Chapter XXXIV - Ludi ad Auspicari Novam Aetatem - II

© Copyright Vittorio Carvelli 2016
'The Games to Inaugurate a New Era - II'
© Copyright Vittorio Carvelli 2016

warning: this section features nudity, extreme violence, explicit sexuality and language, in images and text - do not view if you may be offended
  to view images full size open in a new tab
© Copyright Vittorio Carvelli 2016

© Copyright Vittorio Carvelli 2016

click on the link below to to review the first part of the
Ludi ad Auspicari Novam Aetatem


Garroting of Petram
© Copyright Vittorio Carvelli 2016
Petram's Corpse in the Arena
© Copyright Vittorio Carvelli 2016
Reactions - In the Pulvinar there were polite applause as Petram was garroted, and then his naked, castrated corpse was laid out on the sand, and finally dragged to the 'Porta Libitinaria'.
Marcus was not entirely happy that young Petram had been tortured and executed, but as the lad had been implicated in the plot, if only incidentally, he had little choice.
The boy, of course, was only a slave, and could easily be replaced, but Marcus till felt a certain amount of guilt.
It was a guilt, of course, that he was unable to show.
Petram - Portrait
© Copyright Vittorio Carvelli 2016
Demetrius - Portrait
© Copyright Vittorio Carvelli 2016
As a result of the guidance that Marcus had received from the late Dominus, he was acutely aware of the concept of 'virtus', as it was reflected in his behaviour and attitudes.
'Virtus' carries connotations of 'valor', 'manliness', 'excellence', 'courage', character', and 'worth',  - all perceived as masculine strengths (from Latin 'vir', "a man").
Therefore, to show any guilt or sorrow regarding the death of a mere slave would throw Marcus', 'virtus' into doubt, which was completely incompatible with his role as Dominus, let alone as a Roman male.
Interestingly, Demetrius had watched the horrific emasculation and drowning of Menelaus with complete equanimity.
Unlike the reserved reaction, on the part of the audience, to the death of Petram, which was relatively dignified (apart for his ejaculation at the moment of death), the audience reacted to Menelaus' struggling and gurgling with laughter, ending in cheers.
Petronius - Portrait
© Copyright Vittorio Carvelli 2016
Menelaus - Emasculated and Drowned
© Copyright Vittorio Carvelli 2016
Undoubtedly, Demetrius must have gained some satisfaction for seeing his abuser and tormentor of many years tortured and executed, but for one so young, he seemed able to to view the events in the arena with a distinctly 'Roman' lack of emotion.

(for more information about Demetrius go to: CHAPTER XXIX - FINIS et NOVUM INITIUM)

Petronius, on the other hand, was not emotionally involved in any of the events in the arena.
His only concern, understandably, was that all the complex ingenious planning that had gone into the performance in the amphitheater produced a flawless result that pleased the audience and, more importantly, pleased his Dominus, Marcus.
While the attention of the audience, and those in the Pulvinar had been centered on the drowning of Menelaus, and the garroting of Petram, Glykon, the young door slave had been removed from the 'fucking machine'.

More Executions - Two of the conspirators were now dead - Menelaus and Petram.
(for the full story go to CHAPTER XXXIII - LVDI AD AVSPICARI NOVAM AETATEM - Part I)
That left only Glykon and Servius.
These two conspirators were considered, generally, to be the most guilty, and therefore the ones who were liable to the most brutal, painful and demeaning executions.
 Glykon - Portrait
© Copyright Vittorio Carvelli 2016
Young Glykon had been the senior doorkeeper to the villa at Baiae.
He had also been Marcus' first friend, when Marcus had arrived at the villa as the slave-boy 'Markos'.
(for the full story go to: CHAPTER III - IN THE VILLA AURI)
Glykon's growing jealousy of the privliges afforded to Markos by the late Dominus, culminating in his adoption and being made the heir to the House of Gracchus, had prompted Glykon to join a conspiracy, hatched in Rome.
He joined the conspiracy not only to satisfy his hatred for his erstwhile friend, but also, because he expected, obtain a substantial sum of money, and also his freedom.
As a result, he was the conspirator chosen to actually attack Marcus as he bade farewell to his guests at the main entrance to the villa.
(for the full story go to; CHAPTER XXIV - 'UMBRÆ MORTIS IN VILLA)
Now he was to pay for his foolishness.
Prior to being executed, Glykon was to be emasculated.
Glykon had been fucked for such an abnormally long period of time by the 'inhuman', mechanical device that Petronius had 'dreamed up' that he had 'cum' a number of times, and was not only very 'sore', to say the least, but was practically pumped dry of his 'boy-juice' ('seminis' or seed as the Romans would call it) .
(for the full story go to CHAPTER XXXIII - LVDI AD AVSPICARI NOVAM AETATEM - Part I)
Regardless, however, the stimulation had been so intense that his penis had become terminally engorged, even although he was not actualy sexualy 'aroused' in the normal sense of the word.
Glykon - Tortured
© Copyright Vittorio Carvelli 2016
With his prick abnormally stiff, and jerking obscenely with every step he took, Glykon was led over to one of the iron frames.
There, arena-slaves skilfully tied ropes round his legs, waist, shoulders and chest.
Finally ropes were tied round his wrists, and he was hoisted up..
Once he was hanging, a tight ligature was tied round the root of his genitals to ensure that he remained 'hard'.
In addition, a wooden stake was rammed up his anus.
A thin cord was then tied around the top of his scrotum.
The new, blond arena-slave then placed some bronze weights of various sizes by the side of the iron frame.
Then, taking one of the weights, and not the heaviest by any means, he attached it to the cord which was hanging from the slip knot around Glykon's ball-bag.
"No !.... Not my balls !.... Please !....", Glykon groaned, as the handsome blond slave released the heavy bronze weight.
Servius Hung from a Column
© Copyright Vittorio Carvelli 2016
Almost immediately Glykon began to panic.
"Oh shit !,,,, My fuckin' bollocks !.....", he moaned to the blond arena-slave.
"Fuck !... - Take the weight off !.....", Glykon whimpered, struggling frantically - which only made the weight swing, and pull even more on his horribly stretched scrotum.
The arena-slave, however, only grinned, and watch the naked, horny boy struggle.
The added pressure on the root of his prick only served to increase his already abnormally large erection, and he began to dribble a long string of glistening pre-cum from his exposed cock-head.
While Glykon was thus being tortured, Theon gave instructions for Servius to be taken down from the column where he has been hanging for some considerable time.


