The Paintings of the Cloud
One day the Ilyan Cloud made its stop in Solhaven, carrying many fine items and artisans--but to many who visited the airship, the most delightful part of the ship was its display of paintings.
[Ilyan Cloud, Salon]
The expansive salon is furnished with groupings of generous, leather-covered
chairs to either side of a long banquet table, where a veritable feast is
laid, giving off mouth-watering aromas that fill the chamber. On the far
wall hangs a massive painting, and the wide, indigo sky and vibrant colors
within the canvas dominate the light hues elsewhere in the room. Crystal
chandeliers throw off a soft light from hundreds of flickering candles set
within their elaborate garniture. You also see a large painting.
Obvious exits: south, southeast.
This is obviously a marvelous example of the Mannequinisic painter Correggialli, with its elevated, ideal conception of man -- or in this case woman, at the heart of society. A phenomenally gifted artist, his grasp of illusionistic perspective and vast, luminous space filled with monumental figures was unparalleled. In this work, a tall, striking woman is lit with pronounced sfumato, and exhibits a striking sense of color and texture, producing an effect of exquisite voluptuousness. Certainly this is an energetic being of flesh and blood rather than some disembodied spirit, an effect characteristic of earlier artists of that time.
The central, female figure stands proudly in a large chamber, notable for its strong contracts in white and black. Drapery, furnishings and floor all are starkly portrayed, the checker-board of the floor tiles giving the woman a sense that she seems to frankly delight in the surrounding absence of color. Even her long white gown, which sweeps down in dramatic folds, is offset by the deep black over-dress covering it. A luxurious fur cloak falls from her shoulders to the ground, rendered in ermine's distinctive silvery white tufted with black. Her features are strikingly beautiful, of which her strong, enviable cheek-bones are the crowning glory. Her hair is puzzling though -- the artist has painted half of it pure white, while the opposite side is shown as jet black.
Also curious, is the fact that Correggialli has placed his monumental figure in the midst of a large number of small animals, which lay, scamper and stand around the lady's feet. They are shown as juveniles, and what meaning the small dogs represent is debatable. They are, similar to most everything else in the painting, portrayed as white with black spots. There must be over a hundred of them!
A plaque at the bottom of the painting is engraved in elegant elven calligraphy, stating the title of the painting to be 'Lorminstra Contemplates the Nobility of Fashion'.
[Ilyan Cloud, Salon]
Light suffuses the chamber, shining from a row of crystal chandeliers hanging
over large, ornate rugs scattered across the wood floor. A large canvas covers
the eastern wall, facing a circular staircase on the west, and a brace of
tall armoires flank the painting. The staircase is made of highly polished
wood, its elegant curve sweeping up from the floor in ornate majesty. You
also see a spiral stair and a large painting.
Obvious exits: northwest.
The vast canvas is obviously a work by the finest of the Illistim Rococoa artists, Jeanlyr Fragonardyr, who painted with a masterful and fluid breadth and spontaneity. His figures move with a floating grace that also links him with the vibrancy and immediacy of the earlier Banale Academie.
Set in the midst of a pastoral glade, three figures form a triangular composition -- two nymphs flee a pursuer, through flowers, trees and shrubbery portrayed in profuse detail. The female nymphs are idealized and beautiful, draped in wispy veils that reveal the vibrant tones of flesh for which the Rococo period is revered. The male figure following them is likewise idealized, however he is shown wearing a toga-like garment and a gold crown. Behind him trails his mane of flowing grey hair, which matches his dignified carriage, albeit his headlong plunge after the virginal nymphs adds an element of strain that creates a striking juxtaposition within such peaceful surroundings. The chubby flesh of the chasing, toga-clad halfling is rendered as resplendently as that of the ladies.
A plaque at the bottom of the painting is engraved in elegant elven calligraphy, stating the title of the painting to be 'Koar's Magnanimity Revealed to the Early Races'.
[Ilyan Cloud, Spiral Gallery]
The stair winds up in an elongated curve, its banisters ornately carved and
its steps carpeted with a thick carpet runner. Where the wall flattens a
bit on the far side of the turn, a large painting is hung, lit by crystal
sconces attached on either side of it. From downstairs, the muted sounds
of conversation and the delicious smell of food drifts up the stairwell.
You also see a large painting and a spiral stair.
Obvious exits: down.
Possibly the finest representative of the classical period of elven art, Jean Dominick Yngrys painted with both brilliance and ease. This example of his work is nothing short of a masterwork, with its paradox of classical associations combined with personal responses and rhythmic structure.
