Thursday, 30 January 2014

Grafitti from Pompeii

Each inscription begins with a reference to where it was found (region.insula.door number).  The second number is the reference to the publication of the inscription in the Corpus Inscriptionum Latinarum, Volume 4.
I.2.20 (Bar/Brothel of Innulus and Papilio); 3932: Weep, you girls.  My penis has given you up.  Now it penetrates men’s behinds.  Goodbye, wondrous femininity!
I.2.23 (peristyle of the Tavern of Verecundus); 3951: Restitutus says: “Restituta, take off your tunic, please, and show us your hairy privates”.
I.4.5 (House of the Citharist; below a drawing of a man with a large nose); 2375: Amplicatus, I know that Icarus is buggering you.  Salvius wrote this.
I.7.1 (in the vestibule of the House of Cuspius Pansa); 8075: The finances officer of the emperor Nero says this food is poison
I.7.8 (bar; left of the door); 8162: We two dear men, friends forever, were here.  If you want to know our names, they are Gaius and Aulus.
I.10.2-3 (Bar of Prima); 8258, 8259: The story of Successus, Severus and Iris is played out on the walls of a bar: [Severus]: “Successus, a weaver, loves the innkeeper’s slave girl named Iris.  She, however, does not love him.  Still, he begs her to have pity on him.  His rival wrote this.  Goodbye.”.  [Answer by Successus]: “Envious one, why do you get in the way.  Submit to a handsomer man and one who is being treated very wrongly and good looking.”  [Answer by Severus]: “I have spoken.  I have written all there is to say.  You love Iris, but she does not love you.”
I.10.2-3 (Bar of Prima); 8297: Word square

