The Art of Etienne

There would be very few of us who aren't aware of the art of the late Etienne.

Certainly, his works had an affect on me and I well remember these three drawings from his "Sailor Beware" series.

The premise of that story concerned two American sailors, Jake and Cal, whose ship was on a visit to Oman. Drinking in a bar, they were drugged by an Arab, Ahmad who then spirited them away into slavery. He sold them at auction and they were bought by a sultan who used them as his pleasure slaves and put them to work as beasts-of-burden on his estate.

How that resonated with me as my own slavery was emerging and I erotically identified with them.

The three drawings I have chosen from the series show them being auctioned, hauled off into slavery and being used as plough oxen.

I post them here because I know there are those among the blog's followers who would readily trade places with Jake and Cal.

New Cargo: (by Baron of Prague)

All roads end in Rome! And so it is for the recently defeated and enslaved barbarians whose chieftains had foolishly challenged Rome's authority with rebellion.

Left behind, the crucified chieftains, suffered the agonies and torments of their gruesome deaths. Helpless to prevent it, their naked bodies reddened under the fierce rays of the mid-summer sun and stinging, biting insects swarmed, unchallenged, over them. Mangy curs prowled at the base of their crosses occasionally nibbling at an enticing toe or licking the blood oozing from the wounds caused by the iron spikes driven through their ankles. 

Opportunistically, carrion birds sat on the crossbars of the crucifixes awaiting the chance to join the feast.

With their throats parched by thirst and their shoulders torn asunder, they were unable to ease the agony in their outstretched arms. To find some relief, the crucified men danced the macabre "dance of the cross" as they straightened their legs and raised their bodies to gulp precious air into their tortured, oxygen starved lungs and to ease the strain on wildly beating hearts. However, their relief was only temporary and soon their knees sagged once more and their tortured bodies slumped forward until the next time.

Even the crucified value life such as it is and struggle to sustain it for as long as possible. But, they were doomed and after two days, the first of their number succumbed and surrendered to a merciful death. The waiting scavengers wasted no time and soon, sharp fangs and beaks were tearing into the flesh of the dead chieftain. His two companions could only watch in horror at what was happening in the certain knowledge that they will share his fate.

The second chieftain died on the third day and the youngest and strongest of the three lasted for one day more. Now, all that remains are the sun-blackened, shredded bodies of the rebellious chieftains left as a grim warning of Rome's lack of tolerance of rebellion among her subject peoples.

As their crucified leaders suffered and died, the naked and shackled survivors of the rebellion were whip driven south to the port of Massalia (modern day Marseille), loaded onto a galley and taken to Rome's port, Ostia. 

The journey from Ostia to Rome is a short one but it gave the new slaves a foretaste of their futures as they saw countless slaves toiling in fields and on construction sites. They also saw other near naked slaves - litter-bearers with stressed bodies and bulging muscles - carrying their Roman masters and mistresses through the crowded streets. 

Now, they are in Rome - in the Graecostadium slave-market to be precise - and they are available for purchase. 

The artwork is by Baron; however, the text is mine. I am grateful to Madahv who drew my attention to the existence of this picture after an earlier post.  

Enslavement!

Writhing in unimaginable agony on their crosses high on a hilltop, the barbarian tribal leaders gaze through unfocused, pain-filled eyes down into the valley below where the surviving members of their army are being processed into Roman slavery.

So absorbed are they with their own pain and misery, it is doubtful that they spare much thought for the men they led into futile rebellion against the superior Romans. Now, they have time to reflect on their own stupidity; did they really think they could defeat the invincible Roman war machine?

Already, annoying insects swarm over their naked bodies quenching their thirst on the sweat of their suffering and feeding on the drying blood of their wounds. During the long, dark hours of the night, scavenging animals will prowl impatiently around the base of their crosses ready to feast on their flesh and with the coming of daylight, the sky above them will fill with circling carrion birds noisily cawing and squawking as they too await their opportunity to peck at the tasty morsels on offer.

Meanwhile, down in the valley, the Roman soldiers are being rewarded for their victory. As always, an opportunistic slave-trader has suddenly appeared from nowhere and is buying new slaves to add to his coffle before returning to the slave-markets of Rome. He is the first of the despised slavers to arrive - others will follow very soon - and for now, he is free to choose the primest specimens.

Under the supervision of the Roman soldiers, the 'spoils-of-war' are made to strip naked and three by three, they are driven forward so that the vile pedlar of human flesh can make his choices.

After making his selections the unfortunate new slaves are taken away for branding before being chained into his coffle and they will remain naked for the long journey back to Rome. That way, their bodies are accessible to his drivers' whips and no time is lost in attending to the 'calls of nature'.

Richly garbed in his red tunic, the slaver is making his latest selections. As we can see, he has chosen a young red-headed youth to add to his livestock. Red-haired slaves are a novelty with Rome's elite and this slave with his fiery hair and pubes with fetch a high price when he takes his place on the auction-block.  