Two figures are set within the melancholy shadows of a dimly lit bedchamber. They face each other, leaving the man in the foreground turned away from the painting's audience. Over his left shoulder, a voluptuous elven woman cowers against a bed, half lost in deep shadow and with one hand out-stretched, as if to ward off the menace reflected in her horrified expression. The man's anonymity underscores the ominous nature of his presence.
The male figure appears to be slight, although he is mostly concealed within a voluminous grey cloak. The garment reveals little about him other than his unruly shock of black hair. The hilt of a dagger can be glimpsed protruding from the cloak's folds, held in the man's left hand. The immediacy and suspended violence of the painting is sharply contrasted by one element in the upper right corner of the canvas. There, a mirror is positioned, and upon its face, the viewer is given a glimpse of the figure's visage. He smiles at himself, an admiring expression curving up his well-shaped lips. His right hand is also revealed, poised in the act of arranging a stray curl at his temple.
A plaque at the bottom of the painting is engraved in elegant elven calligraphy, stating the title of the painting to be 'Assignation With An Assassin', however a sub-title is added beneath the larger heading. It reads, 'You're So Vain, I'll Bet You Think This Painting Is About You.'
[Ilyan Cloud, Spiral Gallery]
Overhead, the ceiling of the stairwell is high, carried on the shoulders
of graceful arches of polished wood. The walls are covered with elegant panels
of linen, woven sheer and billowing gently in a slight updraft. A large painting
is placed on the outside wall, where it levels off between two of the beam
ribs. It throws color onto the ivory panels and light wood steps, its vivid
tones harmonizing with the rich blue, red and gold tones woven into the carpet
runner adorning the stairs. You also see a large painting and a spiral
stair.
Obvious exits: down.
To whom this stunning painting can be attributed is uncertain, however the bold style and masterful composition suggest the work is by the hand of the Great and Powerful Daveed of Taz. (Of course, the existence and exact location of Taz is still debated, however evidence suggests that it does indeed lie at the nether extremity of an arc of prismatic colors appearing in the heavens opposite the sun.
Three figures surround an open fire-pit, their attention intent upon an additional form posed horizontally, tied to a spit over the fire-pit's flame. The three -- obviously Faendryl judging by their elaborate and fanciful apparel, and exotic features -- appear to be in an animated discussion. The elf on the left winces, his face contorted beneath a receding forehead surrounded by a lively fringe of red hair. In the center, the Faendyl's visage is wrinkled into a closed-eye grimace. He is rendered with a nearly bald pate, and his face is strangely full-fleshed for that race. On the right, the remaining elf is depicted with a shock of black hair, cut bluntly in a style often termed a 'soup-bowl' arrangement. His hand is raised, almost aggressively poised with two fingers extended toward his neighbor. Perhaps the artist is giving his audience a glimpse into a form of archaic Faendryl mannerism, now lost to scholars and students of this ancient race.
The figure in the foreground watches the Faendryl from his toasty perch, his halfling features suggesting either horror or perhaps incredulity or even disgust. However, the answer to that philosophical question must remain a mystery.
A plaque at the bottom of the painting is engraved in elegant elven calligraphy, stating the title of the painting to be 'Faendryl Ambassadors Seek Allies Against the Ur-Daemon Threat'.
[Ilyan Cloud, Spiral Gallery]
As the steps curve up, irregular shadows are cast upon them, reflecting from
braziers hung on the walls. The amber-shaded lights give the stairwell a
warm glow, and colors from a painting hung on the outside wall breath life
into the illumination. A plush wool carpet runner climbs along the enter
of the steps, woven with patterns of forest, fanciful creatures and elven
heraldry. You also see a spiral stair and a large painting.
Obvious exits: down.
Jon Bardic Corporal, perhaps one of the most consummate virtuoso Ta'Ardenai produced, has created in this painting a stirring balance between realism and internal vision. If a single word could describe the quality of light and dramatic contrariety within the borders of the canvas, it would have to be 'honestly!'
An imposing central figure dominates the composition, juxtaposed with the horizontal drama produced by a group of forms kneeling around him on all sides. The chamber forming the background is evocative and dark, lit by the chiaroscuro of candles in elaborate sconces set among the crowd. All in the prostrate group are posed upon hands and knees, and they are shown garbed in rough, brown robes tied with humble ropes, a stark contrast to the rich fabric composing the standing figure's short blue tunic. This man is quite muscular, as well as pleasing of feature. He is rendered with shoulder-length brown hair framing an expression of aloof disdain. His arms are crossed loosely before him, and in one hand he holds a curious paddle-shaped implement of unknown function. However, by its conformation, one might suppose it to be a weapon of some sort. It is decorated with a pattern of stripes and archaic symbols along its long, flat length.