I.10.4 (near the rear entrance vestibule of the House of Menander); 8356: At Nuceria, look for Novellia Primigenia near the Roman gate in the prostitute’s district.
I.10.4 (exterior of the House of Menander); 8304: Satura was here on September 3rd
I.10.7 (House and Office of Volusius Iuvencus; left of the door); 8364: Secundus says hello to his Prima, wherever she is.  I ask, my mistress, that you love me.
II.2.1 (Bar of Astylus and Pardalus); 8408: Lovers are like bees in that they live a honeyed life
II.2.3 (Bar of Athictus; right of the door); 8442: I screwed the barmaid
II.3.10 (Pottery Shop or Bar of Nicanor; right of the door); 10070: Lesbianus, you defecate and you write, ‘Hello, everyone!’
II.4.1 (bar; left of the door, near a picture of Mercury); 8475: Palmyra, the thirst-quencher
II.7 (gladiator barracks); 8767: Floronius, privileged soldier of the 7th legion, was here.  The women did not know of his presence.  Only six women came to know, too few for such a stallion.
II.7 (gladiator barracks); 8792: On April 19th, I made bread
II.7 (gladiator barracks); 8792b: Antiochus hung out here with his girlfriend Cithera.
III.4.2 (House of the Moralist); 7698a: Let water wash your feet clean and a slave wipe them dry; let a cloth cover the couch; take care of our linens.
III.4.2 (House of the Moralist); 7698b: Remove lustful expressions and flirtatious tender eyes from another man’s wife; may there be modesty in your expression.
III.4.2 (House of the Moralist); 7698c: […]postpone your tiresome quarrels if you can, or leave and take them home with you.
III.5.1 (House of Pascius Hermes; left of the door); 7716: To the one defecating here.  Beware of the curse.  If you look down on this curse, may you have an angry Jupiter for an enemy.
III.5.3 (on the wall in the street); 8898: Theophilus, don’t perform oral sex on girls against the city wall like a dog
III.5.4 (exterior of a small house); 8903: Gaius Sabinus says a fond hello to Statius.  Traveler, you eat bread in Pompeii but you go to Nuceria to drink.  At Nuceria, the drinking is better.
V.1.18 (House of Valerius Flaccus and Valerius Rufinus; right of the door); 4066: Daphnus was here with his Felicla.
V.1.26 (House of Caecilius Iucundus); 4091: Whoever loves, let him flourish.  Let him perish who knows not love.  Let him perish twice over whoever forbids love.
V.1.26 (peristyle of the House of Caecilius Iucundus); 4087: Staphylus was here with Quieta.
V.3.9 (House of Cosmus and Epidia; right of the door); 6702: Aufidius was here.  Goodbye
V.5 (just outside the Vesuvius gate); 6641: Defecator, may everything turn out okay so that you can leave this place
V.5 (near the Vesuvius Gate); 7086: Marcus loves Spendusa
V.5.3 (barracks of the Julian-Claudian gladiators; column in the peristyle); 4289: Celadus the Thracian gladiator is the delight of all the girls
VI (on the Street of Mercury); 1321: Publius Comicius Restitutus stood right here with his brother
VI.6.1 (House of the Olii; on the Via Consolare); 139: The city block of the Arrii Pollii in the possession of Gnaeus Alleius Nigidius Maius is available to rent from July 1st.  There are shops on the first floor, upper stories, high-class rooms and a house.  A person interested in renting this property should contact Primus, the slave of Gnaeus Alleius Nigidius Maius.
VI.11 (on the Vico del Labirinto); 1393: On April 20th, I gave a cloak to be washed.  On May 7th, a headband.  On May 8th, two tunics
VI.13.19 (House of Sextus Pompeius Axiochus and Julia Helena; left of the door); 4485: Hectice, baby, Mercator says hello to you
VI.14 (vico degli Scienziati); 3042: Cruel Lalagus, why do you not love me?
VI.14.20 (House of Orpheus); 4523: I have buggered men
VI.14.36 (Bar of Salvius); 3494: In one bar, a picture depicts two men playing dice.  One shouts, “Six!” while his opponent holds up two fingers and says, “No, that’s not a ‘three’; it’s a ‘two’”.  By the door of the bar, another picture shows a short man driving a group of men out.  Above his head are the words, “Go on, get out of here!  You have been fighting!”