Glykon  - Emasculated, Impaled and Disembowelled
© Copyright Vittorio Carvelli 2016
Meanwhile, as the weights used on Glykon's genitals were obviously insufficient to rip off his genitals (intentionally so, - a they were simply a form of torture), the new, blond aren-slave began to work on Glykon's balls.
As Glykon's ball-bag was cut open, the poor lad groaned, and spurted a huge 'load' of spunk across the arena sand.
Having slit open the bag, the blond arena-slave cut the cords, but left the testicles loose in Glykon's scrotum.
Glykon, by then a eunuch, squirted for a second time - and also the last time...
The arena-slave then let the ripped scrotum drop carelessly onto the sand below the squealing young lad.
The arena-slave then took hold of Glykon' massively engorged penis.
"No !... Not my prick as well !....", Glykon squealed.
"You don't need a prick, now you've got no balls !", the arena slave told him cruelly.
Those in the audience who heard the comment sniggered and laughed.
The arena-slave then cut squealing Glykon's cock, which was still jerking and dribbling spunk,  off at the root.
While Glykon moaned and struggled against his ropes, the arena-slave tied some stout twine round the severed member, and hung it round Glykon's neck.
Finally, on instructions from Theon, the blond slave sliced open Glykon's trembling belly, and slowly pulled out the screaming boy's guts.
"Fuck !... My fuckin' guts !.. ", Glykon screamed, as he twisted helplessly on the ropes that were tightly holding him.
Eventually Glykon's intestines were stretched from his bleeding belly to the blood spattered sand below him.
If left, Glykon would have taken a long time to bleed to death, but as he was required to be executed before Servius, the blond arena-slave cut Glykon's throat.
Within moments Glykon had sprayed out so much blood that he simply gurgled "Cunt !", and died.


© Copyright Vittorio Carvelli 2016
So that left only Servius alive out of the four conspirators who had entered the arena and, as the conspirator who was believed to have actually murdered the late Dominus, (Gnaeus Octavian Gracchus), it was intended by Marcus that Servius should be executed slowly and painfully.
Servius first error had been to sexualy use the slave-boy Markos (later adopted by Gracchus as Marcus).
There was nothing wrong, in itself, for a Roman citizen (as Servius had been) to have sex with a slave-boy, but it was entirely wrong to do so with a slave that one did not own.
Markos, at the time, was the slave of Gracchus (and also his favourite).
Servius and Markos
(for more information about Servius and Markos go to: CHAPTER VII - THE SUN AND FREEDOM'S BREATH
Gracchus overlooked the slight, as it was the 'Year of the Four Emperors', and at the time he needed Servius as his Tribune (for his protection).
Servius, however, compounded the issue by later having sex with Demetrius (another of Gracchus' slaves - who was, unknown to almost everybody, Gracchus' natural son, by one of his slave-girls).
Demetrius in Rome
for more information about Servius and Demetrius go to: CHAPTER XXV - 'REVERTERE AD CUMAS'
It was during the argument between Servius and Gracchus, over Demetrius, that Gracchus was killed.
Gracchus' death, of course, made Marcus, who was Gracchus' adoptive heir, (now known as Marcus Octavianus Gracchus) the new Dominus.
Marcus was then determined to have Servius killed, and through the offices of his client, Legatus Marcellus, and Titus Vespasianus, (eldest son of the new Emperor Vespasian) Marcus was able to have Servius' citizenship rescinded, and have him executed in the arena as a slave.
The method devised by Petronius for the execution of Servius was flaying alive, an ancient practice, enshrined in myth, and related to the God Apollo, patron God of the late Dominus, and also Marcus.
(Interestingly, it was Petronius who had been the model for the new statues of the God Apollo, set up in the Augustine Temple at Cumae, and in the villa at Baiae, and in the 'Domus Gracchi' in Rome.)
The God Apollo
The Flaying of Μαρσύας 
Flaying, also known colloquially as skinning, is a method of slow and painful execution in which skin is removed from the body. Flaying of humans is used as a method of torture or execution, depending on how much of the skin is removed. This is often referred to as "flaying alive".
There are also records of people flayed after death, generally as a means of debasing the corpse of a prominent enemy or criminal, sometimes related to religious beliefs (e.g. to deny an afterlife); sometimes the skin is used, again for deterrence, magical uses, etc. (e.g. scalping).  The typical causes of death due to flaying are shock, and the critical loss of blood and other body fluids. In Greek mythology, the satyr Μαρσύας (Marsyas ) is a central figure in an account of flaying alive when he challenged the God  Apollo to a contest of music and lost his skin, and his life. In antiquity, literary sources often emphasise the hubris of Marsyas and the justice of his punishment. During the Principate, Μαρσύας  became a subversive symbol in opposition to Augustus (Octavian - Octavianus is also the second name of Marcus), whose propaganda systematically associated him with the satyr's torturer, Apollo, and the poet Ovid twice tells the story of Marsyass' flaying by Apollo, in his epic 'Metamorphoses' and in the 'Fasti'. Flaying, in Roman times was therefore seen as an appropriate punishment for 'hubris', of which Servius was undoubtedly guilty. 
ὕβρις ('hubris') describes a personality quality of extreme or foolish 'pride', or dangerous 'over-confidence'.In its ancient Greek context, it typically describes behavior that defies the 'norms of behavior', or challenges the gods, and which in turn brings about the downfall, or 'nemesis', of the perpetrator of hubris.
Flaying alive was not a skill possessed by any of the arena-slaves at  the Ludus at Baiae.
Therefore, Terentius, well before the Games, had sent to Nicander, (Chief Steward of the Domus in Rome - the replacement for the now executed Menelaus), to acquire a suitable slave who had such skills.
The problem with flaying, as with many other tortures, was to avoid accidentally killing the victim before the torture had been completed.
Nicander found a slave called Achemus, who was a young Greek.
His previous owner, a senator, guaranteed his skill (offering to repay the original fee if he proved unsatisfactory).
On arriving at the Ludus, Petronius set the handsome blond slave to work on two slaves who had been condemned by the magistrates to die in the arena.
For them, however, death did not come in the arena, but instead in the Ludus, where Achemus proudly showed off his skill by removing all their skin in one piece.
Both condemned slaves, at the end of the process, were still alive, and had to be finished-off by having their throats cut.

