Roman Skeleton: A Defeated Gladiator?, The Yorkshire Museum, York, Yorkshire.
"This skeleton was discovered by builders in the basement of the Yorkshire Museum in 2010, surrounded by Roman pottery and animal bone. It belongs to a man who was aged between thirty-six and forty-five years old when he died. His bones bear signs of trauma, suggesting that he was savagely attacked from behind. He suffered six brutal blade injuries to his ribs, spine, jaw and skull. Since none of these wounds had healed, we know that they occurred at the time of his death.
Analysis of his bones has revealed that this man was unusually tall, of muscular build and physically very fit. The development of his bones suggests that he was used to carrying out strenuous activities and carrying heavy loads. Significantly, the muscles in his left arm were very well developed, indicating repetitive use of this arm; perhaps from training with a sword. Although the identity of this man remains a mystery, this evidence may suggest that he was a soldier or perhaps even a gladiator. A group of other skeletons known from Roman York and believed to be gladiators bear similar traits.
Injury to the vertebra and rib bones indicates that the very tip of a blade entered the lower spine from behind, at the right side of the body, moving upwards to the left before withdrawing. This was a superficial wound, suggesting that the man dodged his attacker.
The mandible suffered two blade injuries. One came from behind, moving downwards and inwards, and severing the jaw completely. The second was completely horizontal, cutting through the jaw bone on the right side. These blows were not fatal but would have caused excruciating pain.
The skull received three wounds; one of which was fatal. A blow from behind sliced across the top of the skull. A second, administered in a powerful downward slicing action, removed part of the skull on the right side. Both of these wounds were superficial. A final, fatal blow was delivered from behind with great force at the centre of the back of the head, effectively shattering the skull."
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Well, a few times I was asked to show the process of miniature paintings on stones, and here is my first attempt to capture and explain it. Warning - I only have my phone's camera at my disposal, so the quality is not very good.
Firstly - an idea for the image. Every stone has something in its pattern that can be a starting point for developing an imagery. The stone I picked for this one is a beautiful Picasso jasper, and in this case I was looking for a stone for a specific idea I've already had in mind. Spontaneous improvisation dictated by the stone's pattern is also great but I decided to pick something more definitive for better illustrating the process.
This jasper's pattern already has outlines that can be developed into a landscape without painting it over too much. I don't like it when stones are just mindlessly covered by slapping a random image on it, ignoring the colours, textures and patterns.
Here's the idea - ruins of an amphitheatre overgrown with red gladioluses. I know, I know, but I'm very interested in the initial mystical sacrificial background of gladiators. So here it is, arena covered in red, swords in the sand, but it's finally quiet.
Before we start, a stone must be varnished - minerals are porous, and lacquer smoothes its surface. I paint with tempera - most artists who work in lacquer miniatures use oils, but tempera allows quicker process, which is important for me. I'm autistic and my executive dysfunction makes working with oils difficult - my sudden bursts of activity won't match with drying timings and such. So, tempera for me.
Starting with sketching the outlines of the ruins and painting our light source, the sun and red clouds. I'm trying to work with a palette that the stone already has and make the painting as harmonious as possible.
Erasing auxiliary lines as we continue.
Done with the first layer - the walls and the sky. After the paint dries, I apply varnish (I use Novol clearcoat, car varnish - it's very durable). There can be as many layers as you need.
Now - the flowers and details.
After the painting is finished, it'll need several layers of varnish. And some fine sandpaper (1500) in-between the finishing layers for better grip.
And here it is! time to think abou a necklace for this one.
I'm not sure how useful I can be and what aspects you would like to know, so feel free to ask. I'm not sure I can make a good enough video with my current phone, so this'll have to wait. I tried to skip all the musings about ideas and finding stories, but whatever. And the time needed for work - I don't know. There was a month-long pause in the making of this one, due to a couple of emergencies that knocked me down for some time, and it's not easy for me in general due to my mental state - sometimes I can make a painting in two days, sometimes it takes years, nothing is certain with me, especially now. But well, here's what I do.