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theoutcastrogue · 2 years

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In a Roman Osteria, by Carl Bloch (oil on cavas, 1866)

A very popular genre painting (full resolution here) by the Danish painter Carl Bloch. Genre paintings have subject matters drawn from everyday life, rather than anything pompous, and often from life in the margins in particular: if you’re looking for rogues in European painting, this is where you’ll find them.

An osteria is like a humble tavern, primarily for wine, and maybe to grab a bite and socialise – one way or another. The concept arguably goes back to ancient Rome, and there’s something more or less like it wherever wine is made, but Italy’s oldest osterie, in Brindisi and Bologna, are from the 1400s. It’s a fitting setting for a genre painting.

You can interpret it as you like, but my take is: “POV: you are sitting in an osteria in Rome drinking wine and exchanging suggestive glances with a young lady at the next table, when her friend takes wind of it and tells the young man accompanying them, and he turns around to look at you and he’s NOT happy; uh-oh, he’s got a knife.”

It doesn’t look like an Italian knife, it looks like a Spanish navaja. Designs could of course be similar, and ideas and techniques were borrowed back and forth, but there’s a decorative element which doesn’t show up in Italy (AFAIK), only in Spain and sometimes Morocco: those white discs on the handle are called ojos de perdiz (partridge eyes), they’re bone inlays and the “iris” is usually brass. It makes a nice contrast with the darker material of the handle, which is horn or wood.

As it happens, I have one that looks a lot like it:

Spain, c.1850

And here are a few more navajas with “partridge eyes”, made around the time In a Roman Osteria was painted. (All these are with a carraca, a ratchet; our Italian friend carries a simpler folding knife.)

Albacete, 1860

Albacete, 1866

Cádiz, late 19th century

Back to Italy, a similar decorative element can be found in one very special case. The lover’s knife or love knife (coltello d’amore) is an extremely fancy folding knife, dating to the 18th century, and given as a token of love or as an engagement gift. Among other decorations, it features occhi di dado (dice eyes), which are similar to ojos de perdiz but with a much larger iris, placed off-center. Kind of like googly eyes.

21st century version by the Colterellia Saladini, a very high-end cutlery; it’s their most expensive knife (EUR 1220, lol)

an atypical fixed blade knife, small (16 cm total) and humbly made, 19th century

The eyes are supposed to “ward off the jealous gaze of anyone looking at your lover”, and I think they look a lot like nazars. Italy does have its own apotropaic symbols, however the south (where these knives hail from) has had significant contact with both Arabic and Greek culture, where nazars are super common, so it’s not a terrible leap to assume there’s a connection. But that’s just my speculation.

In the series Suburra: Blood on Rome, the young Sinti gangster Spadino is carrying this exact knife (the Saladini one). Sadly in a different context, it’s a parental / wedding / coming-of-age gift, they just picked it because it’s so extra.

Spadino's mama: “you’re a man now, act like it”. Spadino: *fumes in gay*

#art #trs #tools of the trade #navaja #italy #rome #spain #terminology #folding knife #trp #trc #Suburra: Blood on Rome #how to stab #knives in fiction #rogues in fiction #look at this mess of a post #it's my ADHD in real time #I just wanted to post the painting #and say ''that's a navaja!''

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apollosgiftofprophecy · 3 months

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The Copollogism Essays - Part 2: The Assassination Scene

Part 1 (The Tent) ~ Part 2 (The Assassination) ~ Part 3 (Lester's Reaction) ~ Part 4 (Leo's Questions/Seeing Commodus Again) ~ Part 5 (The Arena) ~ Part 6 (The Waystation) ~ Part 7 (The Yacht) ~ Part 8 (The Final Moment)

Analysis: Part 1 (Apollo and Commodus as Individuals) ~ Part 2 (Toxic Relationship?) ~ Part 3 (Codependent - Or Is It?) ~ Part 4 (Other Thoughts)

Oh ho ho ho. Here it is. The One You Have Been Waiting For.

A little personal background–

This was the scene that I remembered that made me pick the Trials of Apollo books back up last year.

It was this scene that brought me back into the fandom.

Everyone say thank you to this scene because it is a masterpiece and I sure damn well hope I do it justice.