Servius is Executed by Flaying
© Copyright Vittorio Carvelli 2016
Back in the arena, Servius was initially emasculated, having his genitals severed at the 'cock-root'.
The penis and scrotum (still containing the testicles) were then hung round his neck.
He was then un-roped, and dragged, groaning in pain, to an iron stake.
His hands were then chained above his head, and Achemus began his work, starting at Servius' shins and calves, while the audience looked on, fascinated.
So that Achemus would not be distracted, Servius was initially gagged.
Flaying, if done skillfully, was a long process, especially if it was intended to remove all of the skin in one piece.
There was not time for this, so Achemus had been instructed by Petronius to flay only the front of the body, removing portions of skin from the arms, legs, chest and belly.
The only area that was to be completely skinned was to be the head.
When Achemus came to flay Servius' head, the gag had to be removed, and Servius, demented with the pain, squealed and screamed throughout the whole process.
"Finish me !... Please !.....", Servius screamed, obviously quite unable to take the appalling pain.
Achemus looked to Theon - then Theon looked up to Petronius in the Pulvinar - and Petronius spoke to Marcus, who appeared to be watching the proceeding with some satisfaction.
Petronius nodded to Marcus, and then made a 'throat-slitting gesture' with his hand.
Theon nodded, and told Achemus  to 'finish off' Servius.
As Servius was wearing a wide leather collar, Achemus had to lift up Servius' bloody chin to get at his neck.
The act itself was accomplished with just one quick slash across the front of Servius' neck, and flayed Servius jerked up, as blood started bubbling and spraying from the top of the leather collar.
In a few moments he started to sag, as the blood gushed down his heaving, skinless chest and belly, and soon he was simply hanging by his wrists from the manacles attached to the top of the iron post, as piss sprayed from his cock-stump, and he noisily voided his bowels.
His eyes, of course, stayed open and staring, as he had no eye-lids, but it was obvious that he was seeing nothing.
So now all four conspirators had been executed - and Marcus had his just revenge.
While the audience applauded, arena-slaves unlocked Servius' manacles, and the bloody, and partially skinned corpse was dragged across the arena by the heels to the 'Porta Libitinaria', while at the same time the iron posts were removed, the fouled sand was shovelled up, and new, fresh sand was laid and raked.