They most likely won't agree but the crucified are lucky and within, two or three days, their suffering will be over. However, their swollen, blackened carcasses will be  left suspended on their crosses to serve as a warning to all barbarians of the punishment that awaits those foolish enough to rebel against Rome's authority.

For the newly enslaved their fates will be very different as they face years of backbreaking labour under the cruel whips of their new Roman masters.

This magnificent art is by Baron of Prague which he named 'Enslavement'. I don't know if Baron had a particular story in mind when he created 'Enslavement'. However,  this text is purely my interpretation. 

Note: While searching my collection for more of GaryRo's artwork, I discovered I also have a few of Baron's masterpieces. From time to time, I will share these with you in the blog.

Priscus and Verus.

In 80 AD, The Emperor Titus celebrated the opening of the new Flavian Amphitheatre - later renamed the Colosseum - with one hundred days of inaugural games.

As far as we know the construction of the Flavian Amphitheatre was financed with the treasures looted by the Romans after their  destruction of Jerusalem ten years earlier in 70 AD.

The historian, Josephus recorded that 97,000 Jews were enslaved; many to labour on the construction of the Flavian Amphitheatre and thousands of others forced to become gladiators. All those Jews under the age of seventeen were sold into domestic servitude in the slave-markets of Rome. Whether or not Josephus' figures are accurate is open to question as he was known to exaggerate.

On the last day of the games, two gladiators, Priscus and Verus fought before the emperor and a packed audience.

Both gladiators were slaves - and friends - and had attracted the attention of Emperor Titus.Very little is known about either man other than the fact that Priscus had been born a slave and Verus had lost his freedom. Verus is reported to have been Rome's greatest gladiator.

What made their contest memorable is that it was long and hard-fought with neither man giving ground to the other. The fight became so protracted that eventually, Titus called a halt to it as there wasn't a victor. The two slaves had fought equally and neither man was the victor nor the vanquished. 

Titus was moved to give each gladiator a rudis - the wooden sword of freedom thus releasing him from slavery - and a monetary reward.

The battle between Priscus and Verus was so epic that the Roman poet Martial wrote a poem about it and as far as I know, this is the only record that exists of a gladiatorial combat.

The picture was sourced from the internet; the text is mine.
   

How very true!

Slaves have no need for clothes.

For both ascetic and disciplinary reasons a slave's natural state is one of  'slave nakedness'.

Ascetically, a slave's naked and muscular body is there to be enjoyed by his Master and all freemen and, at the same time, it must always be available to the whip should discipline be called for.

However, there are two essential items a slave must wear at all times. These are the metal collar and cuffs of slavery to serve as a permanent reminder of his true status as an owned object.

Nova Baiae: The slave-pens of Volpiscus.

This is the latest batch of new slaves recently brought over from the mainland who are scheduled for this week's auction.

Naturally, before taking their places on the auction-block, potential buyers are given the chance to 'inspect' their suitability. Mostly, these inspections take place in situ and the slaves are made to press their bodies hard up against the front of their pen with their exposed cocks and balls protruding through the bars. 

Once in position, the slaves' bodies are readily available for examination and all a buyer has to do is reach between the widely spaced bars to gauge a slave's worth with his hands.

It's worth noting not all buyers are genuine; among their number are the lechers and voyeurs who are there simply to satisfy their own lust. 

Reaching between the bars, eager hands are free to roam at will over naked, male slave-flesh. 

The new slaves are subjected to the humiliation and shame of being treated as the livestock they have become. Biceps are squeezed to ascertain their hardness, nipples are cruelly twisted as a test of a slave's pain threshold, the depth of a slave's belly button probed to test for any weakness, mouths forced open to check the health of both teeth and gums, balls hefted and weighed in cupped hands and unwilling cocks teased into unwanted erections.

Then, finally, the ultimate degradation of all; the order is given to turn their backs to the bars and to 'bend and spread' thus exposing their arses to public scrutiny. Now, hungry fingers caress the tender, puckering flesh of exposed sphincters as foreplay to the slaves being finger-fucked. 

The wily Volpiscus knows his clientele and before placing his slaves on display, he has their arseholes liberally greased with goose fat. This isn't done out of consideration for the slaves; rather it is done to avoid 'damaging the goods'.

The slaves are powerless to prevent any of this from happening and they are well aware of Volpiscus' overseers hovering in the background with their vicious canes and cruel whips ever ready to beat a slave into submission.

If you look to the right of the picture, you can see a terrified young slave named Telemachus cowering in a corner. Soon, he will feel the pain of the lash as he is ordered to his feet and to take his place against the bars. There are buyers very eager to inspect him.  

The Art of GaryRo (Chained Muscle)

I have been a long time admirer of GaryRo's art which I first discovered through my membership of the now discontinued Chained Muscle site. Although a pay-to-view site, Chained Muscle was, in my opinion, the "go to" group for those of us who like slavery. Chained Muscle attracted the most talented artists and writers including such greats as Amalaric and others too numerous to name. It is sorely missed by many.