Anyway. Let us begin~

I KNOW WHAT YOU are thinking. But, Apollo! You are divine! You cannot commit murder. Any death you cause is the will of the gods and entirely beyond reproach. It would be an honor if you killed me! I like the way you think, good reader. It’s true I had laid waste to whole cities with my fiery arrows. I had inflicted countless plagues upon humanity. Once Artemis and I slew a family of twelve because their mama said something bad about our mama. The nerve! None of that did I consider murder.

None of that, none of the deaths Apollo has caused, did he consider murder.

But Commodus’s he does.

This has always stuck out to me, even when I first read the books.

The praetorian prefect Laetus had pulled me aside only an hour ago: We failed at lunch. This is our last chance. We can take him, but only with your help. Marcia, Commodus’s mistress, had wept as she tugged at my arm. He will kill us all. He will destroy Rome. You know what must be done! They were right. I’d seen the list of names—the enemies real or imagined whom Commodus intended to execute tomorrow. Marcia and Laetus were at the top of the list, followed by senators, noblemen, and several priests in the temple of Apollo Sosianus.

Something that was pointed out by @amiti-art was how Apollo’s priests were set to be killed. This is baffling for a couple reasons: 1) Apollo is well known to deliver terrible punishments onto those who even treat his priests with disrespect (Agamemnon in The Iliad got a nice plague for his disrespect); and 2) Why would Commodus do this? Why would he specifically kill Apollo’s priests?

I suggested it could be a way to “get his attention” so to speak. Because remember, in Part 1, we know Apollo left after Marcus has died. And now, Commodus is deep into his paranoia and lashing out at everyone and everything he perceives as a threat.

Perhaps something triggered him to think the priests were some sort of threat, or maybe he’s so far in his delusions that he thinks he can have everything be “fixed” if he draws Apollo back to him. As we saw in Part 1, Commodus looked to Apollo first at the news of Marcus’s death— maybe even now, he’s trying to rebuild that bridge because everything’s falling apart.

If so…he did not think it through 😬 I mean… *eyes the plague Agamemnon got; Clytemnestra being killed by her own son for murdering Cassandra* yeah…things don’t end well for those who mess with the people in Apollo’s cult.

I pushed open the bronze doors of the emperor’s chambers. From the shadows, Commodus bellowed, “GO AWAY!” A bronze pitcher sailed past my head, slamming into the wall with such force it cracked the mosaic tiles. “Hello to you, too,” I said. “I never did like that fresco.”

*wheeze from alder* I get the feeling there was very casual banter in their relationship lol

Commodus knelt on the floor, clinging to the side of a sofa for support. In the opulence of the bedchamber with its silk curtains, gilded furniture, and colorfully frescoed walls, the emperor looked out of place—like a beggar pulled from some Suburra alley. His eyes were wild. His beard glistened with spittle. Vomit and blood spattered his plain white tunic, which wasn’t surprising considering his mistress and prefect had poisoned his wine at lunch.

This whole paragraph really gives you a glimpse into Commodus’s mindset, even if we don’t see his thoughts. He is quite literally at his wit’s end. His mistress and prefect have just tried to assassinate him. Everyone is against him. He is completely alone; no father, no lover.

Except Narcissus.

But if you could look past that, Commodus hadn’t changed much since he was eighteen, lounging in his campaign tent in the Danubian Forest. He was thirty-one now, but the years had barely touched him. To the horror of Rome’s fashionistas, he had grown his hair out long and had a shaggy beard to resemble his idol, Hercules. Otherwise he was the picture of manly Roman perfection. One might almost have thought he was an immortal god, as he so often claimed to be.

Not very important but short-haired teenaged Commodus canon 👍

Sike, this can be important because it is INTERESTING that Commodus deviates from the traditional Roman culture here. He grows his hair out, as well as a beard. Roman men didn’t typically do that.

But you know who does?

Greek men. Such as Heracles (which is why Commodus does so.)

I find this VERRRYYY interesting, especially paired with his relationship with Apollo. Because if you look at Commodus…he’s not very Roman, no? I’d say he’s more Greek-flavored than Roman.

