Andretti of Phoenix Rising - Revision history

Twiggy at 01:18, 31 March 2026

2026-03-31T01:18:52Z

← Older revision		Revision as of 01:18, 31 March 2026
Line 74:		Line 74:
	So nothing speaking directly of immortality here, beyond the obvious fact that immortality is the ultimate goal of every Axou due to their beliefs about the Labyrinth. Andretti appears to have been a [[questor]] drowned in obsession, to the point where he appears to have casually murdered three people in pursuit of his “art” and “understanding the soul” and all the other justifications he created to allow him to craft abomination and torture the spirits of the dead.		So nothing speaking directly of immortality here, beyond the obvious fact that immortality is the ultimate goal of every Axou due to their beliefs about the Labyrinth. Andretti appears to have been a [[questor]] drowned in obsession, to the point where he appears to have casually murdered three people in pursuit of his “art” and “understanding the soul” and all the other justifications he created to allow him to craft abomination and torture the spirits of the dead.

	I am minded to remain in Maykop for at least another season, should the Minister (or anyone else) wish to commission any follow-up research. I have made some acquaintance here that I would like to deepen, because they have a remarkable number of books on all kinds of fascinating topics, and because I have developed quite a taste for olives and herb-baked sunfish		I am minded to remain in Maykop for at least another season, should the Minister (or anyone else) wish to commission any follow-up research. I have made some acquaintance here that I would like to deepen, because they have a remarkable number of books on all kinds of fascinating topics, and because I have developed quite a taste for olives and herb-baked sunfish.
	{{Axos Links}}		{{Axos Links}}

Twiggy: /* Andretti in Axos */

2026-02-11T04:43:18Z

Andretti in Axos

← Older revision		Revision as of 04:43, 11 February 2026
Line 41:		Line 41:
	The Halls of Maykop “remember” Andretti, it appears, While his name has mostly faded in the Empire, his sojourn at the Halls of Maykop is reasonably well recorded. It's interesting that Andretti chose to come here – and that he wasn't immediately murdered. In 271YE, when he arrived at Maykop, the Axou were still fairly angry with the Empire for their [[Axos#Abridged_History\|apparent involvement in the destruction of the citadel of Solokha]]. Even today some of the scholars get a little passionate when they talk about “your Emperor Nicovar's jealous attack on the ''Nikitis Axou''.”		The Halls of Maykop “remember” Andretti, it appears, While his name has mostly faded in the Empire, his sojourn at the Halls of Maykop is reasonably well recorded. It's interesting that Andretti chose to come here – and that he wasn't immediately murdered. In 271YE, when he arrived at Maykop, the Axou were still fairly angry with the Empire for their [[Axos#Abridged_History\|apparent involvement in the destruction of the citadel of Solokha]]. Even today some of the scholars get a little passionate when they talk about “your Emperor Nicovar's jealous attack on the ''Nikitis Axou''.”

	Andretti however managed to confront the lingering prejudice and somehow gained access to not only the city, but the chambers and counsel of the Grand Ilarch of the time, Messina of the line of Maykop. According to contemporary accounts, he did so partly because he was able to demonstrate an understanding of the rudiments of the ''necromantia'' – the use of magic to summon and commune with ghosts; partly because he was able to speak at length about the soul and the spirit and philosophical matters relating to death, the creator, and the “[[Axos religion\|lie of the Labyrinth]]”; and partly by making a gift of three canvases to the Grand Ilarch.		Andretti however managed to confront the lingering prejudice and somehow gained access to not only the city, but the chambers and counsel of the Grand Ilarch of the time, Messina of the line of Maykop. According to contemporary accounts, he did so partly because he was able to demonstrate an understanding of the rudiments of the ''necromantia'' – the use of magic to summon and commune with ghosts; partly because he was able to speak at length about the soul and the spirit and philosophical matters relating to death, the creator, and the “[[Axos religion\|lie of the Labyrinth]];” and partly by making a gift of three canvases to the Grand Ilarch.

	These paintings still hang in one of the (many) galleries, but while I was offered the chance to view them I declined. I do not want to end up as another “falling death” even if it will increase the Empire's store of knowledge a little.		These paintings still hang in one of the (many) galleries, but while I was offered the chance to view them I declined. I do not want to end up as another “falling death” even if it will increase the Empire's store of knowledge a little.