Water Organ
© Copyright Vittorio Carvelli 2016
There was then a brief pause in the proceedings, and there was further music from the Hydraulis, followed by some readings from Homer's Iliad to prepare the audience for the following 'tableaux'.
Ἰλιάς  -  the Iliad - (sometimes referred to as the 'Song of Ilion' or 'Song of Ilium') is an ancient Greek epic poem in dactylic hexameter, traditionally attributed to Homer. Set during the Trojan War, the ten-year siege of the city of Troy (Ilium) by a coalition of Greek states, it tells of the battles and events during the weeks of a quarrel between King Agamemnon and the warrior Achilles.
The 'tableaux', featuring Achilles and Patroclus, which forms an important part of the 'Ludi ad Auspicari Novam Aetatem' was originally conceived some considerable time in the past by Marcus and Petronius,when they first met, and before Marcus became Dominus.
Various situations prevented the performance of the 'tableaux', which is now, finally to be performed.
The exact nature of Achilles' relationship with Patroclus has been a subject of dispute in both the classical period and modern times. Despite there being no direct evidence in the text of the Iliad that Achilles and Patroclus were lovers, this theory has been commonly believed. In 5th-century BC Athens, the intense bond was often viewed in light of the Greek custom of 'paiderasteia'. In Plato's Symposium, the participants in a dialogue about love assume that Achilles and Patroclus were a lovers. It is important to note that the ancient Greeks and Romans had no words to distinguish heterosexual and homosexual, and it was assumed that a man could both desire handsome young men and have sex with women.
According to the Iliad, when the tide of war had turned against the Greeks, and the Trojans were threatening their ships, Patroclus convinced Achilles to let him lead the Myrmidons into combat. Achilles consented, giving Patroclus the armor Achilles had received from his father, in order for Patroclus to impersonate Achilles. Achilles then told Patroclus to return after beating the Trojans back from their ships. Patroclus defied Achilles' order and pursued the Trojans back to the gates of Troy.  While battling, Patroclus' wits were affected by the God Apollo (Apollo - again), after which Patroclus was hit with the spear of Euphorbos. Hector then killed Patroclus by stabbing him in the stomach with a spear. Achilles retrieved the body, which had been stripped by Hector and protected on the battlefield by Menelaus and Ajax. Achilles did not allow for the burial of Patroclus' body until the ghost of Patroclus appeared and demanded burial in order to pass into Hades. Patroclus was then cremated on a funeral pyre, When Patroclus is cremated twelve Trojan captives are sacrificed.
Trojan Warrior
© Copyright Vittorio Carvelli 2016
Trojan Warrior
© Copyright Vittorio Carvelli 2016
While the guests in the Pulvinar took some refreshment, and chatted, arena slaves laid out the (imitation) stone slabs, which marked the limits of Achilles tent, and within the circle placed the couch which had be made and purchased from Neapolis, and beneath the couch was palced Achilles' magnificent, crested helmet.
At the same time slaves, dressed as Trojan warriors were gathering at the 'Porta Sanavivaria', which was intended to represent the Gate of Troy, where Patroclus, played by young Varus, wearing the helmet of Achilles, would battle the Trojans, led by a slave playing the part of Hector.
The Trojan warriors, dressed in silver - with all the equipment designed and supplied by Greek artisans from Neapolis are examples of how the Romans, at the time of our story, envisioned the Greeks and Trojans at the time of the 'Iliad'. We now know that the 'Iliad' (which is probably a work of fiction - based loosely on some historical incidents) is set in Archaic times, when the Greeks and Trojans would have looked rather less sophisticated, and would definitely not have worn 'Corinthian helmets' with massive horse-hair plumes. In this 're-enactment' the Trojans wear silver, and the Greeks wear gold.
Marcus, at this stage in the Games, was markedly more relaxed and amenable, as he was secure in the knowledge that his 'known enemies' had been suitably punished and killed, and his reputation, having taken his revenge in true Roman style, was now completely established.
While the Greek and Trojan warriors continued to gather, young Varus - playing the part of Patroclus, and Paris - playing the part of Achilles, entered the arena from a side door.
Varus and Paris Enter the Arena
© Copyright Vittorio Carvelli 2016
As soon as they appeared - naked in the arena - the audience began applauding.
The two bowed to the Pulvinar, and then to the audience.
Paris took Varus' hand, and gently led him over to the 'kline' (couch) that had been set up for them.
Kithara (Lyre)
© Copyright Vittorio Carvelli 2016
Then, a chorus of young boys, appeared either side of the Pulvinar, and sang an ode - written, of course by Lucius, and accompanied on the kithara (lyre).
This ode, which took some liberties with Homer, described the intense love that existed between Achilles and Patroclus.
Varus and Paris had been well 'schooled' and rehearsed by Petronius, and beautifully acted out the delicate and loving preliminaries that preceded the more robust activities of the eventual 'sex act'.
Paris was already highly 'aroused' as he entered the arena, and gently held his hugely engorged penis as elegantly as possible.
Varus looked somewhat nervous, but also seemed to be eagerly anticipating being penetrated by his handsome lover  - at least for that afternoon.
Once on the kline, Paris laid Varus down and began gently caressing the boy's head, shoulders and chest, while kissing the naked boy repeatedly on the lips.
The singing of the boy's chorus gradually faded away as their conductor sensed that the audience needed no accompaniment to the seduction that was taking place in the arena.
There was then almost complete silence in the amphitheater.
Slowly, and with remarkable skill, Paris began caressing Varus' belly, and then his thighs.
As he did so the sighing, naked boy became fully erect.
Paris then began caressing Varus' balls, and his stiff cock, and then the only sound that could be heard was Varus' gentle groans of delight.
For a short while Paris masturbated the now squirming boy, who was obviously eager to 'cum'.
Have got Varus incredibly 'hard', Paris gently turned the naked boy onto his front, and slightly spread the boy's legs at the same time.
Paris Fucks Varus in the Arena
(Achilles and Patroclus)
© Copyright Vittorio Carvelli 2016
"Fuck me hard !", Varus moaned quietly to Paris, not intending the audience to hear, but it was so quiet in the arena that the front rows and the guests in the Pulvinar heard the eager boy quite distinctly.
Paris then knelt over Varus, and slowly pushed his massively erect cock into the boy's tight little 'hole'.
Varus panicked for a moment, surprised and shocked at just how large Paris' 'virile member' actually was.
"Oh fuck !..." Varus groaned, as Paris attempted to force his way in.
"Relax, boy.", Paris said gently, and almost immediately young Varus opened himself, and Paris' huge cock slowly started to disappear inside the panting boy.
Varus gave a further groan, and then he was fully penetrated.
Paris remained still for a few moments so that the young lad could get used to the feel of the swollen 'tool' inside him.
He then started moving backwards and forwards - very gently at first - thrusting deliberately, but carefully, into his young partner.
With each thrust of Paris' huge cock young Varus moaned, but it seemed that, despite Paris' size, Varus was finding the fuck deeply satisfying.
Slowly Paris speeded up, and thrust more deeply.
Varus' moans and grunts became louder, but the movements of his hips showed that he was undoubtedly enjoying the experience.
The audience remained quiet, as everyone, from the guests in the Pulvinar, to the lowliest arena-slaves watched the proceeding intently.
"Shit ! I can't hold on !..... I'm gonna cum soon !....", Varus moaned, his sweating face contorted, as he seemed to be approaching his orgasm.
Paris immediately slowed down his thrusting, and Varus seemed to regain some self control.
"I'll go slow, ", Paris whispered.
"We need to take our time - Petronius wants a long fuck."
"Good !", Varus grunted.
And it was - but not too long - with almost simultaneous orgasms at the end, with Varus spurting over the sand, and the fine dark red covering of the couch, and Paris, pulling out, and splattering his creamy seed over Varus' neat 'bubble-butt' and sweat slicked back.
Eventually, rising for the couch, the two left the arena by a small side entrance, to some considerable applause.
Paris, of course, as Achilles, would return later to extravagantly mourn the death of his beloved.
Meanwhile, as the 'Trojans' gathered,  arena-slaves, stripped to loincloths, piled up the funeral pyre to be used in the last section of the 'tableaux'.
Once the pyre was ready, it was covered with a huge black cloth, so as not to be a distraction with regard to the subsequent action.



