Once upon a time… “S.P.Q.R.”, “Veni Vidi Vici”, the invincible Rome, the empire of empires that for so many centuries dominated the whole of Europe, was led and controlled by women from its beginning to its end. Our sister historians have confirmed this fact by reviewing information and analyzing the work of our sisters archaeologists. There were no “men emperors” but empresses instead, women whose gender and name were changed over the centuries by order of the patriarchy.
Livia Drusila, Agripina la Mayor, Cornelia Graco, Aurelia Cota, Gala Placidia, Claudia Pulcra “Clodia”, Julia Domna, Hipatia de Alejandría, Lucrecia, Julia Livila, Valeria Mesalina, Agripina la Menor, Julia Drusila… all of them were empresses, women who conquered territories, subdued peoples and nations, most of them patriarchal countries, to impose an empire so vast in space and prolonged in time that we still feel the influence of their immense power. All of them (and many other women who remained anonymous) stood out for their courage and audacity in defending the borders and ensuring the consolidation of matriarchal systems in all of the conquered peoples. The societies that these female emperors imposed were ruled by women and girls who could: own goods (including slaves), trade with them, distribute raw materials, elect and be elected as senators, organize in guilds, develop science and the knowledge, enjoy artistic creation of all kinds, distribute the spoils of war obtained in each victory of the powerful and disciplined roman army, etc… In countless paintings, murals or sculptures, women are seen smiling, wearing luxurious jewels and headbands and showing their female hands as a symbol of matriarchal power. On the other hand (unlike women, who were born and died free), men and boys lacked any social or political recognition and, far from having the category of “citizen”, they were considered, by women and girls, as simple merchandise, to be used for slave work in the fields, or as toys to make fun, to mock on them, to be amused or abused.
Lesbian love was a constant throughout the Roman Empire, in fact it was the only way of love allowed by law. The women citizens loved each other in a clean and healthy way, without jealousy problems, since the women were sincere and transparent with each other, as if they were loved sisters. Of course, Roman women also had perverse sexual fantasies, but to satisfy them they used their slaves (always males) whom they freely abused and whom they used as simple sexual objects or for reproduction services. In all the temples dedicated to the sacred goddess Venus ♀ there were statues of women kissing each other, or about to do so. Moreover in the walls of these temples we could see numerous icons of female bodies showing the vulva. Our archeological sisters are convinced that roman women enjoyed sexual pleasure and their bodies freely, without any kind of shame, modesty or guilt, since the female body was considered, by the roman people, as something divine and sacred, worthy to be displayed publicly and worthy of adoration and worship.
A clear example of this fact we can see in a fresco dating from 2100 years ago found in the city of Pompeii. In it we can see how a slave makes cunnilingus (an oral sexual service) to a woman who poses completely naked and who with her right hand supports her leg to ensure a sufficient opening of her vulva and thus enjoy the pleasure of the sexual act. On the other hand, the man who performs the cunnilingus, who is surely a slave of the woman because of the submissive way he looks at the lady’s eyes, appears shrunken, crouched and completely covered by the “servusicam”, the famous white tunic that the men wore and that identified their condition as servants and slaves in perpetuity. We know that the male body, unlike the female one, was considered as something nasty, dirty, filthy and sinful and that it should be hidden under penalty of flogging with dozens of strong lashes, on the back or on the ass, that the owner of the slave was to perform publicly and without showing any kind of mercy, pity or consideration.