Twiggy: /* Andretti in Axos */

2026-02-11T04:42:39Z

Andretti in Axos

← Older revision		Revision as of 04:42, 11 February 2026
Line 39:		Line 39:
	<div style="float:right; width: 350px; clear: right;">{{CaptionedImage\|file=Andretti Portrait.jpg\|align=right\|caption=This alleged portrait of Andretti was painted by an unknown artist in 274YE. It was part of a collection entitled "heretics and blasphemers" held at the Sottosopra Gallery in [[Sarvos]], and is believed to have been stolen by the [[Grendel]] 380YE.\|width=350}}</div>		<div style="float:right; width: 350px; clear: right;">{{CaptionedImage\|file=Andretti Portrait.jpg\|align=right\|caption=This alleged portrait of Andretti was painted by an unknown artist in 274YE. It was part of a collection entitled "heretics and blasphemers" held at the Sottosopra Gallery in [[Sarvos]], and is believed to have been stolen by the [[Grendel]] 380YE.\|width=350}}</div>
	==Andretti in Axos==		==Andretti in Axos==
	The Halls of Maykop “remember” Andretti, it appears, While his name has mostly faded in the Empire, his sojourn at the Halls of Maykop is reasonably well recorded. It's interesting that Andretti chose to come here – and that he wasn't immediately murdered. In 271YE, when he arrived at Maykop, the Axou were still fairly angry with the Empire for their [[Axos#Abridged_History\|apparent involvement in the destruction of the citadel of Solokha]]. Even today some of the scholars get a little passionate when they talk about “your Emperor Nicovar's jealous attack on the ''Nikitis Axou''”.		The Halls of Maykop “remember” Andretti, it appears, While his name has mostly faded in the Empire, his sojourn at the Halls of Maykop is reasonably well recorded. It's interesting that Andretti chose to come here – and that he wasn't immediately murdered. In 271YE, when he arrived at Maykop, the Axou were still fairly angry with the Empire for their [[Axos#Abridged_History\|apparent involvement in the destruction of the citadel of Solokha]]. Even today some of the scholars get a little passionate when they talk about “your Emperor Nicovar's jealous attack on the ''Nikitis Axou''.”

	Andretti however managed to confront the lingering prejudice and somehow gained access to not only the city, but the chambers and counsel of the Grand Ilarch of the time, Messina of the line of Maykop. According to contemporary accounts, he did so partly because he was able to demonstrate an understanding of the rudiments of the ''necromantia'' – the use of magic to summon and commune with ghosts; partly because he was able to speak at length about the soul and the spirit and philosophical matters relating to death, the creator, and the “[[Axos religion\|lie of the Labyrinth]]”; and partly by making a gift of three canvases to the Grand Ilarch.		Andretti however managed to confront the lingering prejudice and somehow gained access to not only the city, but the chambers and counsel of the Grand Ilarch of the time, Messina of the line of Maykop. According to contemporary accounts, he did so partly because he was able to demonstrate an understanding of the rudiments of the ''necromantia'' – the use of magic to summon and commune with ghosts; partly because he was able to speak at length about the soul and the spirit and philosophical matters relating to death, the creator, and the “[[Axos religion\|lie of the Labyrinth]]”; and partly by making a gift of three canvases to the Grand Ilarch.
Line 51:		Line 51:
	There's a number of heretical and blasphemous reasons this practice is desirable to the Axou, especially the wealthier and more powerful among them which I won't go into here for fear of being investigated by the Silent Bell, but I'm confident given what we know of the Axos religion you can work out why.		There's a number of heretical and blasphemous reasons this practice is desirable to the Axou, especially the wealthier and more powerful among them which I won't go into here for fear of being investigated by the Silent Bell, but I'm confident given what we know of the Axos religion you can work out why.

	While he was popular with Grand Ilarch Messina, Andretti was not well liked by his peers. Some of Andretti's Axou instructors were very nervous about the man. “Some try to run before they can walk,” wrote Issedeus of the line of Ulys, a professor at the time of Andretti's visit. “But this Imperial man tries to fly before he can stand.” Another, Tessina of the line of Penep wrote that “He is a knife, with a blade that thirsts” which is apparently an allusion to a well-known Axou warning about the dangers of illicit [[blood magic]], and often used when talking about someone who is widely considered to have “murderous ~~impulses”~~.		While he was popular with Grand Ilarch Messina, Andretti was not well liked by his peers. Some of Andretti's Axou instructors were very nervous about the man. “Some try to run before they can walk,” wrote Issedeus of the line of Ulys, a professor at the time of Andretti's visit. “But this Imperial man tries to fly before he can stand.” Another, Tessina of the line of Penep wrote that “He is a knife, with a blade that thirsts” which is apparently an allusion to a well-known Axou warning about the dangers of illicit [[blood magic]], and often used when talking about someone who is widely considered to have “murderous impulses.”