Varus as Patroclus - Wearing Achilles' Helmet
© Copyright Vittorio Carvelli 2016
Varus, as Patroclus, then returned to the arena, clad in Achilles' magnificent helmet and a gold loincloth, accompanied by Achilles' faithful 'Myrmidons'.
Μυρμιδόνες - the Myrmidons - were a legendary people of Greek mythology, native to the region of Thessaly. The Myrmidons of Greek myth were known for their skill in battle and loyalty to their leaders. In pre-industrial Europe the word Myrmidon carried many of the same connotations that 'minion' does today. During the Trojan War, they were commanded by Achilles, as described in Homer's 'Iliad'. According to Greek legend, they were created by Zeus from a colony of ants and therefore took their name from the Greek word for ant, 'myrmex'. The Myrmidons left their native island of Aegina and moved to Thessaly. From there, Aeacus' grandson, Achilles, led the Myrmidons to battle in the Trojan War as an ally of the Achaeans (Greeks). Homer's 'Iliad' gives an account of a portion of the Trojan War, with a focus on the role of Achilles. When King Agamemnon of the Achaeans disrespects Achilles, he abandons the Greek forces and takes his army of Myrmidons with him. The Achaeans begin to suffer tremendous losses, and Patroclus pleads to Achilles to rejoin the battle. Achilles refuses to fight, still bitter about the wrongs committed against him, but he allows Patroclus to borrow his armour, and his army of Myrmidons. Patroclus commands the Myrmidons in battle, they push the Trojan forces back. Patroclus, however, is killed by Hector in battle.
Galen as Ἕκτωρ - Hector
© Copyright Vittorio Carvelli 2016
At the same time that Patroclus (Varus) emerged to do battle with the 'Trojans', the Main Gates of the arena opened slightly to allow  a lone figure to enter - who later joined the small group of 'Trojan' warriors already assembled,
This was Galen, one of Petronius' more able gladiators (expendable, however, as we shall see in the next Ludi).
This young fighter was to take the part of the Trojan hero, Hector.
In Greek mythology, Ἕκτωρ - Hector - was a Trojan prince, and the the most renowned of the Trojan warriors. As the first-born son of King Priam and Queen Hecuba, who was a descendant of Dardanus and Tros, the founder of Troy, he was a Prince of the Royal House, and the heir apparent to his father's throne. He was married to Andromache, with whom he had an infant son, Scamandrius (whom the people of Troy called Astyanax). He acted as leader of the Trojans and their allies in the defense of Troy. Indeed, Homer places Hector as peace-loving, thoughtful as well as bold, a good son, husband and father, and without darker motives. 
Patroclus, Achilles' lover, disguised in the armor of Achilles, enters the combat leading the Myrmidons to force a Trojan withdrawal. After Patroclus has routed the Trojan army, Hector, with the aid of Apollo and Euphorbus, kills Patroclus with a spear thrust, believing him to be Achilles.
Hector and the Trojan Warriors
© Copyright Vittorio Carvelli 2016
Hector, therefore, has been instructed by Petronius to kill Patroclus (Varus), and strip him naked and attempt to claim the body for the Trojans, and drag it through the 'Gates of Troy'.
There will then follow a battle between the Greeks and Trojans for the stripped body of Patroclus, which the Greeks will finally win - returning the body to Achilles.
Achilles revenge on Hector will then take place in the next scheduled Ludi.
And so Hector's warriors (in the first wave all relatively experienced gladiators) gathered at the main gateway into the arena, which by then bore a plaque, (wood skilfully painted to imitate marble - by Apelles), and bearing the legend 'TROAS' - meaning Troy.
This piece of stage management was intended to alert the audience to the fact that the gateway was, for the next part of the tableaux' to represent the famed 'Gates of Troy', from Homer's 'Song of Ilium' (the Iliad).
This group was, of course, just the first batch of warriors.
Some would probably be killed in the skirmish, and a reserve group of gladiators, identically equipped, would then follow, and would assist 'Hector' in killing 'Patroclus' (young Varus).
Patroclus was supported by the 'Myrmidons' - who were also Marcus' slaves, and in most cases condemned criminals, (condemned to death in the arena by the local magistrates).
This first wave of 'Myrmidons' had been carefully chosen by Petronius, and were sent in as 'arena fodder'.
As expected, they were soon being being roughly impaled on the spears of the more experienced 'Trojans'.
A couple of the young 'Myrmidons' were kneeling on the sand, screaming, and holding onto theirs guts, as they had been viciously disemboweled.
It was at this point that four of the 'Trojan' warriors were sent out by Theon, (Petronius' Senior Arena Slave), in two pairs, carrying large, and obviously heavy boulders - roughly cut into spheres.
Many in the audience thought that they were yet another example of Apelles' trompe l'oeil scenic effects - with the 'Trojan's' putting on a very good show of manhandling the 'weighty' objects (which it was supposed were just wood and canvas, cleverly painted).
These 'Trojans' were directed to two wounded 'Greek' warriors, who had been conveniently hamstrung - thus making them quite helpless.
The first two 'Trojans' then laboriously put down their 'heavy' burden, and stood watching as their companions slowly made their way over to one of the hamstrung 'Greeks'.
All the other fighters had been instructed to ignore these interlopers (and as they were not being threatened in any way, they carried on fighting, apparently oblivious to what was going on).
On reaching the first Greek, the Trojans stood over him, while the poor Greek squirmed helplessly, pleading for mercy.
The 'Trojans' then simply  dropped the large stone on the Greeks upper body.
There was a horrible scream and a sickening crunch.
The 'Greek's' helmet and head disappeared in an enormous spray of blood, and simply ceased to exist, along with his upper thorax.
The arms and legs of the unfortunate 'Greek' continued to jerk and twitch for some considerable time, and his loincloth became sodden and stinking as his bladder and bowels emptied but, in fact, he must have died instantly.
'Patroclus' (Varus) heard the applause of the audience, and looked round to see the other two 'Trojans' repeat the same method of killing with the second Greek.
In the case of the second lad, however, they dropped the stone on his lower belly.
Unfortunately, for the young 'Greek', this did not kill him instantly.
The boy's abdomen and pelvis were instantly crushed, and the sudden compression of his internal organs caused him to explosively vomit blood, while his eyes burst from their sockets.
Screaming in agony, the lad also forcefully evacuated his crushed bowels and bladder, which caused his loincloth to rip open at the crotch, as urine, excrement and guts splattered forcefully out onto the sand.
It took the Greek many minutes to die, as he screamed and uselessly tried to push the boulder away with his trembling, uncontrolled hands, while he pathetically kicked his legs in his agony.
In the end, because he was making so much noise, and distracting the audience from the upcoming killing of  'Patroclus', one of the 'Trojans' slit the Greek lad's throat.