However, the main attraction for me was GaryRo's works - he both wrote and illustrated stories - and they always excited me. His subjects were distinctive and always beautiful to look at. He had set his own standards of erotic, male beauty and his works always showed this.

I loved his subjects; especially the slaves who I always identified with as the epitome of how a slave should be. Fantasy I know, but nevertheless real to my slave mind.

I liked all of his works and I would be hard-pressed to choose a favourite. However, the attached artwork has always appealed to me because of its content of six draft-slaves, all heavily yoked and chained, being used as sturdy beasts-of-burden. 

GaryRo knew his male anatomy and the slaves in this picture confirm this. As with all his subjects, they are superbly presented with magnificent physiques and bodies stressed to the point where their well-defined musculatures are erotically displayed. And their torsos glisten with the sweat of their labours.

GaryRo usually portrayed his subjects wearing skimpy, ragged loin-cloths which added to their erotic appearances. This appeared to be one of the signature hallmarks of his works and one I appreciated. Personally, I love loincloths on slaves; they leave much to the imagination and titillate my curiosity of what lies hidden. And GaryRo used them to perfection.

Given the chance, what slave among us wouldn't don a loincloth and take the place of one of GaryRo's slaves in this magnificent work of slave art?  

I know i would!

Artwork by GaryRo; the text is mine.

My thoughts:

Being a consensual slave is a glorious thing and to be owned by a strong, powerful Master is the ultimate fulfilment of the slave's dream.

I know this to be true!

He stands alone!

The young African is the last man standing against the might of the imperial Roman army.

With his back to the wall, he stands defiant and refuses to yield to superior odds. Ultimately, his efforts will be futile; he'll be overcome by the sheer force of numbers and taken captive.

Placed in chains, he'll be carried off to far distant Rome and there, in an alien slave-market, he will be sold into slavery as an exotic animal. 

What will be his fate?

Will he be sold and trained as a gladiator? Or will he used in the team of exotic, black litter-bearers of a wealthy patrician or senator?

Or is he doomed to the back-breaking labours of the latifundium or to strain at the oars of a merchant ship as a galley-slave?

Who knows but one thing is for certain, his days as a free man are over and his life as a Roman slave has just begun.

Picture found on the internet, source unknown. The text is mine.

True beasts-of-burden

Responding to my recent post "A true beast-of-burden", two viewers, slave enak and currioussubject both expressed a wish to be pony-slaves or beasts-of-burden. This isn't unusual - I share that dream also - and I know from the many messages I have received over the years this is a fantasy of so many slaves.

I recalled I had this picture - one of GaryRo's works - in my files and I am dedicating it to slave enak and currioussubject. I hope it fulfils a fantasy for both of them where they are naked and yoked side by side and made to haul impossibly heavy loads over long distances.

As they sweat and strain under their impossibly heavy wooden yokes, I hope the pain of the whip on their striped backs and flexing asses gives them added strength and encouragement to be the very best beasts-of-burden.

Labour well, slaves and labour long! For this is your future as dumb work-beasts.

The artwork is by GaryRo of the now discontinued "Chained Muscle" site whilst the text is mine.

Thank You for your support!

Thank you to all the Masters, slaves and others who have visited the blog since my first post last April. 

Today, the pageview counter registered 24,000 views and I am delighted to have reached this figure. I truly appreciate your support and contributions.

This is what makes the blog a "labour of love" for me and being able to share my fantasies and stories with you is a privilege.

Once more, 

Thank you!

Chris 

Everything is Reversed

Several centuries ago, Africans were taken from their homes and families and transported under the most appalling conditions to the white man's "New World" and forced to work as slaves. 

Eventually, slavery was abolished and these days are well gone.. However, things never remain static and now slavery has been re-introduced but with an ironic twist. 

Black men no longer serve as slaves; now it is the white man who is the black man's slave.

A resurgent Africa is the modern day version of the old "New World" of the Americas and to help boost the economies of the emerging African countries, white slavery has been introduced.

Now, whites are imported from the Americas, Australasia and Europe, shipped to Africa and sold in slave-markets to serve as domestic slaves or to toil on plantations, farms, factories, mines, quarries and construction sites as they help rebuild the Africa their ancestors plundered.

Here we see black slavers taken a coffle of shackled white slaves to market. These males are young and strong with the prospect of many years of hard, physical labour ahead of them and they will arouse much interest among the buyers.

And what does the future hold for these white slaves? As they stood on the auction-block, they aroused much interest and were eventually sold to a wealthy plantation owner. Now, collared and branded, they toil naked and sweating under the cruel whips of their black overseers for fourteen hours a day to enrich their master and his family.

This is an old picture by Roberto Carlo, as can be seen from the date and it is, no doubt, familiar to many. Nevertheless, it always arouses me with its implied suggestion that whites can be used by blacks as slaves. I recognise this is a subject that can be contentious to some. However, for me, it is no more than an erotic fantasy and I often imagine I am one of the white slaves portrayed.

In my fantasy world of slavery, any man, regardless of race or colour can become a slave.  

Shucking down!