	The Axou may have any number of odd ideas by Imperial standards, but they are no more friendly to would-be murderers than any one else. Their arts deal with death and the spirits of the dead, but they are no more likely to actually kill someone in pursuit of their magic than any other magician. Indeed, given their opinions on the Labyrinth that waits beyond death, they take an even dimmer view of intentionally ending another Axou life than the Empire does. At least in Maykop.		The Axou may have any number of odd ideas by Imperial standards, but they are no more friendly to would-be murderers than any one else. Their arts deal with death and the spirits of the dead, but they are no more likely to actually kill someone in pursuit of their magic than any other magician. Indeed, given their opinions on the Labyrinth that waits beyond death, they take an even dimmer view of intentionally ending another Axou life than the Empire does. At least in Maykop.

Twiggy: /* Introduction */

2026-02-11T04:36:51Z

Introduction

← Older revision		Revision as of 04:36, 11 February 2026
Line 1:		Line 1:
	[[Category:History]]		[[Category:History]]
	==Introduction==		==Introduction==
	The painter Andretti of Phoenix Rising was the subject of a [[Historical research]] commission during the Autumn Equinox 384YE. Vaclav Mladenovich Kosti, the [[Minister of Historical Research]], was particularly interested in "''the learnings of the Imperial citizen Andretti, with particular reference to the soul, immortality and reincarnation''". An agreement with the Halls of Maykop - a citadel in Axos dedicated to scholarship and magic - allowed a member of the [[Historical research#The Department of Historical Research\|Department of Historical Research]] to access their archives and libraries in pursuit of more information about the controversial artist. Guillame Summerset di Temeschwar of [[the League]] was dispatched by the Imperial Archivist to take advantage of this opportunity.		The painter Andretti of Phoenix Rising was the subject of a [[Historical research]] commission during the Autumn Equinox 384YE. Vaclav Mladenovich Kosti, the [[Minister of Historical Research]], was particularly interested in "''the learnings of the Imperial citizen Andretti, with particular reference to the soul, immortality and reincarnation''." An agreement with the Halls of Maykop - a citadel in Axos dedicated to scholarship and magic - allowed a member of the [[Historical research#The Department of Historical Research\|Department of Historical Research]] to access their archives and libraries in pursuit of more information about the controversial artist. Guillame Summerset di Temeschwar of [[the League]] was dispatched by the Imperial Archivist to take advantage of this opportunity.
	<div style="float:right; width: 500px; clear: right;">{{CaptionedImage\|file=Haunted Artist.jpg\|align=right\|caption=Andretti of Phoenix Rising was an artist executed for religious crimes during the reign of [[Emperor James]]. Some of the expensive recipes for rare colours of paint he is credited with creating are still used by artists today.\|width=500}}</div>		<div style="float:right; width: 500px; clear: right;">{{CaptionedImage\|file=Haunted Artist.jpg\|align=right\|caption=Andretti of Phoenix Rising was an artist executed for religious crimes during the reign of [[Emperor James]]. Some of the expensive recipes for rare colours of paint he is credited with creating are still used by artists today.\|width=500}}</div>

Rafferty at 08:34, 28 June 2025

2025-06-28T08:34:15Z

← Older revision		Revision as of 08:34, 28 June 2025
Line 75:		Line 75:

	I am minded to remain in Maykop for at least another season, should the Minister (or anyone else) wish to commission any follow-up research. I have made some acquaintance here that I would like to deepen, because they have a remarkable number of books on all kinds of fascinating topics, and because I have developed quite a taste for olives and herb-baked sunfish		I am minded to remain in Maykop for at least another season, should the Minister (or anyone else) wish to commission any follow-up research. I have made some acquaintance here that I would like to deepen, because they have a remarkable number of books on all kinds of fascinating topics, and because I have developed quite a taste for olives and herb-baked sunfish
	~~==Further Reading==~~		{{Axos Links}}
	* [[Axos]]
	* [[Terunael in Axos]]