'Patroclus' (Varus) who had dropped his spear (unwise) was by then armed with a gladius and shield, looked around, appalled at the carnage, as he gamely fought off a some rather half-hearted attacks by one or two 'Trojan' fighters.
He had survived the initial assault, not through his own skill, but because he had been 'reserved' for the attention of 'Hector'.
And that intention was not long in coming.
One of the 'Trojans', playing the part of Apollo who, according to Homer, had disguised himself as Panthous, a Trojan fighter in order to disable Patroclus, crept up behind 'Patroclus' and thrust a spear into the boy's back.
'Panthous’ now cast his sharp spear, and struck Patroclus in the back, between the shoulders. He was first to hurl his spear, not killing Patroclus, but pulling the ash spear from the flesh. 
Homer - Book XVI - The Iliad
Death of 'Patroclus' (Varus)
© Copyright Vittorio Carvelli 2017
At that moment 'Patroclus' (Varus) had come face to face with  Hector.
At this point the re-enactment departs slightly for Homer's account - but the result is the same - the killing of  'Patroclus'
Having been speared, 'Patroclus' (Varus) squealed and dropped to his knees.
Being no real warrior, young Varus also dropped his shield and sword - and face 'Hector' unarmed and on his knees.
"NO ! Mercy !", the terrified boy screamed, holding his hand up as if to ward off the inevitable thrust.
Seeing his chance, Hector then rushed with his spear at 'Patroclus' (Varus), and true to Homer's account he thrust the spear into the pleading boy's lower belly with such force that it emerged just above the squirming boys' buttocks.
Unlike in the Iliad, the spear thrust to Varus' lower belly did not kill him, but he fell to one side, in apalling pain.
Again, not following Homer's account exactly, Panthous and Hector proceeded to strip their defeated opponent in the apparently misguided belief, (according to Homer), that he was Achilles.
Both fighters had been coached by Petronius to feign surprise when they removed the boy's helmet to discover that the defeated 'enemy' was in fact Patroclus - who was simply wearing the armour of Achilles.
Regardless, they continued to strip the prostrate boy, removing his leather harness and gold loincloth, as well as his magnificent, crested helmet.
It was the usual practice in the Greek and Roman world for defeated enemies to be stripped. With common soldiers this was simply a matter of plunder and a means of shaming the defeated enemy - and if the defeated enemy was still alive he would often be raped and emasculated. For high status enemies the stripping of an enemy was also sen as an ultimate humiliation, but also the armour, weapons and clothing were take as trophies to be displayed in the subsequent triumphal celebrations.
Young Varus, despite his wounds was not dead, and there was no time to wait for him to die from internal bleeding so  Hector to neatly cut the groaning boy's throat - which provided a somewhat meriful end to the unfortunate lad's suffering.
And so, as expected, the 'cute' boy Varus died in the arena, (in compliance with his sentence), having played his parts well, as both young lover and as a warrior.
'But Hector, seeing brave Patroclus withdraw, struck by the blade, made his way to him through the ranks, and drove at him with his spear, piercing the lower belly and ramming the point home. Patroclus fell with a thud, to the grievous sorrow of the Achaean army. Then straddling him, Hector shouted in victory. With this, he planted his heel on  Patroclus' body, drew the spear from the wound, and thrust the corpse away, to lie on its back.'
Homer - Book XVI - The Iliad
At that point a second wave of 'Myrmidons' (some of Marcus' best gladiators) entered the arena to attack the 'Trojans', who had stripped Varus ('Patroclus') corpse naked, and were proceeding to drag it, by leather straps round the ankles, to the 'Gates of Troy'.
These new ('Greek') gladiators made short work of the 'Trojans' - taking many of them 'prisoners', and returned to the center of the arena in triumph, with the naked corpse of Patroclus.



