others besides. And yet from all this, with a most powerful and most merciful hand, thou didst pluck him and taught him not to rest his confidence in himself but in thee -- but not till long after.
 
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The thought of being held down like that, with one mighty Nubian's hand
pressing on my breast to control me, gives me a thrill of delicious terror!
Again, looking back, one detail among many that make these so fascinating
is the calm, patient way the Executioners go about their task -
especially the Nubians, the bald-headed one has an almost kindly look,
a strange kind of affection for the wretch he's going to crucify,
a delight in doing the job well!​
 
Just re-reading recent pages of this wonderful thread -
one famous account of the atmosphere around the amphitheatre -
not watching crucixion, but gladiators fighting,
is in Augustine's Confessions, VI.viii:

13. He had gone on to Rome before me to study law -- which was the worldly way which his parents were forever urging him to pursue -- and there he was carried away again with an incredible passion for the gladiatorial shows. For, although he had been utterly opposed to such spectacles and detested them, one day he met by chance a company of his acquaintances and fellow students returning from dinner; and, with a friendly violence, they drew him, resisting and objecting vehemently, into the amphitheater, on a day of those cruel and murderous shows. He protested to them: "Though you drag my body to that place and set me down there, you cannot force me to give my mind or lend my eyes to these shows. Thus I will be absent while present, and so overcome both you and them." When they heard this, they dragged him on in, probably interested to see whether he could do as he said. When they got to the arena, and had taken what seats they could get, the whole place became a tumult of inhuman frenzy. But Alypius kept his eyes closed and forbade his mind to roam abroad after such wickedness. Would that he had shut his ears also! For when one of the combatants fell in the fight, a mighty cry from the whole audience stirred him so strongly that, overcome by curiosity and still prepared (as he thought) to despise and rise superior to it no matter what it was, he opened his eyes and was struck with a deeper wound in his soul than the victim whom he desired to see had been in his body. Thus he fell more miserably than the one whose fall had raised that mighty clamor which had entered through his ears and unlocked his eyes to make way for the wounding and beating down of his soul, which was more audacious than truly valiant -- also it was weaker because it presumed on its own strength when it ought to have depended on Thee. For, as soon as he saw the blood, he drank in with it a savage temper, and he did not turn away, but fixed his eyes on the bloody pastime, unwittingly drinking in the madness -- delighted with the wicked contest and drunk with blood lust. He was now no longer the same man who came in, but was one of the mob he came into, a true companion of those who had brought him thither. Why need I say more? He looked, he shouted, he was excited, and he took away with him the madness that would stimulate him to come again: not only with those who first enticed him, but even without them; indeed, dragging in others besides. And yet from all this, with a most powerful and most merciful hand, thou didst pluck him and taught him not to rest his confidence in himself but in thee -- but not till long after.

Yes, that's what I was talking about! I remember reading references to this particular passage that summarized it, although I confess (like Augustine, I guess :D) that I've never read this actual quote until now.

Julia Lepida - the real one, who later took on the identity of Sabina - was completely drawn in and obsessed once she saw a crucifixion, especially at a young and impressionable age, just going through puberty. Note that when she watches Lucilla's crucifixion, she's fantasizing about having those things done to herself.

Sabina - the real one, who later was forced to take on Julia Lepida's identity - was drawn in to a much lesser extent, possibly because as a slave, crucifixion was a real possibility and she knew it well. In her role as Julia Lepida, when the real Julia Lepida is being crucified in her role as Sabina, she is fascinated by the sight of the naked girl on a cross, but she doesn't fantasize about being crucified herself.

So both of the girls were drawn into some fascination with the cross, but in different ways and to different degrees. And it is confusing as hell to talk about them and keep the identities straight! Sorry about that.
 