"C'mon, boy, lose the shirt! From now on, you won't be wearing any clothes. No doubt your future master will want to keep you slave naked to show off your slave-body to his friends and acquaintances. Not to worry, though, we'll fit a nice, metal, slave-collar around your neck and a matching one around your cock and balls to highlight them. That's quite a hard-on you have there, boy. With an erection like that as you stand on the auction-block, you'll sell well. You'll cost a small fortune, I should think."

Picture found on the internet; source unknown. The text is mine.

Sex and the Romans

From what we know the Romans had very different attitudes to sex.

The concept of heterosexual and homosexual sex was unknown to them and male on male sex was tolerated with conditions applying.

For example, Romans were free to have "gay" sex as long as they used slaves and were the dominate partner. Sex between free Roman males was frowned upon and if a Roman allowed himself to be penetrated, he suffered loss of face, dignity, his manhood and he could even suffer legal censure.

Therefore, it's not surprising that many Roman youths had their first sexual encounters and honed their sexual skills with the family male slaves and they were encouraged to do with their fathers' tacit approval.

Handsome, young, male slaves were always in great demand and it's not hard to imagine an indulgent paterfamilias ensuring there were suitable slaves available to his son/sons.

However, upon marriage, these activities were to cease and the young husband was expected to give his favours to his wife.

Of course, we know this didn't always happen. Even after marriage, many Roman men still used their male slaves who were sometimes referred to as "puer" - meaning boy in Latin.

Often a Roman would honour a favourite slave by acknowledging him as the master's special "puer" by renaming him.

Thus a slave who enjoyed a special status with a master known as Marcus would be renamed "Marcipor" a contraction of "Marcus's puer" and literally meaning "Marcus's boy". 

In the above picture, it is easy to imagine the haughty, Roman youth, the son of a wealthy Roman, reclining back enjoying his father's slaves lying at his feet.

Picture found on the internet; source unknown. The text is mine.

From field to stable

Time: the present. Place: The royal demesne of Prince Anwar al-Khaldun somewhere in the Middle East.

Faris, the stablemaster: "Your highness, I have chosen to show you this slave as the one best suited to your needs."

Prince Anwar: "Indeed, Faris, the animal is a strong looking brute. As you know, as a result of my recent leg injury, I am unable to ride my stallion for the foreseeable future and I must look at alternative ways of inspecting the demesne. To that end, I have had a lightweight carriage made for me to drive and I need a robust slave to haul it."

Faris: "Your highness, should you choose this miserable slave, you do him great honour in allowing him to serve you as your cart-pony."

Prince Anwar: "As you know, I am philosophically opposed to using a horse for such a task. My horses are noble creatures whereas my slaves are just wretched animals more suited to such menial work. But tell me more about the slave. He looks strong but does he have the stamina and endurance I would demand of him?"

Faris: "Your highness, the slave is a long-time member of a team of heavy duty draft-slaves and is capable of working in harness for long hours. Your highness, note the slave's powerful physique; the broad shoulders and powerful arms, the deep chest and flat belly. And look at the thickness of his thighs, the length of his legs and the strong, muscular arse. The animal is capable of any demands you make of him."

Prince Anwar: "As you so rightly note, Farris, the slave does have an arse that will tempt my whip as I spur him to greater effort. I will enjoy adding stripes to it. Also, the slave is well endowed and has a proud erection that shows well. I like that. He is somewhat hairy, however."

Faris: "Your highness, I can have the slave stripped of his pelt if you so desire."

Prince Anwar: "No, I think not, Faris. For now let the slave keep his body hair. It suggests great strength and stamina and I tend to like it. It is so different to the smooth, hairless bodies of my palace slaves." 

Faris: "So be it, your highness. Do you require any body modifications done to the slave, your highness?"

Prince Anwar: "Just a neck collar and a matching cock-ring to better display his balls and to give his cock prominence and thrust, I think."

Faris: "It shall be done, your highness. And I have a new set of harness which will highlight the slave's musculature most handsomely." 

Prince Anwar: "Excellent Faris! I have just one last question, What breed is the slave and does he have a name."

Faris: "Your highness, the slave is of the French breed and yes, he does have a name. He is called Enak."

Picture found on the internet; source unknown. The text is mine.

The Art of Amalaric

As I have stated before, I am an enthusiastic admirer of Amalaric and his superb artwork. One thing I haven't mentioned is that he is also a very talented writer of numerous slave stories which I have very recently reread. I never tire of looking at his beautiful artwork or reading his stories which range from vignettes describing his pictures to longer stories of several chapters. For all those with an interest in slavery, these are worth seeking out if you aren't already familiar with them.

I first came across Amalaric's art at "Chained Muscle" - sadly, this excellent group is no longer in existence - and I wrote telling him of my admiration for his art. Very graciously, he answered by message and consequently, he sent me copies of all his works up to that time; some of which I use in this blog.