Responsible1: /* Introduction */

2025-05-06T18:43:00Z

Introduction

← Older revision		Revision as of 18:43, 6 May 2025
Line 2:		Line 2:
	==Introduction==		==Introduction==
	The painter Andretti of Phoenix Rising was the subject of a [[Historical research]] commission during the Autumn Equinox 384YE. Vaclav Mladenovich Kosti, the [[Minister of Historical Research]], was particularly interested in "''the learnings of the Imperial citizen Andretti, with particular reference to the soul, immortality and reincarnation''". An agreement with the Halls of Maykop - a citadel in Axos dedicated to scholarship and magic - allowed a member of the [[Historical research#The Department of Historical Research\|Department of Historical Research]] to access their archives and libraries in pursuit of more information about the controversial artist. Guillame Summerset di Temeschwar of [[the League]] was dispatched by the Imperial Archivist to take advantage of this opportunity.		The painter Andretti of Phoenix Rising was the subject of a [[Historical research]] commission during the Autumn Equinox 384YE. Vaclav Mladenovich Kosti, the [[Minister of Historical Research]], was particularly interested in "''the learnings of the Imperial citizen Andretti, with particular reference to the soul, immortality and reincarnation''". An agreement with the Halls of Maykop - a citadel in Axos dedicated to scholarship and magic - allowed a member of the [[Historical research#The Department of Historical Research\|Department of Historical Research]] to access their archives and libraries in pursuit of more information about the controversial artist. Guillame Summerset di Temeschwar of [[the League]] was dispatched by the Imperial Archivist to take advantage of this opportunity.
	<div style="float:right; width: 500px; clear: right;">{{CaptionedImage\|file=Haunted Artist.jpg\|align=right\|caption=Andretti of Phoenix Rising was an artist executed for religious crimes during the reign of [[Emperor James]].Some of the expensive recipes for rare colours of paint he is credited with creating are still used by artists today.\|width=500}}</div>		<div style="float:right; width: 500px; clear: right;">{{CaptionedImage\|file=Haunted Artist.jpg\|align=right\|caption=Andretti of Phoenix Rising was an artist executed for religious crimes during the reign of [[Emperor James]]. Some of the expensive recipes for rare colours of paint he is credited with creating are still used by artists today.\|width=500}}</div>

	==Andretti of Phoenix Rising==		==Andretti of Phoenix Rising==
	I'm not sure if you are familiar with the story of Andretti of Phoenix Rising, and his death. I'm writing this in the cramped cabin of the ''Seagrass'' on my way to the Halls of Maykop, The weather is dismal. I would like to formally thank Leontes the Scribe for this opportunity to travel all the way to [[Axos]] to serve the Empire and its thirst for knowledge.		I'm not sure if you are familiar with the story of Andretti of Phoenix Rising, and his death. I'm writing this in the cramped cabin of the ''Seagrass'' on my way to the Halls of Maykop, The weather is dismal. I would like to formally thank Leontes the Scribe for this opportunity to travel all the way to [[Axos]] to serve the Empire and its thirst for knowledge.

Dre at 19:32, 23 September 2024

2024-09-23T19:32:41Z

← Older revision		Revision as of 19:32, 23 September 2024
Line 58:		Line 58:
	Andretti returned to Maykop abruptly, apparently looking like a man who had aged eight years in eight weeks. He refused to answer questions about his “trip to Kaban” and tried to resume his studies. Issedeus of the line of Ulys writes that he was “changed by his journey west, and for the worse, if such a thing could be possible. He sequesters himself in his chambers for days on end, painting, emerging only to eat, to buy more paint, and to demand wine. It is as if something is eating him from within, something that has come back with him from 'Kaban' and none of us really believe that is where he has been – or rather none of us believe that was his ultimate destination.”		Andretti returned to Maykop abruptly, apparently looking like a man who had aged eight years in eight weeks. He refused to answer questions about his “trip to Kaban” and tried to resume his studies. Issedeus of the line of Ulys writes that he was “changed by his journey west, and for the worse, if such a thing could be possible. He sequesters himself in his chambers for days on end, painting, emerging only to eat, to buy more paint, and to demand wine. It is as if something is eating him from within, something that has come back with him from 'Kaban' and none of us really believe that is where he has been – or rather none of us believe that was his ultimate destination.”

	Six months after this trip west,Andretti abruptly flees Axos. It is 277YE by this time - a year before his death. Issedeus, Tessina and the political historical Emmanel of the line of Destine all report that he did so hours ahead of a band of Tavos Ageli sent to apprehend him. Three human bodies were found in his chambers, preserved in barrels of brine. He left behind him a single painting, that by all accounts was so shocking to Axou sensibilities it was burnt by order of the Grand Ilarch Messina shortly before she was dethroned by her nephew Samul of the line of Maykop.		Six months after this trip west, Andretti abruptly flees Axos. It is 277YE by this time - a year before his death. Issedeus, Tessina and the political historical Emmanel of the line of Destine all report that he did so hours ahead of a band of Tavos Ageli sent to apprehend him. Three human bodies were found in his chambers, preserved in barrels of brine. He left behind him a single painting, that by all accounts was so shocking to Axou sensibilities it was burnt by order of the Grand Ilarch Messina shortly before she was dethroned by her nephew Samul of the line of Maykop.