Again, looking back, one detail among many that make these so fascinating
is the calm, patient way the Executioners go about their task -
especially the Nubians, the bald-headed one has an almost kindly look,
a strange kind of affection for the wretch he's going to crucify,
a delight in doing the job well!​

The two Nubians take their work seriously, but they've learned to enjoy what they do rather than being too serious about it. Ajax, the bald-headed one you mentioned, seems to be always smiling or laughing. About the only exceptions, as I look back through the pictures, are these:

Here, he's sternly urging on these two condemned men who are balking even more now that they can see that their place of execution is just ahead.



And here, he's in the background amazed and stupefied by what's happening. The condemned don't attack bystanders, it's just not done!

 

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In the minutes while Sabina waits for her whipping to begin, she fills us in on some of her background, including a recent scene where Salonina told her about Balbus, the Carnifex. A myth has grown around him that he has some magic power that enables him to keep a slave alive on the cross until he chooses to free his soul from his tortured body. Salonina tells Sabina about that while they are working in the kitchen one day:

"...Balbus can trap your soul inside your body and hold it there while he tortures you. You’ll only die when Balbus is ready for you to die.

“Go up to the Sessorium and you’ll see. There’s hardly a day that passes where Balbus is not crucifying a slave or two. Watch what he does! As soon as one of them is raised on the cross, he takes out a bundle of cords he keeps with him and ties a knot in one of them. That’s when he binds the slave’s soul so it can’t escape.

“If you keep watching him, you’ll see him go around inspecting the others he hung on crosses yesterday, or the day before, or maybe even several days ago.



"He has a cord in his bundle for each one. You’ll see him look at one he crucified, find the cord he has for that one and tie a new knot in it, binding that soul for another day so it can’t escape.​

“And they never escape their agony until Balbus chooses to let them go.

“When Balbus decides to allow one of his victims to die, you’ll see him untie the knots on that one’s cord. Once he does that, the slave always dies within a few hours.”​

Sabina went up to the Sessorium and witnessed some of Balbus's work, which was how she happened to be there at Lucilla's crucifixion. So as she was waiting for her whipping to begin, she already knew first-hand that she could expect a slow and agonizing death on the cross.

And now her whipping is about to begin.
 

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She has choices to make, it's just that none of them are good. They're all choices between things that hurt and may be humiliating, and things that hurt worse or may be even more humiliating.

We already know that she doesn't have to rest on the sedile, because she was hanging so that it was poking her in the butt before she made the choice to raise herself on the cross. She can choose to avoid it entirely, simply push her hips forward and let her body drop until she's hanging by her wrists once again.

She could have made choices to try to rest on the sedile in various positions rather than letting it wedge up between the cheeks of her butt and into her cleft as she has. Although I'm told by someone with experience that whether she wants it to or not, when she tries to rest on a sedile like that. a woman's anatomy is such that it will slide up into her anyway.

The sedile I've shown is short enough that she might slip off of it if she tries to relax too much. She has chosen to tilt her hips back, pressing her butt against the cross to get more of her crotch on top of the sedile, which means more of her sex bearing down on it too.

She has to make a choice every time she tries to raise herself between continuing to hang and suffer the pain in her arms, shoulders and chest, along with labored breathing, or the pain in her feet and burning fatigue in her legs when she raises herself.

Etc.

Every move is essentially a choice for her between bad and worse. This is one of the aspects of crucifixion that is different from just about any other form of execution I can think of: The victim is forced to make choices as to how she will be tortured.


Reading this and viewing the images made me recall some things I experimented with in the past.

I have often reflected on how painful a sedile must be for a female. Even to the point of experimenting on myself. Crux gals are adventurous! My method was to use a wooden clothes pole from my closet positioned across two chairs, straddling it, and lowering myself over the pole to get a sense of what it would feel like to have a sedile against my flesh. I had to stack some books on the floor on either side of the pole so I could kneel on them and lower my body down. I practiced kneeling down over the pole a few times, feeling it press insistently against my crotch. I steadied myself by placing my hands on the seats of the chair either in front or behind me. It hurt, even through my clothes. But as I practiced balancing myself my pulse began to race and I felt flush, and with a great desire to proceed further.