VI.14.36 (Bar of Salvius; over a picture of a woman carrying a pitcher of wine and a drinking goblet); 3494: Whoever wants to serve themselves can go on an drink from the sea.
VI.14.37 (Wood-Working Shop of Potitus): 3498: What a lot of tricks you use to deceive, innkeeper. You sell water but drink unmixed wine
VI.14.43 (atrium of a House of the Large Brothel); 1520: Blondie has taught me to hate dark-haired girls.  I shall hat them, if I can, but I wouldn’t mind loving them.  Pompeian Venus Fisica wrote this.
VI.15.6 (House of Caesius Valens and Herennius Nardus); 4637: Rufus loves Cornelia Hele
VI.16.15 (atrium of the House of Pinarius); 6842: If anyone does not believe in Venus, they should gaze at my girl friend
VII (House of the Tetrastyle Atrium); 2060: Romula hung out here with Staphylus.
VII.1.40 (House of Caesius Blandus; in the peristyle of the House of Mars and Venus on the Street of the Augustales); 1714: It took 640 paces to walk back and forth between here and there ten times
VII.6.35 (Brothel of Venus; on the Vico dei Soprastanti opposite the Vicolo del Gallo); 1645: May Love burn in some lonely mountains whoever wants to rape my girl friend!
VII.2.18 (vicolo del Panattiere, House of the Vibii, Merchants); 3117: Atimetus got me pregnant
VII.2.18 (vicolo del Panattiere, House of the Vibii, Merchants); 3131: Figulus loves Idaia
VII.2.44 (Bar of Hedone (or Colepius) on the Street of the Augustales; on the corner toward the lupinare); 1679: Hedone says, “You can get a drink here for only one coin.  You can drink better wine for two coins.  You can drink Falernian for four coins.”
VII.2.48 (House of Caprasius Primus); 3061: I don’t want to sell my husband, not for all the gold in the world
VII.7.5 (House of the Calpurnii); 4783: Crescens is sweet and charming
VII.9 (Eumachia Building, via della Abbondanza); 2048: Secundus likes to screw boys.
VII.12.18-20 (the Lupinare); 2175: I screwed a lot of girls here.
VII.12.18-20 (the Lupinare); 2185: On June 15th, Hermeros screwed here with Phileterus and Caphisus.
VII.12.18-20 (the Lupinare); 2192: Sollemnes, you screw well!
VII.12.35 (Vico d’ Eumachia, small room of a possible brothel); 2145: Gaius Valerius Venustus, soldier of the 1st praetorian cohort, in the century of Rufus, screwer of women
VII.12.35 (Vico d’ Eumachia, small room of a possible brothel); 2146: Vibius Restitutus slept here alone and missed his darling Urbana
VII.12.35 (Vico d’ Eumachia, small room of a possible brothel); 2163: The warmest hello to Saenecio Fortunaus, wherever he may go.
VII.15.11-12 (House of Verus; between the two doors of the house); 4838: Secundus says hello to his friends.
VIII (corridor in the theater); 2457: Methe, slave of Cominia, from Atella, loves Chrestus.  May Pompeian Venus be dear to both of them and may they always live in harmony.
VIII (Street of the Theaters); 64: A copper pot went missing from my shop.  Anyone who returns it to me will be given 65 bronze coins (sestertii).  20 more will be given for information leading to the capture of the thief.
VIII.1 (above a bench outside the Marine Gate); 1751: If anyone sits here, let him read this first of all: if anyone wants a screw, he should look for Attice; she costs 4 sestertii.
VIII.2 (in the basilica); 1797: No young buck is complete until he has fallen in love
VIII.2 (in the basilica); 1808: Auge loves Allotenus
VIII.2 (in the basilica); 1811: A small problem gets larger if you ignore it.
VIII.2 (in the basilica); 1812: Caesius faithfully loves M[…name lost]
VIII.2 (in the basilica); 1816: Epaphra, you are bald!
VIII.2 (in the basilica); 1820: Chie, I hope your hemorrhoids rub together so much that they hurt worse than when they every have before!
VIII.2 (in the basilica); 1824: Let everyone one in love come and see.  I want to break Venus’ ribs with clubs and cripple the goddess’ loins.  If she can strike through my soft chest, then why can’t I smash her head with a club?
VIII.2 (in the basilica); 1826: Phileros is a eunuch!
VIII.2 (in the basilica); 1837: If you are able, but not willing, why do you put off our joy and kindle hope and tell me always to come back tomorrow.  So, force me to die since you force me to live without you.  Your gift will be to stop torturing me.  Certainly, hope returns to the lover what it has once snatched away.
