Now that I have all my 16 Vestals assembled, I have the painting pinned on my wall to begin my self critique.
The first thing that comes to mind is that the painting somehow lacks the drama that I am looking for. Perhaps this has to do with the way the painting was worked up, each pose at a time over a period of months and therefore missing is the continuity. I feel that there needs to be some cohesiveness to bring this scattered lot together; for this painting to gel. Perhaps the message in the painting is not obvious and people see trees instead of the forest. I would be clueless too.
Because there are so many characters in this composition that I have fabricated, I am labelling my models with numbers so that I can assume the role of the Miller and tell my tale.
No.1 This girl has her back to the light, and to the group. She is obviously enjoying herself, not fazed by the impending perils. Perhaps in denial.
No.2 The elephant in the room is that she seems to have grown a third leg. In my haste of painting some shading I have grafted another limb onto her. She also seems to be in a jovial mood, sort of mirroring her friend in front of her, with her legs pointing at opposite directions to make the composition more interesting.
No.3 She is in direct contrast with model No.1, with her back turned towards the audience and receiving the full light value. Her hips and exaggerated buttocks are the obvious points of interest. The downward curvature of this model also contrasts with the upward arch of the hips from her neighbor. She seems to be luring the viewer with her coyness and playful feet.
No.4 She sits upright with a perfectly straight back and an open gesture, albeit a little standoffish. She is open to what's going on, while standing her ground nonetheless. She is not ready to succumb to other people's faults.
No.5 I've decided that she is the protagonist of the tale. She is the reason why the vestal virgins are leaving. Look closely and one can see that she is bearing a child. Vestal virgins are supposed to be priestesses who take a vow of chastity for 30 years. For them to break celibacy during their priestesshood means they shall receive the punishment of being buried alive. She is seen here humiliated by her predicament, and reaching out to No.6 to seek counsel and sympathy.
No.6 She appears to be sitting on No.7, for the convenience of posing. She has both her hands under her chin, perhaps nonchalantly amused by the accounts and pleas from No. 5.
No.7 This Vestal virgin is seen examining and fiddling with her sieve. It is believed that aside from enjoying many privileges bestowed upon them by the Roman state, Vestals also possess magical power, one of which is to render a sieve not leak water. Thus the Vestal virgin here is trying to find out if her magical power is still intact. Why would she question her magical power now? Because one or more of her peers violated the vow of celibacy.
No.8 She is just a naïve Vestal failing to comprehend the doom of group. I've painted her arm too long, forcing the issue of placing her hand near the feet of No.8, playing a game.
No.9 This is a person who fully understands the plight of the cabal she's part of. She is aware that the group is condemned to die. She is curled up in a fetal position, withdrawn from the world, even as the rest of the group is trying to find a way out by pleading their case.
No.10 This Vestal is trying to plead the case to sympathetic listeners. She tries to capitalize on her inviting gesture. Her legs are so tightly crossed that she has to support her body with her left arm while making her silhouette appear more diminutive.
No.11 Pounding on the floor with clenched fist tells a story of frustration and hopelessness, as the Vestal learns of her fate, not by her own doings necessarily, but by association.
No.12 Whereas nothing bothers this happy soul. Enjoy this moment while I can is her mantra.
No.13 This Vestal has not given up hope, even as she learns her fate. With her flung back hair and raised chin, she is seen looking up and far away, perhaps visualizing a different outcome to her imminent demise. There is a possibility the group can abscond in time to escape death.
No.14 This Vestal is seen watching No.7 with intense anticipation, clutching her cover. Why does she need a cover now; has she lost her innocence too? Is that the reason why she is so concerned about whether the magical power of holding water with a sieve is still intact? Is she also guilty of breaking the vow of celibacy? My first lesson in drawing at college was to draw a draped curtain. I wish I had paid better attention and studied how to draw the pleats.
No.15 "What are you looking at?" as this Vestal confronts the accusers with flared arms resting on her hips. Or is that a gesture of denial? Perhaps this is her way of dealing with adversity, especially one brought on not by her own indiscretion.
No.16 A desperate call for help, for sympathy, dragging herself across the floor with an arm outreached. Or was she desperately trying to leave the group, thus avoiding condemnation?
The above is a synopsis of how I arrived at the painting, and my way of describing the gamut of emotions the 16 Vestal virgins display when facing the threat of death, because apparently one of them has irrefutable proof that she violated the agreement of being a Vestal virgin. The spectrum of emotion spans from failure to comprehend, to denial, anger, bargaining, retreat and acceptance. This project has given me ample opportunities to day dream and fantasize a bit.