Among my collection of Amalaric's art this one remains among my favourites. To my mind it is visually stunning and doesn't need my words to describe it. The picture "speaks" for itself. In it, we see what is obviously a newly enslaved captive strung up ready for inspection by a prospective Roman buyer. The slave shows the grime of the slave-pens and the whip marks of the discipline he has been subjected to. His head is bowed whether it is from shame or as a sign that his will has finally been broken is open to conjecture.

He wears a filthy cloth around his loins which does nothing to hide his obviously prodigious cock and balls. I doubt this loincloth was allowed him out of consideration for his modesty; rather I think it is there to be crudely torn away by a leering buyer thus exposing the slave's total nakedness to all and sundry. And of course, being restrained as he is, the slave is powerless to prevent all the indignities that will follow.

I am always aroused by this picture and possibly I share the fantasy of being in the slave's place with many of you.

Amalaric's art always has the capacity to "arouse" me with its eroticism.

Earlier, I mentioned the "Chained Muscle" group owned by another great artist, GaryRo, who, I have been told passed away some time back. GaryRo's artwork was always a feature of the group along with the contributions of so many talented artists and writers. I will from time to time, feature Gary's art in the blog. Sadly with the disappearance of "Chained Muscle", so much of his art seems to be unavailable.

One story at "Chained  Muscle" in particular stood out for me. It was called "Antebellum" and deals with black slavery. It was written by a black writer named Drum and his story was beautifully illustrated by Amalaric.

The subject of black slavery isn't something I have touched on in my blog and yet I feel it is relevant to the theme of "Slaves through the Ages". I sincerely believe the whole story of the evils and inhumanity of chattel slavery is incomplete without it being mentioned. However, I am aware that this is a painful subject for so many - perhaps, even some of my readers - and out of consideration for their feelings, I haven't mentioned it. However, I would be interested in any comments you, as readers, would like to make on this subject.

Chris

"Bend and spread"

A slave isn't allowed to feel modesty or shame!

Slaves aren't allowed the luxury of feeling emotions such as shame or humiliation. If, in fact, if they do have these feelings, they soon learn to suppress them, or at the very least, to keep them hidden from their masters..

Of course, they are kept slave naked - they are after all just another domesticated animal - and their naked bodies are open to scrutiny at all times. And they are subject to "close quarter" examinations - colloquially called fingerings - when no parts of their bodies are exempt from hands-on inspections even of the most invasive type.

In time, a slave becomes immune to being fingered and will pose his body in the positions demanded of him. He'll flex his muscles and stress his body to highlight his physique and he'll even suggestively stroke his cock to erection and, if ordered, he will masturbate.

However, there is one display position that is universally hated by all slaves and they dread the command to "bend and spread" to display their arse-holes for public scrutiny. Whenever, a slave is being fingered, he inevitably knows that order will be given to him and any hesitation or defiance on his part will result in a whipping.

Therefore, he immediately shuffles his feet apart, bends at the waist and reaches behind to spread his buttocks as far apart as is anatomically possible. As he waits to be violated by an intrusive finger, he burns crimson with shame but nevertheless, he cooperates by wriggling his arse backwards to make it more accessible. 

Then he waits as a finger teases the puckering, tender flesh of his anus before forcing itself through his tight sphincter to probe the depths of the most intimate and innermost recesses of his body. 

As the heading to this post states - a slave isn't allowed to feel modesty or shame. That is a lesson all slaves learn very quickly! 

Frognerparken, Oslo

Karel, further to my reply to your comments on my post, "Obsolete and Discarded" about your very obvious liking for Nordic slaves.

This is a view of Frognerparken in Oslo and it was in just such a spot that I first met Nils (not his real name), my Norwegian "god".

Nils has been the inspiration for much of my work  and the role model for some of my Norwegian slave characters.

Obsolete and discarded! 

This is "Abd" and the name means slave which is exactly what he is.

Three years ago, he was "snatched" from the streets of Paris, transported to the Middle-East and sold as a slave at auction. He was bought as a pleasure-slave by a wealthy Arab and confined to the male seraglio.

It is no surprise that he greatly pleased his Master with his handsome features and magnificent physique. However, at first, he resisted his Master's advances but after several painful sessions under the whip he learned the lesson of all slaves; that he has no will of his own and that his body belongs to his Master.

Reluctantly, he submitted his arse and mouth for his Master's use and, in time, he even learned to enjoy being a pleasure-slave. It can  said he worked hard offering up his arse to satisfy his Master and he quickly became his Master's favourite "boy".

In return, the Master treated Abd as his most favoured slave and although kept naked at all times, his body was adorned with the most elaborate and expensive gold, jewel encrusted collar with matching amulets, cock-ring and nipple piercings to show his "special" status within the harem.

However, sadly, pleasure slaves eventually lose their appeal and are quickly replaced by a newer, fresher slave. Recently, in his presence, he overheard his Master say to a friend - "you tire of fucking the same slave's arse and you do need to find a new one".

Last night, he was called to the Master's bedchamber and while there he saw his replacement - a young, blond Norwegian slave. The Master removed all his body jewellery and personally fitted it on the new slave and told Abd he had no further use for him. Tomorrow, he would be taken from the harem to the stables where he would be used as a harness slave pulling a rickshaw for the Master's elderly, father who is unable to walk great distances.