With my practice over, I was ready. I eagerly removed my jeans and panties and knelt over the pole, placing it close to my exposed crotch. I separated my labia with my fingers and lowered myself down so the pole was in contact with my bare crotch, from between my ass cheeks, along my perineum, and between my spread labia (ohhh, I should say pussy lips by now, shouldn't I, since I was then very excited--getting wet-- and even now in the retelling becoming very excited). My tensed thighs quickly tired, so I placed my hands on the chair seat behind me for support, leaning my body back slightly. By supporting myself with my arms and tensing/relaxing my thighs I was able to control the pressure of the wooden rod on the exposed flesh of my crotch by pushing up or relaxing my arms and thighs. By rocking back and forth a bit I could move the area of greatest pressure from my anus to perineum to vagina. It didn't take much pressure to produce considerable discomfort, and soon pain, especially as I rocked forward and pressure was placed on the soft flesh (urethral opening, clitoral hood, clitoris)forward of my vagina. Despite the discomfort it made me sooo wet to feel that hard wood pressed against my tender parts. I tried to put as much pressure to myself as I could, which soon brought tears to my eyes. And I was only putting a fraction of my body weight onto the wood! OMG! How could a poor woman find any relief by sitting on a narrow sedile under the conditions of being crucified? For this pain to be an acceptable trade-off must mean her other pains had to be truly horrific!

And of course I had to try to put my full weight on the rod, just like a crucified girl would have to as she tried to ease her agonies on the cross. So I leaned forward and put both hands on the chair seat in front of me. I raised my feet off the books and felt my body’s full weight pressing down on the flesh of my crotch, my labia separated by the wood. Fuck me!!!!!! It hurt so bad!!! I tried to straighten myself up to lean back and transfer the contact to between my ass cheeks. A little less pain but still hideous. It was really only no more than 30 seconds of full weight on my crotch but it seemed much longer. The pain was very bad! It made me think of the all those Spanish donkey images posted in CF. How do those girls stand it!!!! I must be a real wimp. Not wishing to damage myself I quickly put my feet back down for support. I was sweating hard, and ended the session. My crotch was very tender and sore for several days.

On other occasions when I dared not put my full weight on the rod anymore, my favorite location was leaning forward a bit with the wood in contact with the flesh around my clitoris (quite naturally, I suppose). As I allowed my body weight to press against the wood it still hurt a lot – yet was tantalizingly arousing! At some point I put one hand to my breast, kneading the flesh and pinching and stroking the tumescent nipple. Between playing with my nipple and applying the right amount of pressure to my clit I got verrrry wet and was able to bring on an incredible orgasm!

I was using a smooth round rod about an inch and a half in diameter. A read sedile would probably have a much more uncomfortable edge to produce severe pain when pressed to tender flesh.

Could a crucified girl arouse herself like this? Well, to be honest, surely not. The real agonies of being nailed to a cross would not permit any self-gratification. But fun to fantasize about!

And oh, was I sore in my crotch my a few days! Was it even worth it? Oh yes!!!

And that clothes rod? Still in my closet, with my dried pussy juices on it, and ready for more service should it ever be needed!

I often grin when I look at it…remembering how it pleasured me…yet caused me pain. Just like some of the men in my life!:eek::D;)
 
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I originally wanted to call that "Scene 2.5", but I found out that wouldn't alphabetize correctly into the file list with that decimal point in it. So I used a format with an "x" in it instead, i.e. "Scene 2x5", which does alphabetize with the other scenes in the file list correctly. Does that make sense?

Yes, that makes sense, and I very much appreciate your making the filenames order alphabetically following the story.
To make that work perfectly, wouldn't you need to make it
Sabina_Nailing_Scene_02-2_0001.jpg with a leading zero on the scene number, so it orders correctly when scenes 10,11,12 etc come along.
 