Because here’s the deal: Besides the longer hair, Commodus (historically, at least) also liked to sing and dance. That was 100% accepted for men to do in Greece, but in Rome?

Rome had a very convoluted attitude towards singing and dancing. It was essentially “oh the upper class OBVIOUSLY can get SUPERB teachers for it, but if they're TOO GOOD AT IT they are NO BETTER THAN A WOMAN OR A SLAVE!!!!”

The kicker here is that the Greeks were typically slaves within Rome. They were regularly hired by the Roman elite to perform music and dances.

(Interesting how Apollo is their god, too.)

Out of all the Romans, out of the Roman elite…Apollo falls in love with the most Greek one he can find.

What’s even better is that Commodus continues the trend of ‘Apollo’s lovers are related to his domains’ because of music and dance.

That is what they bonded over. You bet Apollo made Commodus feel better over what he liked doing when the society he lived in looked down on it.

My poor, precious heart 🥲

“They tried to kill me,” he snarled. “I know it was them! I won’t die. I’ll show them all!” My heart ached to see him this way. Only yesterday, I’d been so hopeful. We’d practiced fighting techniques all afternoon. Strong and confident, he’d wrestled me to the ground and would have broken my neck if I’d been a regular mortal. After he let me up, we’d spent the rest of the day laughing and talking as we used to in the old days. Not that he knew my true identity, but still… disguised as Narcissus, I was sure I could restore the emperor’s good humor, eventually rekindle the embers of the glorious young man I’d once known. And yet this morning, he’d woken up more bloodthirsty and manic than ever.

Ouch. Owie. This hurts.

Time to discuss Apollo’s disguise now.

Narcissus, now, was a real person. But it appears in the RRverse, Narcissus was Apollo the whole time. And Apollo’s goal here was to, and I quote; “restore the emperor’s good humor [and] eventually rekindle the embers of the glorious young man I’d once known.”

Apollo initially disguised himself because he wanted to stop Commodus from going down his bloody, awful path. Apollo had been keeping such a close watch on what was happening that he knew things were getting bad enough to warrant his interference, with the hope of steering his former lover away from a dark fate.

*insert ‘I can fix him!’ meme here* ah, Apollo. If only you could RIP

Also wow, Commous wrestled Apollo— Apollo, who beat Ares in a wrestling match— to the ground? And would have broken his neck if he were mortal?

I’m guessing Apollo was holding back here, considering…well, considering the ending of this scene heh. But I doubt Apollo was a slouch even holding back, so Commodus is probably very good at hand-to-hand combat. Sheer brute force is exactly his style.

I approached cautiously, as if he were a wounded animal. “You won’t die from the poison. You’re much too strong for that.” “Exactly!” He pulled himself up on the couch, his knuckles white with effort. “I’ll feel better tomorrow, as soon as I behead those traitors!” “Perhaps it would be better to rest for a few days,” I suggested. “Take some time to recuperate and reflect.” “REFLECT?” He winced from the pain. “I don’t need to reflect, Narcissus. I will kill them and hire new advisors. You, perhaps? You want the job?”

It’s really telling how much Commodus trusts Apollo— that is to say, Narcissus— here.

It’s also telling how Apollo— his lover— is using his father’s words to get him to stop.

Marcus Aurelius’s advice is coming out of Apollo’s mouth, but Commodus has no idea; he does not know it’s Apollo telling him this.

Not until it’s too late, that is. When it’s revealed once and for all that he has no intention of stopping.

But it does make you wonder what Commodus would have done if he had known it was Apollo. Would the combined might of his father’s advice and his lover be enough to prevent him from killing more innocent people?

Or would it have only made things worse?

I did not know whether to laugh or cry. While Commodus concentrated on his beloved games, he turned the powers of state over to prefects and cronies… all of whom tended to have a very short life expectancy. “I’m just a personal trainer,” I said. “Who cares? I will make you a nobleman! You will rule Commodiana!” I flinched at the name. Outside the palace, no one accepted the emperor’s rechristening of Rome. The citizens refused to call themselves Commodians. The legions were furious that they were now known as Commodianae. Commodus’s crazy proclamations had been the final straw for his long-suffering advisors. “Please, Caesar,” I implored him. “A rest from the executions and the games. Time to heal. Time to consider the consequences.” He bared his teeth, his lips specked with blood. “Don’t you start too! You sound like my father. I’m done thinking about consequences!”