Here, as he waits for Faris, the stable-master to collect him, Abd looks wistfully out over the palace grounds from the male harem knowing this is now all lost to him. In future, there'll be no more silk couches to sleep on, no more exotic foods and tasty titbits fed to him by his doting Master. 

Now, he'll sleep naked and in chains in a straw-strewn stable stall, he'll be fed slave slop twice daily and spend his days in harness running and sweating under the driver's cruel whip.

Picture sourced from the internet: the text is mine. 

To the Victor go the spoils of battle

Constantinople, early June 1453

With the Ottoman defeat of the Constantinople just five days old, the new ruler of the former Eastern Roman Empire, twenty-one year old Sultan Mehmed II orders the sons of noble Greek families to be brought before him so that he can chose the most beautiful as pleasure slaves for his male harem.

One noble, Greek youth, named Jacob, caught Mehmed's eye and he became one of the sultan's favourite slaves and was added to his seraglio.

This picture captures the shame and humiliation the young Greek feels as he awaits the arrival of the eunuchs who'll escort him to the sultan's bedchamber for the first of many such assignations over the next seven years before Jacob escapes and flees to Venice in 1460.

Jacob has been suitably prepared to serve his new master. The harem eunuchs worked assiduously to strip him of all body hair, leaving him smooth to the sultan's touch. Then, he'd been cleaned both externally and internally before his body was massaged with scented oils.

Jacob now waits in despair at the sultan's pleasure.

Picture sourced from the internet; the text is mine

  

The Conquered Land

I have been a long-time admirer of Baron of Prague and his magnificent artworks.

This one in particular has always appealed because of its subject matter and its erotic beauty. I don't know the story behind the picture or what prompted Baron to produce it. Obviously, as with all artists, Baron had something he wanted to visually convey to his many admirers.

However, the picture which Baron called "The Conquered Land" suggests the aftermath of a Roman army victory over an enemy. Rome wasn't tolerant of its defeated enemies; their leaders were executed - most by crucifixion - while other lesser prisoners were marched away and sold into slavery. 

Baron's use of light and shade emphasises the brutality of the scene being played out. In the background, crucified men are silhouetted against the billowing, black smoke while carrion birds circle overhead anticipating feasting on the crucified. In the foreground, others being prepared for their crucifixions are highlighted.

Roman soldiers were often used as the executioners and one can imagine that it was hot, bloody and physically demanding work. After all, having to wrestle a terrified, naked victim into position to drive the heavy iron spikes through wrists and ankles would require a lot of strength and a cruel indifference to the suffering of the crucified man.

Here, we see an execution squad stripped to the waist as they go about their grim task of preparing their hapless victims for the "agony of the cross".

Baron's art is visceral and one can sense the despair and hopelessness of the character standing at the centre of the picture with his arms already outstretched on the patibulum as he awaits his turn to be nailed to a cross and raised into position to die a slow, lonely and an unimaginably painful death.

In "The Conquered Land", Baron has captured all the pathos and drama of the real thing. But then it is said - a picture is worth a thousand words.

  

Rafe (from Changed Circumstances)

Recently, I came across this picture in my collection and I was immediately reminded of a story I wrote ten years ago which I named "Changed Circumstances".

From memory, it was my second or third attempt at writing a story and I recall it was meant to be short. However, the public response at that time - for some reason readers in those days did interact more freely with writers offering their suggestions - kept the story going for much longer. In fact, it ran for 63 chapters and although I did enjoy writing this story, towards the end, I was exhausted by it.

The story has as its hero, Lucien Barrois, a young man who'd recently inherited his grandfather's vast wealth including a plantation and many slaves.

Unfortunately, for Lucien, his claim to the Barrois fortune is disputed by a distant cousin and challenged in court. False evidence is given stating that Lucien is the progeny of a slave woman thus making him slave-born and ineligible to legally own any property. The presiding judge accepts this false evidence and condemns Lucien to life-long slavery on the basis of "born a slave; always a slave". 

The court recognises the cousin as the rightful heir and Lucien now finds he is the legal property of his distant relative who gives him the slave name "Rafe". 

Rafe is made to strip naked in public and then taken to the court's Registrar for processing and the issuing of documents proclaiming him to be a slave. Part of the process is a humiliating medical examination after which, Rafe will be taken to the court's forge for immediate branding and collaring.

This picture reminds me vividly of the scene I wrote where the pompous registrar, Cyrus T Humboldt and his callow young assistant, Jason subject Rafe to a degrading and humiliation inspection and examination before sending him off to be branded.

Rafe is very special to me as I expressed so many of my own thoughts and erotic fantasies through his "adventures". He still remains one of my favourite characters among the many I have written about since then.

Art by Amalaric

Pax Romana

The First Jewish Revolt, (AD66 -70).