	Her patronage of Andretti – while not the sole reason she was ultimately forced to abdicate – was mentioned several times in contemporary accounts as an indication of her unfitness to rule. Andretti's crime also damaged the attitude of the Maykop people to Imperials, such that they took even longer than the rest of the Citadels to open their gates to visitors from the Empire.		Her patronage of Andretti – while not the sole reason she was ultimately forced to abdicate – was mentioned several times in contemporary accounts as an indication of her unfitness to rule. Andretti's crime also damaged the attitude of the Maykop people to Imperials, such that they took even longer than the rest of the Citadels to open their gates to visitors from the Empire.

Dre at 19:32, 23 September 2024

2024-09-23T19:32:27Z

← Older revision		Revision as of 19:32, 23 September 2024
Line 4:		Line 4:
	<div style="float:right; width: 500px; clear: right;">{{CaptionedImage\|file=Haunted Artist.jpg\|align=right\|caption=Andretti of Phoenix Rising was an artist executed for religious crimes during the reign of [[Emperor James]].Some of the expensive recipes for rare colours of paint he is credited with creating are still used by artists today.\|width=500}}</div>		<div style="float:right; width: 500px; clear: right;">{{CaptionedImage\|file=Haunted Artist.jpg\|align=right\|caption=Andretti of Phoenix Rising was an artist executed for religious crimes during the reign of [[Emperor James]].Some of the expensive recipes for rare colours of paint he is credited with creating are still used by artists today.\|width=500}}</div>
	==Andretti of Phoenix Rising==		==Andretti of Phoenix Rising==
	I'm not sure if you are familiar with the story of Andretti of Phoenix Rising, and his death. I'm writing this in the cramped cabin of the ''Seagrass'' on my way to the Halls of Maykop, The weather is dismal. I would like to formally thank Leontes the Scribe for this opportunity to travel all the way to [[Axos]] to serve the Empire and ~~it's~~ thirst for knowledge.		I'm not sure if you are familiar with the story of Andretti of Phoenix Rising, and his death. I'm writing this in the cramped cabin of the ''Seagrass'' on my way to the Halls of Maykop, The weather is dismal. I would like to formally thank Leontes the Scribe for this opportunity to travel all the way to [[Axos]] to serve the Empire and its thirst for knowledge.

	Andretti was [[Urizen\|Urizeni]], born around 230YE, and was considered an odd child even before he gained his notoriety. As with many Urizen, he strove to perfect a single skill – to master its [[arete]]. In the case of Andretti it was painting. He was considered a prodigy, and by the age of 12 his work was being compared to that of Durmont and Sain Fleetfoot. His parents – indeed his entire [[spire]] – encouraged him and indulged him in a way that frankly I consider to have bordered on the unwholesome.		Andretti was [[Urizen\|Urizeni]], born around 230YE, and was considered an odd child even before he gained his notoriety. As with many Urizen, he strove to perfect a single skill – to master its [[arete]]. In the case of Andretti it was painting. He was considered a prodigy, and by the age of 12 his work was being compared to that of Durmont and Sain Fleetfoot. His parents – indeed his entire [[spire]] – encouraged him and indulged him in a way that frankly I consider to have bordered on the unwholesome.

Dre at 11:30, 1 September 2024

2024-09-01T11:30:32Z

Dre at 17:54, 29 December 2023

2023-12-29T17:54:33Z

← Older revision		Revision as of 17:54, 29 December 2023
Line 13:		Line 13:
	By all accounts, the young Andretti studied ways to combine his art and his magic together. He also clearly studied the alchemist's arts, and is credited with having perfected several rare colours of paint still in use today by those who can afford the [[green iron]], [[weltsilver]], and [[iridescent gloaming\|gloaming]] needed to mix them up.		By all accounts, the young Andretti studied ways to combine his art and his magic together. He also clearly studied the alchemist's arts, and is credited with having perfected several rare colours of paint still in use today by those who can afford the [[green iron]], [[weltsilver]], and [[iridescent gloaming\|gloaming]] needed to mix them up.

	During this period he reportedly created art that not only evoked emotional responses in the viewer – a talent sought after by every artist I am ~~lead~~ to understand – but could with sufficient effort and expense create works of art that inspired visions in those who touched them, experiencing the sensation of being present in the scene.		During this period he reportedly created art that not only evoked emotional responses in the viewer – a talent sought after by every artist I am led to understand – but could with sufficient effort and expense create works of art that inspired visions in those who touched them, experiencing the sensation of being present in the scene.