VIII.2 (in the basilica); 1842: Gaius Pumidius Dipilus was here on October 3rd 78 BC.
VIII.2 (in the basilica); 1852: Pyrrhus to his colleague Chius: I grieve because I hear you have died; and so farewell.
VIII.2 (in the basilica); 1863: Take hold of your servant girl whenever you want to; it’s your right
VIII.2 (in the basilica); 1864: Samius to Cornelius: go hang yourself!
VIII.2 (in the basilica); 1880: Lucius Istacidius, I regard as a stranger anyone who doesn’t invite me to dinner.
VIII.2 (in the basilica); 1880: The man I am having dinner with is a barbarian.
VIII.2 (in the basilica); 1881: Virgula to her friend Tertius: you are disgusting!
VIII.2 (in the basilica); 1882: The one who buggers a fire burns his penis
VIII.2 (in the basilica); 1904: O walls, you have held up so much tedious graffiti that I am amazed that you have not already collapsed in ruin.
VIII.2 (in the basilica); 1926: Epaphra is not good at ball games.
VIII.2 (in the basilica); 1928: Love dictates to me as I write and Cupid shows me the way, but may I die if god should wish me to go on without you
VIII.2 (in the basilica); 1951: Sarra, you are not being very nice, leaving me all alone like this
VIII.7.6 (Inn of the Muledrivers; left of the door); 4957: We have wet the bed, host.  I confess we have done wrong.  If you want to know why, there was no chamber pot
IX.1.26 (atrium of the House of the Jews); 2409a: Stronius Stronnius knows nothing!
IX.2.18 (House of Curvius Marcellus and Fabia; in the tablinum); 4993: Ampliatus Pedania is a thief!
IX.5.11 (House of Poppaeus Sabinus; peristyle); 5092: If you felt the fires of love, mule-driver, you would make more haste to see Venus.  I love a charming boy; I ask you, goad the mules; let’s go.  Take me to Pompeii, where love is sweet.  You are mine…
IX.5.18 (House of Hercules and Nessus; beside the door of house); 5112: Learn this: while I am alive, you, hateful death, are coming.
IX.8.3 (House of the Centenary; in the atrium); 5213: My lusty son, with how many women have you had sexual relations?
IX.8.3 (House of the Centenary; in the latrine near the front door); 5243: “Secundus defecated here” three time on one wall.
IX.8.3 (House of the Centenary; interior of the house); 5279: Once you are dead, you are nothing
IX.8.11 (triclinium of a house); 5251: Restitutus has deceived many girls.
Nuceria Necropolis (on a tomb); 10231: Serena hates Isidorus
Nuceria Necropolis (on a tomb); 10241: Greetings to Primigenia of Nuceria.  I would wish to become a signet ring for no more than an hour, so that I might give you kisses dispatched with your signature.
Herculaneum (bar/inn joined to the maritime baths); 10674: [a bar tab] …Some nuts …? coins; drinks: 14 coins; lard: 2 coins; bread: 3 coins; three meat cutlets: 12 coins; four sausages: 8 coins.  Total: 51 coins
Herculaneum (bar/inn joined to the maritime baths); 10675: Two friends were here.  While they were, they had bad service in every way from a guy named Epaphroditus.  They threw him out and spent 105 and half sestertii most agreeably on whores.
Herculaneum (bar/inn joined to the maritime baths); 10677: Apelles the chamberlain with Dexter, a slave of Caesar, ate here most agreeably and had a screw at the same time.
Herculaneum (bar/inn joined to the maritime baths); 10678: Apelles Mus and his brother Dexter each pleasurably had sex with two girls twice.
Herculaneum (on a water distribution tower); 10488: Anyone who wants to defecate in this place is advised to move along.  If you act contrary to this warning, you will have to pay a penalty.  Children must pay [number missing] silver coins.  Slaves will be beaten on their behinds.
Herculaneum (on the exterior wall of a house); 10619: Apollinaris, the doctor of the emperor Titus, defecated well here
Stamps on jars of garum
2569: Kosher garum
5671: Finest garum from the factory of Umbricius Abascantus
GS no. 227: First-rate garum from the factory of Marcus Acceius Telemachus
Sinead O'Connor tweets
Sinead has since Tweeted about getting back with Barry and having a “mad love making affair” in doing so.