Yes, that makes sense, and I very much appreciate your making the filenames order alphabetically following the story.
To make that work perfectly, wouldn't you need to make it
Sabina_Nailing_Scene_02-2_0001.jpg with a leading zero on the scene number, so it orders correctly when scenes 10,11,12 etc come along.

Good point, but everything orders correctly now, as I'm doing it. This is under Windows, so it might alphabetize differently under a Mac OS, no idea. Most of my chapters have more than ten scenes, some as many as forty. This is only my own system, although I imagine that pros who do illustration for a living have some kind of similar way of organizing things.

Some other things I do for organizational purposes:
1. I have a list of the file names for the illustrations in an Excel spreadsheet, along with data about any cropping I might have done for each one.
2. I have notes in MS Notepad for the development of each character along with screen caps so I can remember what all of the body morph settings are for that character, what textures for various body parts, clothing items and details, versions of the character for various scenes, and details of the things I tried during character development and either used or discarded, and why I did that.
3. Similarly, I have notes on the various trials I used for lighting, cameras, etc. so I can remember all of the "what ifs" I've been through and don't repeat my mistakes.
4. I do character descriptions when I'm planning a story like this where I plan the character's physical description, personality, behaviors, background, relationships with other characters, etc. That way I don't screw up when I'm writing and have them blue-eyed in one place and green-eyed in another.​
 
Good point, but everything orders correctly now, as I'm doing it. This is under Windows, so it might alphabetize differently under a Mac OS, no idea. Most of my chapters have more than ten scenes, some as many as forty. This is only my own system, although I imagine that pros who do illustration for a living have some kind of similar way of organizing things.

Some other things I do for organizational purposes:
1. I have a list of the file names for the illustrations in an Excel spreadsheet, along with data about any cropping I might have done for each one.
2. I have notes in MS Notepad for the development of each character along with screen caps so I can remember what all of the body morph settings are for that character, what textures for various body parts, clothing items and details, versions of the character for various scenes, and details of the things I tried during character development and either used or discarded, and why I did that.
3. Similarly, I have notes on the various trials I used for lighting, cameras, etc. so I can remember all of the "what ifs" I've been through and don't repeat my mistakes.
4. I do character descriptions when I'm planning a story like this where I plan the character's physical description, personality, behaviors, background, relationships with other characters, etc. That way I don't screw up when I'm writing and have them blue-eyed in one place and green-eyed in another.​
A thorough and well-organized busywork!
My respect!
 
Sabina's whipping begins. From this point on, everything follows in sequence with no false starts or interruptions until she is hanging nailed to her cross, crucified. Sabina narrates what happens to her:

I was standing before the whipping post when I was shocked out of my reverie by the sound of Balbus’ ringing voice speaking my name. For a Roman slave, there was no sound more dreaded than hearing her name from the carnifex’s lips. I wanted to shrink inside of myself as a hush fell over the slave market and every eye turned toward us. Towards me, the condemned, already dead under the law.



“Sabina, slave of Julia Lepida, will be crucified this day by order of her Domina,” Balbus announced briskly. “She will be whipped before you here and then will carry her patibulum to the Sessorium where she will be nailed to the cross, there to die the slow, shameful death of a slave.” he continued, “She will receive no mercy and her legs will not be broken to hasten her dying. Let her example be a warning to all slaves of the punishment that awaits those who disobey.”



My cheeks burned with shame. I resisted the urge to raise my shackled hands to my face to wipe the tears that blurred my eyes. We all know that we will die someday, but it is quite a different thing to hear your death sentence announced. Worse yet to know that it means three days or more of agonizing torture and humiliation on a cross.

The crowd began to gather for the entertainment. At least part of Balbus’ motivation for whipping me at the slave market was to show off his work. With his final words still ringing in the air, he nodded to Hercules and Ajax, his two Nubian slaves, and they moved to obey. Like the rest of the execution crew, they wore only belted loincloths of the type favored by gladiators. Black as ebony, massive as tree trunks, they were so strong that I was like a child in their grasp.