	I am ~~lead~~ to understand that Rebekah on the Cliffs, a large canvas showing a woman standing above the tempest-wracked rocks of the [[Redoubt#Naris\|Redoubt Coast]], was particularly effecting. Those who embraced it would feel for a few moments as if they stood atop the cliffs, gazing down at the boiling ocean, and feel the sea spray, and the cold rain, and the freezing wind, and partake somewhat of the anguish of the woman depicted. It was by all accounts a very powerful experience, and it was not until after Andretti's fall from grace that anyone made the connection between it and the falling deaths of as many as a dozen art lovers of the time. The painting is fortunately not available to view any more, having been burnt along with most of the rest of Andretti's work after his death.		I am led to understand that Rebekah on the Cliffs, a large canvas showing a woman standing above the tempest-wracked rocks of the [[Redoubt#Naris\|Redoubt Coast]], was particularly effecting. Those who embraced it would feel for a few moments as if they stood atop the cliffs, gazing down at the boiling ocean, and feel the sea spray, and the cold rain, and the freezing wind, and partake somewhat of the anguish of the woman depicted. It was by all accounts a very powerful experience, and it was not until after Andretti's fall from grace that anyone made the connection between it and the falling deaths of as many as a dozen art lovers of the time. The painting is fortunately not available to view any more, having been burnt along with most of the rest of Andretti's work after his death.

	Andretti was never satisfied with his work, and reportedly explored more and more esoteric magics and techniques. In the end he declared that the true purpose of art was to try and capture the human soul. Obviously critics and art lovers nodded appreciatively at what they believed to be a metaphorical statement;a statement that from anyone other than an artist would, at the very least, cause loud bells to be rung and see threshers and magisters taking a distinct interest in the activities of the one who said it.		Andretti was never satisfied with his work, and reportedly explored more and more esoteric magics and techniques. In the end he declared that the true purpose of art was to try and capture the human soul. Obviously critics and art lovers nodded appreciatively at what they believed to be a metaphorical statement;a statement that from anyone other than an artist would, at the very least, cause loud bells to be rung and see threshers and magisters taking a distinct interest in the activities of the one who said it.

← Older revision		Revision as of 11:30, 1 September 2024
Line 17:		Line 17:
	I am led to understand that Rebekah on the Cliffs, a large canvas showing a woman standing above the tempest-wracked rocks of the [[Redoubt#Naris\|Redoubt Coast]], was particularly effecting. Those who embraced it would feel for a few moments as if they stood atop the cliffs, gazing down at the boiling ocean, and feel the sea spray, and the cold rain, and the freezing wind, and partake somewhat of the anguish of the woman depicted. It was by all accounts a very powerful experience, and it was not until after Andretti's fall from grace that anyone made the connection between it and the falling deaths of as many as a dozen art lovers of the time. The painting is fortunately not available to view any more, having been burnt along with most of the rest of Andretti's work after his death.		I am led to understand that Rebekah on the Cliffs, a large canvas showing a woman standing above the tempest-wracked rocks of the [[Redoubt#Naris\|Redoubt Coast]], was particularly effecting. Those who embraced it would feel for a few moments as if they stood atop the cliffs, gazing down at the boiling ocean, and feel the sea spray, and the cold rain, and the freezing wind, and partake somewhat of the anguish of the woman depicted. It was by all accounts a very powerful experience, and it was not until after Andretti's fall from grace that anyone made the connection between it and the falling deaths of as many as a dozen art lovers of the time. The painting is fortunately not available to view any more, having been burnt along with most of the rest of Andretti's work after his death.

	Andretti was never satisfied with his work, and reportedly explored more and more esoteric magics and techniques. In the end he declared that the true purpose of art was to try and capture the human soul. Obviously critics and art lovers nodded appreciatively at what they believed to be a metaphorical statement;a statement that from anyone other than an artist would, at the very least, cause loud bells to be rung and see threshers and magisters taking a distinct interest in the activities of the one who said it.		Andretti was never satisfied with his work, and reportedly explored more and more esoteric magics and techniques. In the end he declared that the true purpose of art was to try and capture the human soul. Obviously critics and art lovers nodded appreciatively at what they believed to be a metaphorical statement; a statement that from anyone other than an artist would, at the very least, cause loud bells to be rung and see threshers and magisters taking a distinct interest in the activities of the one who said it.