Water Organ
© Copyright Vittorio Carvelli 2016

Kithara (Lyre)
© Copyright Vittorio Carvelli 2016
There was then a short intermission, with a brief declamation from Homers' 'Iliad', (accompanied by the Kithara or Lyre), summarizing the action so far, and describing what was to follow - the funeral for 'Patroclus'.
The declamation was also, in the more dramatic sections, accompanied by appropriate music on the 'Hydraulis' - Marcus' new 'toy'.
During this time the dead and dying were removed from the arena (along with the two boulders), and the fouled sand was shoveled up, and fresh sand was laid a raked smooth.
At the same time a huge pile of logs, (the pyre for Patroclus) mounted on a bronze frame was slowly and carefully wheeled into the arena by burly arena slaves, and set over a section of the arena that had a concrete, rather that a wooden floor, as Petronius was not keen on the idea of the arena floor being set on fire.
Backcloth Depicting the Geek Camp by Apelles'
© Copyright Vittorio Carvelli 2017
At the same time, on the other side of the arena, one of Apelles' magnificent painting was wheeled by slaves into the arena
It was a 'backdrop' intended to represent the Greek camp - where some of the Greek galleys had been converted into living quarters for the leaders of the Greek armies.
Once the backcloth and pyre were in place the funeral could begin.
While the declamation from the 'Illiad' was taking place, and the arena was being prepared, young Varus had been taken to the Spoliarium, where it had been washed and prepared for the funeral.
The Spoliarium is an area in the 'Ludus Gracchii', (the gladiator school and accomodation near the Amphitheater), where the dead bodies of those killed in the arena were taken and laid out on marble slabs to have their bodies stripped and washed, prior to their disposal. Depending on their status, some corpses would be then prepared for a modest funeral, normally cremation - while low status individuals or 'noxii' (condemned criminals) would be disposed of by having their naked corpse  weighted with stones, and thrown into the sea. In Varus case he was to be given a funeral appropriate to an 'ancient hero' - or in reality, a funeral for one of Petronius' favorites.
Surprisingly, the funeral was to be conducted as a real funeral, and to this end priests and two bullocks (to be sacrificed) entered the arena.
The one element that was to be unusual in this funeral was the presence of human sacrifices - as fourteen 'Trojan' prisoners (captured by the Greeks) were to be killed, and their blood offered to the infernal deities.
Technically human sacrifices at funerals (despite the tradition of the 'Munera') were against the law in the Roman Empire at this time.
In the 'Munera' the blood of the dead gladiators was not offered to the gods of the underworld by priests (although Gracchus had come very close to such a ritual in his 'Munera ad Augustum'.
In this case, however, the blood sacrifice as recounted in Homer's 'Iliad' was to be faithfully re-enacted.
'Trojan - Prisoners of War'
© Copyright Vittorio Carvelli 2017
Of course, the reason that Marcus was able to do this without fear of censure or prosecution was because Titus Vespasianus was seated next to him in the Pulvinar.
And so, along with the priests and the bullocks, the 'Trojan' prisoners, in small groups, were brought into the arena.
These however, were not the young men who had fought in the 'tableaux', not that the audience were aware of the fact, as all the warriors had worn Corinthian style helmets, which almost completely hid their features.
The naked, bound boys, (posing as prisoners of war), who were now brought into the arena, were all condemned criminals - condemned to die in the arena.
The unfortunate 'Trojan Prisoners' were then bound onto iron poles carefully crafted by Marcus' master smith, Vulcan, which had been set into prepared sockets in the concrete underfloor, either side of the bronze frame surrounding the funeral pyre.
The body of  Varus ('Patroclus') was then brought into the arena on a funeral bier, and slowly raised by slaves, one layer at a time, onto the summit of the funeral pyre.
The priests then made their prayers, and sacrificed the bullocks, the blood being allowed to flow into a bronze trough, from where it was piped out of the arena to soak into the ground (as was required by ritual).
The pyre, which had been drenched with oil, wine and incense, was then lit.
The Funeral of Patroclus
© Copyright Vittorio Carvelli 2017
As the smoke and flames rose up, (and the audience looked on - stunned), blond Achemus, who had now taken on the role of Marcus' executioner, carrying a gold garroting cord, and accompanied by a slave with a small wooden platform, went to the first boy in the row of bound captives.
Stepping onto the wooden platform to reach the appropriate height, Achemus wrapped the thick cord round the naked lad's neck, and proceeded to tighten it with an iron bar.
Slowly the boy began to struggle, and to gag.
At the same time, as usually happened in cases of garroting, the boy very quickly became priapic (massively erect).
Then Theon, accompanied by an arena slave with two bowls - one silver and one gold, went in front of the struggling boy.
Moments before the struggling lad lost consciousness, Theon emasculated the lad, depositing the severed genitals in the silver bowl, while the arena slave caught the blood spurting rhythmically from the boy's mutilated groin, in the gold bowel.
The other 'prisoners' seeing what had happened to their colleague immediately began to struggle against their bonds, but the arena slaves had skilfully roped them so, for these condemned slaves, there was no escape.
And so Achemus and Theon went down the line of captives, slowly obtaining the blood that was needed to complete the sacrifice to the infernal gods.
After the first group of slave were sacrificed, the mutilated naked bodies were untied from the iron stakes, and dragged to the 'Porta Libitinaria', to be prepared for their ignominious disposal.
The almost immediately a new group of boys were bound to the iron stakes, and Achemus and Theon repeated the process - and all the while Varus' funeral pyre burned, consuming the naked boy's body.
Eventually all fourteen boys had been disposed of, and the considerable quantity of blood that had been obtained was delivered to the priests who, with appropriate prayers, consigned the blood to the bronze trough, from where it was piped out of the arena to soak into the ground in order to satisfy the infernal gods.
Arena slaves then removed the iron stakes from their sockets and fill the sockets with sand, which was then compacted.