Another very explicit fresco on the customs of women from Ancient Rome is one dedicated to the Empress Messalina. The fresco is divided into two halves: in the left half Messalina appears, in profile, with her almighty empress laurel, and on the right side she appears completely naked sitting on a slave who is also naked. It is believed that Messalina herself commissioned this fresco in order for posterity, so her custom would be known: this empress was dedicated to disturbing the slaves while they slept, entered their stables (in the Ancient Rome the slaves slept next to the horses) and removed the sheet to gaze at their disgusting masculine bodies and that dark, sunburned skin, the slaves worked in the fields from sunrise to sunset. Messalina would straddle them with the intention of arousing and exciting them and when the slave’s penis became erect, she would then hit it hard with her fists, kick it mercilessly or pound it with a heavy and big stone and then spit on the slave’s face, to sometimes even vomit on it or even urinate and defecate on the nasty slave male body while yelling: “you are disgusting, you are filthy and totally nasty, you are a man and your male body is abominable and makes me want to vomit.” If this practice was common for some women in Ancient Rome, as a way to release stress and relax, for Messalina it became practically an obsession: if at first she practiced it with her slaves, over time she began to visit stables of other influential women, senators or patricians, to humiliate and also vex their slaves. In Ancient Rome this became “vox populi”, all the women and girls knew of it, and while some accepted it pleasantly, because she was the empress, other females took it with resignation since they did not like Messalina bothering their slaves for fear that it could affect their performance and behavior at work.
Another significant fresco found in Pompeii shows us a young woman, dressed in a red tunic, wearing a maroon headband and in front of a tablet, who with her right hand rests a pencil on her feminine chin. Attached to the left of the woman there is a slave, since its color face is dark and it wears a “servusicam”, and which with its right hand supports a rolled document on its male chin. Our historian sisters have interpreted the fresco: it is undoubtedly a businesswoman (due to the red color of her tunic) who is going to sell her slave or has just bought it. The maroon headband she is wearing in her head tells us she is going to, or she comes from, a slaves market since, by law, all the women had to wear a maroon headband to enter in the slaves market. The woman uses the pencil and the tablet to calculate the price appropriate that she will ask for the sale of the slave or perhaps how she will amortize the expense for the purchase of her new servant. Meanwhile, the slave holds against its chin the purchase-sale contract that the woman has just signed or that the female buyer will sign as the new owner of the man. Such was life in ancient Rome: money, business, influence and power for women and slavery for men; and thanks to this, the Roman Empire conquered all of Europe with the outcry of: “Roma Victor. Femina Victor” (Victory of Rome. Victory of women) every time the army won a battle.
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Frescos from the Villa of Mysteries in Pompeii
ATTENTION: Finally, the mysterious fresco found by our archeological sisters in the famous “Villa of Mysteries” in Pompeii, and painted more than 2,100 years ago, has been able to be deciphered and interpreted by a group of young students who have dedicated their doctoral thesis to it. The young women have meticulously studied the paintings to finally obtain the definitive meaning: it is about a lesbian marriage (like all in Ancient Rome), specifically the marriage of the daughter of “the matriarch” that is the mistress of the house. If we analyze the frescoes from right to left, we can better define the scenes shown in them.
The owner of the house, mother of one of the brides, watches patiently and attentively the general scene of her daughter’s wedding preparations. Dressed in a golden tunic with red stripes and a garnet embroidered woolen shawl with borders, the matriarch rests her chin on her right hand and crosses her left hand on her belly. Both her clothes and her gestures tell us that the matriarch was successful, a worker and an audacious woman who made her fortune based on effort and skill in business, like plenty of women in Ancient Rome. Although we cannot see it in the fresco, we know that the famous “Villa of Mysteries” had, in addition to the stables, two large and spacious warehouses, which makes us think that the matriarch made her fortune thanks to the slave trade. We know that the men captured by the roman army were bought in batches by slave trader ladies who initially stored them in a “reception warehouse” where the slaves were classified and selected for later sale. Later, once classified, they were transferred to the “sales warehouse” in which the best valued ones were sold to wealthy ladies and those that could not be sold were sent to the market to be auctioned or sold at bargain prices.
