By Matt Rees
Italy, 1605: For the ruling Borghese relatives, Rome is a spot of grand palazzos and frescoed cathedrals. For the lowly artist Caravaggio, it's a position of tough bars, knife fights, and grubby whores. until eventually he's commissioned to color the Pope...
Soon, Caravaggio has won access into the Borgia family's internal circle, and turns into the main celebrated artist in Rome. but if he falls for Lena, a low-born fruit-seller, and paints her into his Madonna sequence as an easy peasant lady, Italian society is outraged. Discredited as an artist, yet unwilling to retract his imaginative and prescient of the girl he loves, Caravaggio is pressured right into a duel - and murders a nobleman.
Even his robust consumers can't defend him from a loss of life sentence. So Caravaggio flees to Malta, the place, prior to he could be pardoned, he needs to endure the rigorous education of the Knights of Malta. His work proceed to talk of his love for Lena. yet ahead of he can go back to her, as a Knight and a noble,...
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Additional resources for A Name in Blood
The Senate alone created the quaestio extraordinaria, gave the consuls a mandate to act as they thought ﬁt to implement the Senate’s instructions, and gave powers to punish without any form of appeal. The Senate exercised this jurisdiction over Roman, Latin and other Italian citizens. The populace was informed, but not consulted, and no lex was passed, as the inscription conﬁrms, until after the event. The affair was political rather than legal. As has been said,101 Livy gives us a much better chance of understanding the senatorial propaganda of the period than of reconstructing what actually happened.
There are other parallels too. 28 T H E B A C C H A N A L I A N A F FA I R crime was pursued actively by the encouragement of informers to bring the ‘criminals’ to the attention of the authorities, a tendency that was to endure. That women were seen as weak and prone to corruption, but also to be feared as the source of religious unrest, and this in spite of the ringleaders all being male; this view of women as the weaker, but dangerous, sex is indeed a rhetorical topos. That male rape was an issue – throughout Roman history, there was violent disapproval of citizens taking the passive role in homosexual relations, so to force this on a freeborn boy was a huge outrage.
Cicero owed a debt to Lucius Crassus (Rawson, (1971), 82f), but may have been encouraged by the Metelli to attack, indirectly, Marcus Crassus, as suggested by Dorey (1960). Rosc. Am. 5. Rosc. Am. 6. Rosc. Am. 7–8. So Kinsey (1980), despite Buchheit (1975b). Rosc. Am. 6: ‘adulescens vel potentissimus hoc tempore nostrae civitatis’. 41 C I C E R O , M U R D E R A N D T H E C O U RT S The narrative Cicero remarks that this was the ﬁrst murder trial that had taken place for a long time, although there had been slaughter in plenty, in other words, the proscriptions.