Tuesday, 28 January 2014

Thursday, 23 January 2014

Uploaded on 28 Aug 2011
The Wrath of Jah
Fixed-Price - Est. Budget: $20 - Posted 1 day ago
Need a lesbian erotica story of 4,000 words *nothing special just a simple story *creativity is up to you *need someone who can work today

Sunday, 19 January 2014

“I am as shocked as everybody, more shocked, as I am the central victim,” Ann Freedman, the gallerist at the center of an $80 million art forgery scandal, told me earlier this month. “Fifteen years. In my head, these paintings have been right up until five days ago. Horrible.”
Over the course of most of those fifteen years, Freedman had put all of her influence and credibility as the president of Knoedler & Company, until recently one of New York’s oldest and most respected art galleries, behind what she believed to be a treasure trove of newly discovered modern art by the biggest names in Abstract Expressionism. In May, federal authorities announced that the paintings — 63 in all — were fakes and charged Glafira Rosales, the obscure art dealer who supplied Knoedler and at least one other gallery with the paintings, with tax evasion. Earlier this month (five days before Freedman spoke those words), the feds spelled out the details of the long-running scheme in a follow-up indictment, charging that Rosales had never, as she claimed, represented the son of a mysterious anonymous collector. Rather, she allegedly paid an artist in Queens  (73-year-old Chinese-American painter Pei-Shen Qian, according to reports) as little as $5,000 each to create the counterfeit masterpieces.
Freedman, who spoke publicly about the scandal for the first time in a series of recent conversations with New York, says that the results of the federal investigation prove she was an unwitting agent in the scheme. Under her leadership, Knoedler sold 40 of the fakes for an alleged $63 million. Before shutting down abruptly in late 2011, the gallery made a $20 million payment to Rosales.