	When Andretti announced that he had achieved his ultimate goal, he declared he would reveal his greatest work as part of the Empire Day celebrations at the Queen's Head Tavern where the three nations meet, 278YE.		When Andretti announced that he had achieved his ultimate goal, he declared he would reveal his greatest work as part of the Empire Day celebrations at the Queen's Head Tavern where the three nations meet, 278YE.
Line 33:		Line 33:
	In one respect at least I would take the Halls of Maykop over [[Sarvos]] or [[Tassato]]. The Grand Ilarch there has issued several dictums relating to public noise. Silence rules, broken only by the occasional tolling of bells. People talk rather than shout; street theatre is banned; and the whole place has the feel of a single massive library that I found quite conducive to study.		In one respect at least I would take the Halls of Maykop over [[Sarvos]] or [[Tassato]]. The Grand Ilarch there has issued several dictums relating to public noise. Silence rules, broken only by the occasional tolling of bells. People talk rather than shout; street theatre is banned; and the whole place has the feel of a single massive library that I found quite conducive to study.

	I can't fault my reception either – ten thrones apparently buys a lot of access to the archives of Maykop. I was able to secure apartments with little difficulty, a short walk from one of the libraries, and the Grand ~~Illarch~~ had assigned a research assistant to answer questions, smooth my access to documents, and deal with any problems that might arise from the recent “orc” incident. Not that there were any of those to speak of – the people of Maykop appear to either have short memories or to be glad to be shot of their former slaves.		I can't fault my reception either – ten thrones apparently buys a lot of access to the archives of Maykop. I was able to secure apartments with little difficulty, a short walk from one of the libraries, and the Grand Ilarch had assigned a research assistant to answer questions, smooth my access to documents, and deal with any problems that might arise from the recent “orc” incident. Not that there were any of those to speak of – the people of Maykop appear to either have short memories or to be glad to be shot of their former slaves.

	Oh and of course the research assistant – Egio – was there to keep an eye on me. They admitted as such on the first evening over olives and herb-baked sunfish. You will be pleased to hear that I maintained the best traditions of the Department of Historical Research, and have neither said nor done anything that might be reported and bring us into disrepute.		Oh and of course the research assistant – Egio – was there to keep an eye on me. They admitted as such on the first evening over olives and herb-baked sunfish. You will be pleased to hear that I maintained the best traditions of the Department of Historical Research, and have neither said nor done anything that might be reported and bring us into disrepute.
Line 40:		Line 40:
	The Halls of Maykop “remember” Andretti, it appears, While his name has mostly faded in the Empire, his sojourn at the Halls of Maykop is reasonably well recorded. It's interesting that Andretti chose to come here – and that he wasn't immediately murdered. In 271YE, when he arrived at Maykop, the Axou were still fairly angry with the Empire for their [[Axos#Abridged_History\|apparent involvement in the destruction of the citadel of Solokha]]. Even today some of the scholars get a little passionate when they talk about “your Emperor Nicovar's jealous attack on the ''Nikitis Axou''”.		The Halls of Maykop “remember” Andretti, it appears, While his name has mostly faded in the Empire, his sojourn at the Halls of Maykop is reasonably well recorded. It's interesting that Andretti chose to come here – and that he wasn't immediately murdered. In 271YE, when he arrived at Maykop, the Axou were still fairly angry with the Empire for their [[Axos#Abridged_History\|apparent involvement in the destruction of the citadel of Solokha]]. Even today some of the scholars get a little passionate when they talk about “your Emperor Nicovar's jealous attack on the ''Nikitis Axou''”.

	Andretti however managed to confront the lingering prejudice and somehow gained access to not only the city, but the chambers and counsel of the Grand ~~Illarch~~ of the time, Messina of the line of Maykop. According to contemporary accounts, he did so partly because he was able to demonstrate an understanding of the rudiments of the ''necromantia'' – the use of magic to summon and commune with ghosts; partly because he was able to speak at length about the soul and the spirit and philosophical matters relating to death, the creator, and the “[[Axos religion\|lie of the Labyrinth]]”; and partly by making a gift of three canvases to the Grand ~~Illarch~~.		Andretti however managed to confront the lingering prejudice and somehow gained access to not only the city, but the chambers and counsel of the Grand Ilarch of the time, Messina of the line of Maykop. According to contemporary accounts, he did so partly because he was able to demonstrate an understanding of the rudiments of the ''necromantia'' – the use of magic to summon and commune with ghosts; partly because he was able to speak at length about the soul and the spirit and philosophical matters relating to death, the creator, and the “[[Axos religion\|lie of the Labyrinth]]”; and partly by making a gift of three canvases to the Grand Ilarch.

	These paintings still hang in one of the (many) galleries, but while I was offered the chance to view them I declined. I do not want to end up as another “falling death” even if it will increase the Empire's store of knowledge a little.		These paintings still hang in one of the (many) galleries, but while I was offered the chance to view them I declined. I do not want to end up as another “falling death” even if it will increase the Empire's store of knowledge a little.