Seated in the bride’s chair, and looking directly at the viewer, the matriarch’s daughter preps her hair with the help of her maid who is located behind her. The fact that she looks at the observer makes us understand that she is the absolute protagonist of the wedding. We see how a small male child, with wings, naked and with crossed legs, holds the mirror in which the image of the bride is reflected. It is a roman tradition: the image of the bride, while preparing for the wedding, must be held by a four-year-old naked male, standing up, and wearing wings who will cross his legs to hide his small penis. According to this tradition, the mirror must be held in the hands by a child since, due to the innocence of the bearer (represented by the wings), this mirror will reflect a pure and clean image. The mirror cannot be held by a female child or a girl because in Ancient Rome it was considered that all females, regardless of their age, were divine beings and, therefore, they would lose that divinity if they reflected the image of another female. On the other hand, the sight of the boy’s penis (no matter how small it could be) would be considered a very bad omen for the bride regarding the wedding.
Crying and dancing
To the left of the matriarch’s daughter we find the girlfriends’ friends (all women, of course) preparing the dance with joy and joviality. One of them, on the other hand, cries inconsolably on the lap of another, possibly crying for some love disappointment or because she is in love with one of the girlfriends. The roman women expressed their feelings in public, without complexes or shames and in a free and healthy way. In this way they avoided negative feelings such as resentment. Her friend consoles her as she looks up at the sky, surely lamenting before the holy goddess Venus the love fate of her crying friend. Another friend, with her back turned to the woman observer and completely naked, rehearses the dance, raising her arms to the sky, surely to highlight the beautiful attributes of her divine feminine body. Finally, the fourth friend holds the “laurus erat procera”, a three-meter stick crowned with bay leaves, that the friends will put on the heads of the brides when they give the first kiss, once they are married. This is so that, according to tradition, the marriage will be happy for the rest of their days and they will have a joyous, prosperous, harmonious and joyful marital life.
Maids and gifts
In the following fresco we can see the three maids in charge of watching over the wedding gifts, which are covered with a garnet velvet cloth, the color of material wealth for Roman women. Especially valued were the gifts related to pleasure, above all the sex toys that women freely gave to each other, especially at weddings: devices for clitoral stimulation, intimate massage for the vulva, and strapons with straps and dildos to humiliate and ass-fuck men slaves. But there was a gift that could not be missing and that was the famous “virga iniquitatis” or rod of punishment for slaves. Each bride had to have her own one, that is, the punishment rods were personal and non-transferable. The most valued and appreciated were made of reeds from the Rubicon River, famous for their flexibility and resistance. A woman could use this kind of “virga iniquitatis” for whipping her slaves daily, if she wanted, and which hardly suffered wear (due to the use) over the years. Even most punishment rods of this type were passed down from mother to daughter and from grandmother to granddaughter without any problem. A woman could whip her slave with the same “virga iniquitatis”, made of Rubicon reed, with which her great-grandmother whipped her servants a hundred years earlier. In the fresco, one of the maidens (wearing wings on her back) appears to be testing one of the rods by whipping the air. The wings were given together with the punishment rod since the “virga iniquitatis” had two uses: to correct a mistake, or a bad performance of the servant, on one hand, and on the other, to release tension and stress by whipping the back, or the ass, of a random slave. The roman women considered that these feelings should be channeled towards the sky through the wings and that is why they wore them when they wanted to relax by whipping a slave. The maiden is shown bare-chested, just how roman women used to whip their servants for greater freedom and comfort.
Bride and dowry
Besides the maidens we can see the other bride of whom, unfortunately, we cannot appreciate her face due to a big paint chip on the wall of the fresco. The way she is sitting, with her right leg crossed over her left and the purple color (a symbol of nobility) of her clothing confirms that it is the second bride. According to roman tradition, the bride who was going to live in the house of her future wife had to dress in purple and bring with her a dowry that, in this case, as we can see in the fresco, is a slave. This man, sitting next to its owner, but at a lower level, leans its back on the hips of its mistress, looking for her lap, and looks at her as if frightened and upset, surely anguished about its immediate future. Despite the missing piece of paint, we can perfectly observe how the bride rests her right arm on the shoulder, also right, of her slave in a gesture that seeks to convey confidence, serenity and security. Surely she is trying to relax her servant and calm its doubts with a reassuring message: “do not worry slave, trust me, from now on both I and my future wife will use you as we want and abuse you freely, nothing more than that. That will be the only change in your life as a servant, from now on you will receive orders from two goddesses instead of just one “, she seems to say with her gesture. In Ancient Rome, when two women got married, slaves, like all goods and properties, became the property of both wives and both women could dispose of them indistinctly regardless of the social class from which each of them came from. In this way, the differences between social classes were reduced step by step until practically disappearing with the passage of the time. We could say that the feeling of sisterhood between women prevailed over human greed that naturally appeared in some women and girls due to the fact that females dominated business and controlled money like in any matriarchal society.