According to the indictment, the saga began in the early nineties when Rosales approached Freedman with a fabulous tale. She claimed to represent a foreign collector who “was of Eastern European descent, maintained residences in Switzerland and Mexico, wished to remain anonymous, and had inherited the works ... from a relative.” Based on this account, Freedman came to call the relative “Mr. X” and the anonymous seller “Mr. X, Jr” — of course, neither existed.
“The story was credible,” said Freedman, who is tall with tightly curled silver hair and a controlled, energetic manner. “Dealers often do not know the specifics of origin or background, or how the art left the artist’s studio. You cannot turn the pages of an auction catalogue or museum publication without seeing a majority of the works labeled ‘private collection.’ The chain of ownership is often out of order and incomplete.”
With time, the story of how Rosales obtained the paintings became more complex: The married Mr. X and David Herbert, a real-life gallery employee and owner who died in 1995, knew each other in the fifties; they were lovers, and Herbert offered Mr. X access to the studios of the Abstract Expressionists, through whom he could purchase paintings off the books; these works were hidden away until Herbert’s death to protect Mr. X’s secret. (Herbert, of course, had nothing do with any Mr. X or secret stash of paintings — since neither existed.)
Freedman says that she did her best to get answers from Rosales. “I went to Glafira and pushed and pushed to get more information, relentlessly,” Freedman said. "My ongoing diligence met more than the gold standard; there is plenty of evidence of that.”
Speaking with Daily Intelligencer last month, Freedman listed some markers that led her to believe that the paintings were genuine. “They were very credible in so many respects,” says Freedman. “I had the best conservation studio examine them. One of the Rothkos had a Sgroi stretcher. He made the stretchers for Rothko. They clearly had the right materials. I got a consensus. Some of the paintings were featured on museum walls,” she continued. “The Rothko went to the Beyeler [Foundation], and the Newman went to Guggenheim Bilbao for the tenth anniversary exhibition. The most knowledgeable in the art establishment gave me no reason to doubt the paintings.”
Experts seem to have been convinced, by and large, that the individualistic quality of the Abstract Expressionist paintings Rosales obtained could only have been achieved by the artists themselves. “The fact is that the entire Eastern establishment believed in them. I saw the paintings,” said Stephen Polcari, a scholar of Abstract Expressionism and author of Abstract Expressionism and the Modern Experience. “And they were very good. You wouldn’t think twice about them for a second. Ann did everything she could possibly do.”
But others in the art world see a pattern of lax, self-interested behavior on Freedman's part. “This has ruined one of the greatest galleries in the world. It has trashed a lot of people’s money. It seems to me Ms. Freedman was totally irresponsible, and it went on for years,” said Marco Grassi, owner of Grassi Studios gallery on the Upper East Side and a well-known expert on Old Master paintings. “Imagine people coming to someone and saying every painting you sold me is a fake. It is an unthinkable situation. It is completely insane. A gallery person has an absolute responsibility to do due diligence, and I don’t think she did it. The story of the paintings is so totally kooky. I mean, really. It was a great story and she just said, ‘this is great.’”
Over time, Freedman came to see the paintings’ lack of provenance as a challenge to overcome. What they were missing in the past, she would make up for in the present. By placing them in the best collections, she would give them a footing. Freedman saw a mandate to sell — and sell she did.
“The point is that I believed that these paintings were genuine, that it was my responsibility to place them into the best of collections,” she said. Once the paintings were out there and established, she hoped “to get many of these works to come back together for a major museum exhibition that Knoedler would take part in.” Establishing these discoveries as accepted works, she believed, would in fact be among her greatest accomplishments at the gallery. “I felt that I was going to create a legacy for Knoedler with these newly discovered paintings, a treasure trove of paintings to bring out into the world,” she said.
At Knoedler, getting paintings out into the world was Freedman’s speciality. She had started her art career as a receptionist of the André Emmerich Gallery in the early seventies but quickly discovered her natural talent for sales. “My enthusiasm for the art was contagious and won people over. André started seeing more and more invoices on his desk that he could not have imagined,” she said. “There was a sense of some disbelief, if not resentment — no one paved the way for me to sell, but I sought out the opportunity and never looked back.”
In 1977, at age 29, Freedman took a job at Knoedler — at the time, the oldest continuously operating gallery in New York. She continued to outperform and eventually took over the palatial central office of the gallery’s gilded-age Upper East Side mansion.
The paintings from Rosales proved to be enormously lucrative for the gallery. Among the sales were a “de Kooning” that went for $4 million, a “Rothko” for $8.3 million, and a “Pollock” for $17 million. She successfully built up a market for each of the paintings as they came in. “If something had been off or wrong on any one of the paintings, I would have put on the brakes,” she said.
She was so convincing, and so convinced, about the paintings that she even bought three herself — a “Rothko,” a “Motherwell,” and a “Pollock.” “I was a believer. Not to be stubborn, but I lived with three of those paintings,” she said. “I lived with them, and in the context of my personal collection.”
For over a decade as they emerged, the paintings were the envy of the art world. Art experts, conservators, and museum professionals praised what appeared to be a newly discovered collection of masterworks. But in 2009, forensic testing on two paintings supposedly by Robert Motherwell revealed paint chemicals that were historically inconsistent. Suspicion descended on the lot, and multi-million-dollar buyers agitated for their refunds. Meanwhile, the FBI began circling Rosales.
Freedman, coming off a battle with lung cancer, left Knoedler just as these suspicions began to emerge. (She describes her departure as a management dispute.) Two years later, the 165-year-old business closed up shop, with no warning, the very same week the buyer of the $17 million Pollock sued both the gallery and Freedman.
Even in cases of a forgery, art buyers don’t necessarily have a lifetime money-back guarantee (the Pollock sale was settled out of court). Owing to statutes of limitations, legal experts say, some buyers of Rosales’s 63 works may have limited recourse in recovering their money — a fact that may also insulate Knoedler and Freedman from additional litigation. “Purchasers of artwork in New York must be diligent and act quickly, otherwise they may lose important remedies,” says Raymond Dowd, a partner and art law specialist at Dunnington, Bartholow & Miller. “In essence, a purchaser who has been defrauded may have no civil remedies against the gallery.”
Robert K. Wittman, a former FBI agent who founded and led the Bureau's National Art Crime Team, told Daily Intelligencer that the buyers were taking a foreseeable risk. "With Abstract Expressionist and modern paintings, there was never any real cataloguing when the artists were alive, so things can pop up on the market that turn out to be legitimate," he said. "The problem is that because these paintings are modern, it is harder to authenticate them. What this does is put the buyers on notice. Unless a piece has really good provenance, forensics, and connoisseurship — the three-legged stool — the buyer shouldn’t buy on someone else’s word."
Freedman has continued to be an active dealer despite the scrutiny of the Rosales case. She recently opened her own gallery, FreedmanArt, on East 73th Street, where she now represents Frank Stella, Lee Bontecou, and the estate of Jules Olitski, among others.
With the revelation of the crime, even though she says she finds relief in knowing the truth of where the paintings came from, she feels most betrayed by the paintings themselves. “I am so angry and upset. It is shattering, as if a trusted friend deserted you.” She says the money she spent on her own three paintings is “a loss. It is a big loss.”
“How can we know the truth? You not only believe in your own instincts. You believe in others who believe.”

Friday, 10 January 2014

Ok I have to go
After my german class i lay down to listen to music...
and I've been lying here for 2 hours.
Im so hungry
Like too hungry to cook food...
But if I lie here I'll just get hungrier and hungrier
Then I'll die

Wednesday, 8 January 2014

The ONLY way I will hire you is if you do the following. (ABSOLUTELY NOOOOOOOOOOOOOOOOO exceptions)

Draw a VERY Beautiful Queen.
1) She must look Human!!! No Cartoons!  I want LOTS of guys to look at her and say, "I want to date her, do you know her? Where does she live?"
2) She may NOT represent any live or dead human.  Must be 100% imaginary but look human! *** I can get sued if looks like someone!!!!  So this is VERY important!!!!! 
3) She must be EXTREMELY Beautiful
4) She must be evil looking (either with the clothes or the way she looks, but still be exceptionally beautiful)  ** Hard task I know
5) You MUST video yourself drawing the Queen and give the video to me.   ** To prove you didn't copy/paste from somewhere.
6) You MUST give me a low-resolution watermarked copy of the queen to me.

This project replaces my previous project where I offered $750.

Tuesday, 7 January 2014