Especially troublesome to the Roman Empire was the Province of Judaea where, in AD 66, small groups of Jews offered sporadic resistance to the Romans. Eventually, these small groups joined together in open revolt and expelled the Romans from Jerusalem.

Rome had little tolerance for those who disturbed the Pax Romana and the Emperor Nero dispatched General Vespasian who, later, in AD 69, became Emperor Vespasian. It was left to the new emperor's son, Titus to put down the revolt; which he did with ruthless efficiency.

History records Titus' deeds. The defeat of Jerusalem in AD 70 and  the destruction of the second Temple. Josephus, the Jewish historian wrote of  the killing of over one million people - many by crucifixion -  and the enslavement of the Jewish people. In fact, 70,000 Jews were taken as slaves to Rome and forced to build the Roman Colliseum.

Pictured above are two Jewish rebels who because of their brute strength were spared the gruesome death of crucifixion and sold into abject slavery.

These two were sold to a wealthy Roman, the owner of a large latitfudium in Sicilia for use as plough-slaves. Near naked and yoked to a heavy wooden plough, they now sweat and strain incessantly under the whips of their overseers.

You are left to wonder who were the luckier; those rebels who suffered the agonising - but relatively short - death on the cross or those wretched survivors who were made to toil as mere beasts-of-burden over many years thus enriching their Roman masters. Neither group had a choice in the matter. Their fates were decided for them by their Roman conquerors and masters under the Pax Romana.

Note:  this picture is credited to Vittorio Carvelli. However - and I might be wrong - I believe this is a still taken from the 1961 movie "Barabbas" starring Anthony Quinn in the title role and Vittorio Gassman as his fellow slave, Sahak.

If I am correct, in the movie, they were the sole survivors of the destruction by earthquake of a sulphur mine in Sicilia where they'd laboured chained together for twenty years. Having survived the horrors of the mines, they were then harnessed together and yoked to a plough.

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An imagined scene from Nova Baiae, Chapter 12

Soterus, the innkeeper takes possession of his new slave, Telemachus.

This beautiful work of art is by Theo Blaze but the story is my work.

Spartacus (1960) 

Tony Curtis in his role as Antoninus, the slave of Crassus. Recently purchased by Crassus, his new Master left no doubt in Antoninus' mind as to his intentions toward him. The bath scene and the suggestive 'snails and oysters' conversation confirmed this in Antoninus' mind and he ran away to join Spartacus and his rebel slave army. 

Remembering the great Kirk Douglas and his defining role of the rebel slave, Spartacus who instilled so much fear into the Romans during the Servile Wars. 

I remember reading Howard Fast's novel written in the 1950's and seeing this 1960 movie some years ago and being stirred by its scope and the quality of its actors.

Who can forget the suggestive bath scene and the "snails and oysters" dialogue where Crassus (Laurence Olivier) tries to seduce his slave, Atoninus (Tony Curtis).

This scene was considered to be way ahead of the standards of the day and very controversial. 

Kirk Douglas made many movies during his long and illustrious career but his defining role was and always will be as Spartacus.

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A true beast-of-burden

I have always been fascinated by the idea of slaves being used as beasts-of-burden in place of horses or ponies and it is a theme I have used in some of my stories.

My interest was awakened back in my teen-aged years when I attended an amateur art show in my hometown. Mostly, I found the works uninspiring until I came upon one that caught my eye. It was unexpected and although it was amateurish, it stirred my loins and I enjoyed a most pleasant if somewhat unfulfilled erection.

What was it about this oil-painting that aroused me? Quite simply, everything! It fed all my erotic fantasies and as a slave I immediately identified with it. It was a scene from the old West with a stagecoach standing stationary in a dusty street as passengers climbed aboard. However, instead of a team of horses, it was drawn by a team of near naked slaves in harness with whip-scarred backs.

I can't recall the artist's name but I do remember he didn't win a prize. In later years, I was reminded of this scene from the remake of 'Planet of the Apes' where human males are used to pull heavy wagons.

I'm not sure if it is practical for humans to serve in this manner but I do know, from the many messages I have received over the years that it is a widely held fantasy for many of us to aspire to be slaves.

When writing about slaves being used as carriage ponies or as heavy duty draft-animals, I derive a lot of erotic pleasure describing their naked bodies straining into their harness or of their shoulders weighed down by heavy, wooden yokes. I love describing their sweating, stressed bodies, of overworked muscles,stretched sinews, their laboured breathing and their grunts of pain as a whip is laid across a bare back, shoulders or a naked ass.

Many, many times I have aspired to be used in this manner. Sadly, Ihave never experienced it for myself.

Source of artwork unknown; the text is mine. 

The Imperial Villa, Isle of Capri, AD 26

It is said of Tiberius that he never wanted to be Rome's second emperor. Whether or not that is true, Tiberius apparently grew tired of the affairs of state and left Rome for retirement on the Isle of Capri near Naples in AD26. He left the running of the state to his secretaries and his trusted Praetorian, Sejanus.