I was wearing the old gray woolen peplos Salonina, out of kindness, had dressed me in for my execution. It didn’t fit well, sagging off my shoulders, and too much cloth folded over in front. But I knew very well that it would only cover me until I reached the Forum, and the time had come for them to take that away.

Ajax seized my upper arms from behind and pulled them back, while Hercules untied my sash and roughly tore out the pins that held the peplos together at my shoulders. He pulled the cloth away and tossed it on the pavement, exposing all of me except what was underneath my loincloth.

There were murmurs and hoots from the crowd; the show had begun. I had relived this scene so many times in my mind that I had to remind myself, this is not another dream, this is really happening. I had been part of the crowd at so many executions, but this time I was the one facing execution, the one everyone was jeering at. They will crucify me today, I thought, by mid-morning I will be nailed to a cross. I still held onto a thin shred of hope that it would stop, that the crowd would go home grumbling instead of jeering at me as I hung on a cross.

My breasts were bare, thrust forward for everyone to see, and I felt my cheeks burning again with embarrassment. My pink nipples began to swell and tingle, quickly growing as hard as pebbles from the cool morning air and the palpable stares of so many eyes studying my breasts and eager to see the rest of me.

I lost my nerve when Hercules bent and reached for the front of my loincloth. Even though I had no hope that they would leave me this token bit of modesty on the cross, it was the last thing that lay between me and what they were about to do to me. So when I saw his hand coming, I twisted my hips away, pressed my legs together, tried to squirm out of Ajax’s unyielding grip to reach the cloth, to hold it, anything to keep them from taking it away.



But then I felt his big fingers force themselves between the cloth and my lower abdomen, dragging it down, pulling it loose. A thrill shot through me as I felt the roughness of his knuckles brush across the turned-up front of my lower lips, and then nothing but the cool morning air between my legs. Hercules tossed the wad of rags onto the rumpled pile of cloth that had been my peplos. I had an irrational thought that someone should collect that and give it back to Salonina since I wouldn’t need it again.

Suddenly I was standing there as naked as the day I came out of my mother’s womb. I should have been prepared for the shock of being stripped naked before the crowd, but I had never been on the slave block and when I’d felt the whip before it had been behind closed doors. Combined with the sheer helplessness of being so completely overpowered, it was more humiliating than I ever anticipated in my fantasies. All of them were staring at me! I turned my head and closed my eyes to shut out the shame. My cheeks were burning once again with embarrassment.



Ajax spun me around to face the whipping post, pulling my arms up over my head as he pushed me up against the rough wood. I squealed in fright and jerked as he thrust his huge, rough hand between my legs from the rear and grabbed my porcella. He clutched me by the back of the neck at the same time and lifted me off the ground so that I was straddling his massive forearm, my legs dangling and kicking.



I nearly wet myself with shock! There were gales of laughter from the crowd and I could feel both of the Nubians shaking with mirth as the one holding my shackles slipped the chain over the top of the post and onto a rusty iron spike on the other side. Ajax took advantage of the moment to rub and squeeze my porcella roughly, to the further delight of the crowd. My cheeks were hot with shame. He set me down on my feet then, gave my porcella a final squeeze before taking his hand away, delivered a sharp slap that left my bare bottom stinging, and walked away.​

Some notes about these renders: The whipping chapter was the first one that I began developing illustrations for back in 2011, and I learned a lot while doing these. They were done on my previous computer and it took at least an hour of rendering time for each of them, the version of Poser I was using back then was slower and had less features, etc. So I didn't do as many renders and they probably aren't up to the quality I'd do now.

Nevertheless, these do a pretty good job of capturing the vision I had for the story. And there is some humor in the last three renders where Ajax lifts Sabina up by her crotch. Salonina warned Sabina that there'd be things like this done to her. I could have simply had him push her up against the post and drag her up by the arms or something, but the method shown here is a lot better in my humble opinion. :)
 

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