A plaque at the bottom of the painting is engraved in elegant elven calligraphy, stating the title of the painting to be 'Kai Addresses His Noble Supplicants', however a sub-title is added beneath the larger heading. It reads, 'THANK You M'lord, May I Have Another?'
[Ilyan Cloud, Spiral Gallery]
The stairwell widens, as the spiral stair reaches its culmination. An elaborate
chandelier hangs from the pitch of the arched ceiling, its crystal branches
formed to resemble branches and vines. A flight of wide steps leads into
a chamber, where large, leather sitting chairs can be glimpsed. A set of
tall double doors are thrown open, admitting entrance, and opposite the doors,
a painting basks in the illumination from other chandeliers hanging in the
room beyond, as regal as the one above. You also see a large painting and
a flight of steps.
Created by Franchesca Goyaryl, the painting can reliably be attributed to her later, more robust Enlightenment period. This painter was known for her bold colors, innovative composition and striking overall treatment of light and shadow, making her unreservedly the only artist of that era who may be called a true genius.
A figure sits in the darkened fastness of an austere chamber, his haggard visage illuminated by the sputtering flame of a single candle. His expression reveals an age-old weariness, which is likewise reflected in the stooped posture of his shoulders. The man sits perched behind a sturdy, wooden table, its top seared and blackened. A cloud of fog, or perhaps smoke drifts about his form like an unbidden visitor. The dark cloak draped around his shoulders almost looks as if it is smoldering, and his absence of eyebrows and the fizzled tufts of black hair framing his face underscore the impression of catastrophe just elapsed. His hands, lying loosely on the table before him, are long-fingered and expressive with their blackened tips. They are turned slightly toward you, as if in a gesture that intimates 'why me?'
The painting's ambiance on a whole is sorrowful and evocative, as though this man has been burdened with the cares of the world. That, or perhaps the fundamental ennui of a never-ending fire that has gone abjectly awry. Yes, it was undoubtedly a simple fire -- a simple fire painted by a simple mind. Fires burn, and this one apparently did just that. Danged fire!
A plaque at the bottom of the painting is engraved in elegant elven calligraphy, stating the title of the painting to be 'Fash'lo'nae Ponders the Folly of Simple Gifts'.
[Ilyan Cloud, Chamber of Night]
The chamber is filled with soft, golden light from hundreds of candles flickering
within the chandeliers hanging from the peak of the arched ceiling. On the
far wall, the long expanse of a linen curtain conceals a room beyond, it
presence barely glimpsed through the sheer fabric. Tall doors painted with
murals of a forest scene stand in regal attendance like stately guardsmen,
and a commanding painting adorns the north wall. You also see a large
painting.
Obvious exits: down.
The only word for this painting is torrid, with its violent splashes of color and movement that threatens to break from the boundaries of the canvas and overtake the whole chamber. The color is resplendent, sending symphonies of light and shadow into vortexes of convolving violence. The painter of such a maelstrom of emoting is doubtlessly that master of pigment, J. M. W. Turnerly, and this work is unmistakably a titan of the Romantic ideal.
Two figures completely dominate the windswept bedchamber, draperies and bed linens flapping in the gale like wanton spirits. The candle light flickers and dances, adding to the volatile vista. A monumental female figure reclines against the colossal bed, her flesh-tones vibrant and fulgent. A thin white shift barely covers her body, its folds contrasted with a filmy black chemise. The lady's arms are outstretched, and in the palm of one hand glitters a few coins of gold. Opposite her towers the figure of a man, his bronzed skin revealed beneath a long, pleated white tunic. His bulging muscles look nigh to bursting through the tunic, and as he glances out of the painting, his almond-shaped eyes radiate his desire through slitted pupils.
The man's tunic is remarkable. While painted in shades of white, the checkered-pattern glimpsed in the folds of the pleats creates an amazingly industrious design. The contrasting plaid of his breeches is also an interesting element, as are the array of diamond rings upon all of his fingers and the leviathan diamond bracelet upon his wrist. As he lunges toward the female figure, a sparkling bottle of oil is held, clutched in his hand as if destiny itself depends upon its delivery. He thrusts the bottle toward his counter-part, and at the same time reaches desperately toward the gold held invitingly in her dewy hand.
A plaque at the bottom of the painting is engraved in elegant elven calligraphy, stating the title of the painting to be 'The Temptation of Lorminstra by Luukos'.
BONK! You smash your nose.
You cough.
You gaze in wonder at your surroundings.
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