Was Tiberius the tyrant that many made him out to be? I guess my answer to that question- for what it is worth - is both yes and no and lies in the middle-ground. Certainly, Tiberius, a member of the Claudian-Julian clan was more of what, in today's political terminology, could be classed as a 'man of the ordinary people' and anti-establishment. This most likely reflected his Claudian sympathies which were more progressive and republican. He had little regard for Rome's senators and ruling class who he persecuted and many were executed in the Senate treason trials at the instigation of an ambitious Sejanus and his cronies. Eventually, Sejanus was also tried and executed for treason on the orders of Tiberius

Undoubtedly, life was difficult and fraught with danger for Rome's ruling elite. However, for the ordinary man in the provinces, life under Tiberius was mainly peaceful and prosperous. Why then does Tiberius have a 'bad image'? What we mostly know about Tiberius is from the writings of Suetonius and other writers who, as members of the elite, no doubt had a vested interest in painting as black a picture of the emperor as possible.

Suetonius tells us that Tiberius lived a debauched and licentious lifestyle on Capri surrounded by young slaves who existed for the 'pleasures of the flesh'. Reports also indicate that Tiberius was a sadist who enjoyed inflicting pain on his slaves and other unfortunate victims. It is recorded that one of Tiberius's favourite tortures was to tightly tie a cord around a victim's penis thus preventing him from urinating. To add to the victim's suffering, the unfortunate victim was made to consume large quantities of wine

Tiberius kept a large harem of young, male slaves who he used for his perverted sexual pleasures. Apparently, he was also a voyeur who liked to watch as his slaves indulged in all manner of sex. It is said he was the originator of a sex position known as ' sprintrie' which involved three slaves sexually engaging with one another.

It is recorded that Rome's elite was horrified by the emperor's excesses and strongly disapproved.

Certainly, the Emperor Tiberius engages our fascination and we are all familiar with his  infamous lifestyle. The above picture captures how it might have been for one of the emperor's slaves living on Capri.

Although, in fact, the slaves don't appear to be too unhappy with their lot as Tiberius's 'pets'.

Artwork by MADAHV whose work I have always admired. He has an evocative style all of his own which captures his subject matter beautifully as can be seen in this post; the text is mine

Another great adventure yarn from my misspent youth!

I first read this book as an impressible boy and loved it. While sex is kept to a minimum and it is heterosexual - not my thing by any means - the main appeal of this story was the slavery element with which I closely identified. 

It's a grand, sweeping, historical story which captured my fertile imagination and introduced me to new aspects of slavery I knew very little about.

Essentially, it is a story about a young, English squire, Michael de Bernay set back in the time of the Crusades who is captured by the Saracens and sold as a galley slave to an Arab merchant trading from the Red Sea with South-East Asia. 

Through a series of misadventures, Michael ends up as a slave of The Khmer king in Kampuchea. After he is branded, he is forced to work alongside Cham slaves who are the natural enemies of the Khmer and labours on the construction of Angkor Wat. Whilst, I was familiar with and fantasised about Arab slavery and galley slaves in particular, the Khmer/Cham aspect of slavery was new to me and it whetted my appetite. It would be fair to say, this story resonated with me and very soon, in my erotic fantasies, I was a naked slave in a team hauling gigantic, stone, building blocks to the top of the enormous temple complex of Angkor Wat.

Peter Bourne wrote this novel in 1956 and named it "When God Slept". My copy is the original one with the old title and cover art. Later, it was re-issued as "The Golden Pagan" for some reason.

Bourne went on to write many more novels and some of them are about black slavery in the West Indies all of which I read most avidly.

Chris

The Honey Pot

Time: Now, somewhere in the Middle-East

Slave-dealer: "Young Ali, you have brought me a fine infidel. He'll make a good slave and sell well. How did you come by him?"

Ali: "I used my usual method of recruiting. The young infidel is travelling alone and I spotted him in the bar of the hotel where he was staying. I made myself conspicuous and attracted his attention."

Slave-dealer: "How did you attract his attention, Ali?"

Ali: "By wriggling my arse as I walked past him, self-groping my crotch, pouting and provocatively licking my lips. Like a greedy fish, he took the bait and was hooked. I invited him back to my place, offered him a drugged coffee and when he passed out, I stripped him naked, shackled him and brought him to you. The stupid infidel thought I was an easy target. No way was he going to fuck me."

Slave-dealer: "You chose well, Ali! Instead, he will be the one who gets fucked and looking at that slave arse it will be well used."

Ali: "As it deserves to be! What price do you offer for such a fine slave?"

Slave-dealer: "Ali, as you know, I buy my slave-meat by live-weight. Depending on the quality of the animal, I negotiate a price per kilogram of a slave's body weight. Let's get him to his feet so I can inspect him before I put him on the scales and then we can haggle over a price for him." 

Ali: Then, let's do it! I am anxious to scout for more 'talent' if you are interested?"

Slave-dealer: "Ali, I will be interested in all the infidel slaves you can bring to me. I have a slave auction scheduled very shortly. The more infidels I have on offer the better."

Art by Bazz, another of my favourite artists. The text is mine.