Then, while Patroclus' pyre continued to burn, filling the aren with the thick, sweet smell of incense, the warriors who were to perform the 'funeral games' entered the arena.
In ancient Greek 'heroic' style (as used in Greek sculpture and vase paintings), they wore leather arm-guards and Greek style helmets, made of steel,  but nothing else.
They then lined up before the burning pyre and, and now slowly crumbling pyre, and saluted what were by then only the ashes of young Patroclus.
They then divided into pairs.
Funeral Games - First Combat
© Copyright Vittorio Carvelli 2017
Finally, at a sign from Petronius, who was seated in the Pulvinar, they began fighting.
This was the final act in the somewhat extended Ludi ad Auspicari Novam Aetatem.
This final section would, of course, would play out quite quickly, as all the participants were fighting at the same time - and this was as well, as many in the audience were tiring, in the hot sun, despite the magnificence of the spectacle that Marcus had provided.
The gladiators were fighting in front of the still glowing and smoking remains of the Funeral Pyre, and it was as well that they were naked, as the heat from the glowing embers was intense.
The first gladiator down was skewered low in the belly.
Crying out, he fell over onto his backside, spraying piss, and partially voiding his bowels.
His opponent raised his arm in victory, and then pulled the gladius from his helpless opponents bleeding belly.
"Fuck - no !... Spare me !....", the terrified fighter squealed, as he managed to sit up.
By then he had drenched himself with piss, and fouled himself, and the sand around him was stained red with the blood that was pumping from the wound in his belly.
His opponent then positioned the tip of the gladius in the gap between his opponent's clavicle and sternum - it was the classic gladiatorial method of 'finishing' a defeated opponent.
"Shit !", the naked boy screamed, as the victorious fighter rammed the gladius downward.
The long blade sliced through the defeated boy's heart, and the lad instantly vomited blood; farted loudly, and then keeled over onto his side.
His legs jerked stiffly for a few moments, and then he lay still, as the audience applauded.
An arena slave then led the victor to the 'Porta Sanavivaria', while two arena slaves dragged away the dead boy by his heels to the 'Porta Libitinaria', just in time to avoid Agili and Lentus, who unknowingly had come to the end of their vigerous combat (being an arena-slave could be a dangerous profession).
The second gladiator to go down was a lad called Agili, - however, he was not 'agile' enough.
His opponent, Lentus, took advantage of Agili when he was distracted by the crowd applauding the boy being 'finished off' with a gladius rammed down into his heart.
In one lightning move, Lentus managed to get his gladius under the lower edge of the Corinthin helmet, and sliced through Agili's neck.
The boy gave a strangled scream, as his head fell from his shoulders, while at the same time his now useless helmet fell seperately..
The helmet thudded onto the sand, and a second later Agili's severed head landed beside it.
For another fraction of a second Agili stood, headless, and spraying blood from his neck, and then he dropped to his knees, and collapsed forwards, nearly falling onto his severed head.
At the same time, from his bent-over poition, on his knees, with his backside in the air, he drenched the sand with his piss.
Then, having emptied his bladder, he farted noisily, and then he voided his bowels.
Lentus turned away from the now stinking dead boy and raised his word in triumph, as the audience applauded.
The third fight ended with the loser, 'horny' young Levem, being disembowelled.
As Levem's guts began to slide from the large gash in his belly, the pathetically aroused lad had a final orgasm, and squirted his seed over his own, exposed bowels.
The screaming, mutilated boy then dropped his sword and his shield, and grabbed at his bowels, preventing them from sliding out onto the sand.
Panicking, Levem then started to stagger towards the 'Porta Libitinaria', still desperately trying to hold onto his guts, in a pointless and stupid attempt to escape.
Screaming all the way, the crazed boy didn't get very far, however, as Versutus, his implacable opponent, came up behind him and skewered Levem between the legs with his gladius.
Versutus then let Levem stagger on for a little longer - for the 'amusement' of the audience.
Then Versutus reached between Levem's, and pulled the gladius from the boy's anus.
Versutus then rammed the gladius into Levem's back so hard that it and emerged from the helpless lad's chest.
The thrust was fatal, and the practically naked boy clutched at his chest, releasing his guts in the process, and his then unsupported bloody bowels tumbled from his mutilated belly onto the sand.
For a moment Levem knelt on the sand.
"Shit !......My fuckin' guts !....", he sobbed, gazing in disbelief at his bowels which were strewn on the arena floor, and then he fell forward, drenching the sand with his blood.

Fourth  Combat - Emasculation
© Copyright Vittorio Carvelli 2017
The last of the four gladiatorial fights ended quite quickly.
Occisor - the dominant fighter - almost immediately developed a massive 'hard-on', (referred to as a 'mors libidine' - 'killing -lust')
The losing fighter, callously known to the other slaves as 'Laetitia' - (because of his pretty looks, and his readiness to allow his colleagues to fuck him), met his end by first having his genitals sliced off, which was facilitated by the fact that he (like the other fighters) was not wearing a loincloth.
Instantly the boy squealed, and dropped his sword and his shield.
Laetitia is Decapitated
© Copyright Vittorio Carvelli 2017
As his knees came together, and his hands went to his mutilated groin, Occisor, taking advantage of Laetitia's obvious, and excruciatingly painful distraction, made a very accurate swing with this gladius from the rear, and neatly severed the squealing boy's head (helmet and all).
With his bloody genitals and his severed head head already lying on the sand in front of him, headless Laetitia took two unsteady steps forwards, with his arms flailing and blood spraying from his neck, and then toppled over onto his front - dead.
Levem, the disembowelled boy from the previous combat was still being dragged away to the 'Porta Sanavivaria', as headless Laetitia's ankles were tied with rope, prior to him also being dragged from the arena.
And so.... the often fucked Laetitia's death and emasculation brought to an end the fabulous 'Ludi ad Auspicari Novam Aetatem'.
While the applause from the audience rang out, the arena sand was shovelled up and raked.
Then, almost immediately, a loud fanfare rang out from the trumpeters on either side of the Pulvinar.
Petronius, his polished cuirass gleaming in the russet coloured light of setting sunlight - rose to his feet, and raised his hand as a sign for complete silence.
Almost immediately the applause died away, only to be replaced by a faint murmuring from the audience - it was the first time that Petronius had addressed the audience in the amphitheatre.
"My Dominus - the noble Marcus Octavianus Gracchus -  has instructed me to thank all those present - and in particular his excellency Titius Flavius Vespasianius - Praetorian Tribune and  eldest son of our beloved Emperor, for attending this Ludi ad Auspicari Novam Aetatem - and my Dominus looks forward to greeting you all again at the next Ludi in the Amphitheatrum Gracchi.
I now declare this Ludi ad Auspicari Novam Aetatem - which has been blessed by the divine Apollo, at an end."
As Petronius resumed his seat - Marcus, who was sitting beside him, patted him on the shoulder, as a sign of his approval.
Marcus and Titus then rose from their elaborately gilded and carved chairs - and the entire audience rose in a sign of respect.
Marcus and Titus then led the way from the Pulvianr, followed (significantly) by Demetrius - and Petronius, and then Novius and Terentius, followed by Titus' Tribunes, and finally  Adonios and Aurarius - and, of course, 'Glaux'.

'and the story continues -
so... the  Ludi ad Auspicari Novam Aetatem comes to an end -
and then its back to the villa to plan Marcus' trip to Rome.
And this will be his first visit to Rome since he was a small boy, and his first visit to the 'Domus Gracchi', and also his meeting with Vespasian, and induction as a senator.

© Copyright Vittorio Carvelli 2016

© Copyright Vittorio Carvelli 2017
Chapter XXXV

warning: this chapter features nudity, violence and explicit language and sexuality, in images and text - do not view if you may be offended

more images to be uploaded soon...........

No comments:

Post a Comment