In all the weddings of Ancient Rome the performances of satyrs were well know; the satyrs were men who animated the party with performances that combined humor with satire which were always focused on the humiliation of the masculine gender by the feminine one. The representation of the “vita hominis” was very common, a parody of the life of man, from when it is a child until it reaches adulthood. For this reason we find three satyrs: two very young teenagers and a third quite older. During the performance of the “vita hominis”, which used to last several hours, or even all of the night, it was very usual for women to freely abuse satyrs. As the night progressed and the females ate and drank, they became uninhibited and encouraged to abuse more and more of the satyrs. Guests, maids, and especially the wedding’s brides, could kick, spank, whip, beat them, humiliate them or even bugger them (wrecking their male ass holes with strapons or huge hard dildos) mercilessly in public. No matter what that women did them, the satyrs always responded with a funny occurrence that made all the women present laugh out loud. To endure the pain and the suffering the satyrs drank “garumvid” a pain reliever substance, which comes from the fermentation of the mixture of garum with wine. Here we can see how the satyrs drink “garumvid” while one of them holds the mask of pain, or “aegritudo”, a mask that represents an elderly man with his mouth wide open and his eyes really bulging. The satyrs wore this mask during the performance whenever, despite the “garumvid”, they felt a sharp intense and unbearable pain, especially when they were ass raped mercilessly. There is no need to say that the sight of this mask unleashed laughter out loud from the women present. The “aegritudo” represented the eternal pain that, in Ancient Rome, man had to suffer from the moment it was born until it died as if it were written in its destiny.
Maiden and animals
Next we can see the maiden in charge of taking care of the animal goods for the future marriage. With her virgin wool cape she is practicing the perfomance of presentation of the animals owned by the future wives of the house. In this case, representing all the other animals from the farm, there are four animals: two young boys and two goats. One of the young boys has in his hand a wind device, a kind of whistle, used to call the goats and prevent them from getting lost. In Ancient Roman weddings, the animal wealth of future wives was always represented as a way of symbolizing the power and social influence that the couple will have during their married life.
Maids in the kitchen
Then we appreciate how four maids (three in this pictogram and the fourth in the next one) prepare the delicacies and the drink that will be served at the wedding banquet. The maiden in the following pictogram, wearing a laurel diadem, carries a tray with food and looks at the observer as if she was inviting her to taste the food she carries on the tray. The other three maids, one of them sitting with her back to the observer and the other two standing on both sides of the table, seem to be working in a dress that, possibly, will be used during the wedding. In addition, the one on the right side of the scene kindly serves water, or some other of drink, using a small jug, to her maiden sisters.
Guests with gift
To finish the work, the last pictogram shows us two guests, possibly a married couple, who bring a child as a wedding gift. We see how the male child reads a document that it is holding in his hands, it is the certificate of ownership and once the two new wives sign it, the male child will become the property of the new marriage, increasing the patrimony of the new home. It was common, among upper-class women, to give each other gifts of minor male slaves at weddings so the new wives couls educate them as the wish it. In this way the problems involved in the taming of an adult slave were avoided. Main times adult slaves were savages captured by the Roman army on the battlefield.
The famous “Villa of mysteries” in Pompeii has already revealed all its mysteries to us. Thanks once again to the effort and work of our sisters archaeologists and historians. But this historical research work would not be possible without your help, please collaborate with the projects of our women historians. Make your donation or become a citizen from “The Universal Gynecocratic Republic”.
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