Apollo is once again putting on his Marcus Aurelius hat.

But once again…Commodus does not listen. He’s done listening to wise counsel. He’s done doing what other people have told him to do.

He’s emperor, after all.

Nobody can stop him. He’s blessed, after all. Who would even try?

My spirits collapsed. I knew what would happen in the coming days. Commodus would survive the poisoning. He would order a ruthless purge of his enemies. The city would be decorated with heads on pikes. Crucifixions would line the Via Appia. My priests would die. Half the senate would perish. Rome itself, the bastion of the Olympian gods, would be shaken to its core. And Commodus would still be assassinated…just a few weeks or months later, in some other fashion. I inclined my head in submission. “Of course, Caesar. May I draw you a bath?”

Read no further if you wish for a happy ending 😢

Commodus grunted assent. “I should get out of these filthy clothes.” As I often did for him after our workout sessions, I filled his great marble bath with steaming rose-scented water. I helped him out of his soiled tunic and eased him into the tub. For a moment, he relaxed and closed his eyes. I recalled how he looked sleeping beside me when we were teens. I remembered his easy laugh as we raced through the woods, and the way his face scrunched up adorably when I bounced grapes off his nose.

Their relationship was more carefree in nature. It was more teenager-esque, with Apollo even saying “when we were teens”, despite the fact he is merely a teen in body.

Even so…

I sponged away the spittle and blood from his beard. I gently washed his face. Then I closed my hands around his neck. “I’m sorry.” I pushed his head underwater and began to squeeze.

Apollo begins with gentleness. With cleaning him off. He doesn’t immediately kill him— perhaps to give both of them one last moment of peace.

But then that gentleness turns to murder.

Commodus was strong. Even in his weakened state, he thrashed and fought. I had to channel my godly might to keep him submerged, and in doing so, I must have revealed my true nature to him. He went still, his blue eyes wide with surprise and betrayal. He could not speak, but he mouthed the words: You. Blessed. Me.

Apollo is forced to reveal himself in all his glory— and in that moment, they are both aware of his betrayal. Commodus is floored by what he sees— by who he sees.

This isn’t merely his trainer who he has grown to trust.

This is his lover who he has loved for decades.

The lover who blessed and reassured him that everything would be fine.

But it’s not.

Apollo’s the one with the hands around his throat, and all Commodus can do is throw his promise back in his face: You. Blessed. Me.

*and this is the moment everyone knew: they started bawling*

Tissues, anyone?

The accusation forced a sob from my throat. The day his father died, I had promised Commodus: You will always have my blessings. Now I was ending his reign. I was interfering in mortal affairs—not just to save lives, or to save Rome, but because I could not stand to see my beautiful Commodus die by anyone else’s hands.

And even at the end, we can still see the toxicity that permeates their relationship.

Commodus took Apollo’s love and support for granted. He thought he could do anything he wished because he had the love and blessing of a god.

Apollo loved Commodus so much that he couldn’t stand the thought of someone else killing him. He could have kept his own hands clean of the kill, but he did not.

Because he wouldn’t be able to bear it to allow someone else to do the deed.

His last breath bubbled through the whiskers of his beard. I hunched over him, crying, my hands around his throat, until the bathwater cooled.

Even after Commodus is dead and gone, Apollo stays sitting there. Crying. He is utterly distraught by what he has done, and will continue to torment himself over it.

Perhaps even for eternity.

Britomartis was wrong. I didn’t fear water. I simply couldn’t look at the surface of any pool without imagining Commodus’s face, stung with betrayal, staring up at me.

That, my friends, is how you write an ending. That is how you write a tragic, doomed romance.

This is the deepest romance in all of Rick’s books. And we’ve only gotten through the flashback scenes.

We— and Rick— are merely getting warmed up.

#ramblings of an oracle #copollo #toa meta #toa analysis #the trials of apollo #trials of apollo #pjo apollo #toa apollo #toa commodos #apollodus #apollo x commodus #toa #pjo hoo toa

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