	Andretti studied in the Halls, under the patronage of the Grand ~~Illarch~~ Messina. He raised funds to support himself – not having access to the limited largesse of the Department of Historical Research expenses account – by painting portraits and landscapes. As I understand it, he became adept at a style called Moments from Breath which involve paintings of the dying or the recently dead that come in and out of fashion in Axos every few years.		Andretti studied in the Halls, under the patronage of the Grand Ilarch Messina. He raised funds to support himself – not having access to the limited largesse of the Department of Historical Research expenses account – by painting portraits and landscapes. As I understand it, he became adept at a style called Moments from Breath which involve paintings of the dying or the recently dead that come in and out of fashion in Axos every few years.

	As to what he studied, he was most interested in the rituals of Autumn and Winter ''necromantia'' that deal with capturing, binding, and creating ghosts. This latter in particular interested him; I was not permitted access to any works dealing directly with the procedures involved – it is considered a very advanced curriculum in Maykop – but I was able to read some commentaries. Some Axou masters of the ''necromantia'' can bind a human soul at the point of death ensuring that its essence remains behind in the world and can be called up to be consulted by later generations.		As to what he studied, he was most interested in the rituals of Autumn and Winter ''necromantia'' that deal with capturing, binding, and creating ghosts. This latter in particular interested him; I was not permitted access to any works dealing directly with the procedures involved – it is considered a very advanced curriculum in Maykop – but I was able to read some commentaries. Some Axou masters of the ''necromantia'' can bind a human soul at the point of death ensuring that its essence remains behind in the world and can be called up to be consulted by later generations.
Line 50:		Line 50:
	There's a number of heretical and blasphemous reasons this practice is desirable to the Axou, especially the wealthier and more powerful among them which I won't go into here for fear of being investigated by the Silent Bell, but I'm confident given what we know of the Axos religion you can work out why.		There's a number of heretical and blasphemous reasons this practice is desirable to the Axou, especially the wealthier and more powerful among them which I won't go into here for fear of being investigated by the Silent Bell, but I'm confident given what we know of the Axos religion you can work out why.

	While he was popular with Grand ~~Illarch~~ Messina, Andretti was not well liked by his peers. Some of Andretti's Axou instructors were very nervous about the man. “Some try to run before they can walk,” wrote Issedeus of the line of Ulys, a professor at the time of Andretti's visit. “But this Imperial man tries to fly before he can stand.” Another, Tessina of the line of Penep wrote that “He is a knife, with a blade that thirsts” which is apparently an allusion to a well-known Axou warning about the dangers of illicit [[blood magic]], and often used when talking about someone who is widely considered to have “murderous impulses”.		While he was popular with Grand Ilarch Messina, Andretti was not well liked by his peers. Some of Andretti's Axou instructors were very nervous about the man. “Some try to run before they can walk,” wrote Issedeus of the line of Ulys, a professor at the time of Andretti's visit. “But this Imperial man tries to fly before he can stand.” Another, Tessina of the line of Penep wrote that “He is a knife, with a blade that thirsts” which is apparently an allusion to a well-known Axou warning about the dangers of illicit [[blood magic]], and often used when talking about someone who is widely considered to have “murderous impulses”.

	The Axou may have any number of odd ideas by Imperial standards, but they are no more friendly to would-be murderers than any one else. Their arts deal with death and the spirits of the dead, but they are no more likely to actually kill someone in pursuit of their magic than any other magician. Indeed, given their opinions on the Labyrinth that waits beyond death, they take an even dimmer view of intentionally ending another Axou life than the Empire does. At least in Maykop.		The Axou may have any number of odd ideas by Imperial standards, but they are no more friendly to would-be murderers than any one else. Their arts deal with death and the spirits of the dead, but they are no more likely to actually kill someone in pursuit of their magic than any other magician. Indeed, given their opinions on the Labyrinth that waits beyond death, they take an even dimmer view of intentionally ending another Axou life than the Empire does. At least in Maykop.
Line 58:		Line 58:
	Andretti returned to Maykop abruptly, apparently looking like a man who had aged eight years in eight weeks. He refused to answer questions about his “trip to Kaban” and tried to resume his studies. Issedeus of the line of Ulys writes that he was “changed by his journey west, and for the worse, if such a thing could be possible. He sequesters himself in his chambers for days on end, painting, emerging only to eat, to buy more paint, and to demand wine. It is as if something is eating him from within, something that has come back with him from 'Kaban' and none of us really believe that is where he has been – or rather none of us believe that was his ultimate destination.”		Andretti returned to Maykop abruptly, apparently looking like a man who had aged eight years in eight weeks. He refused to answer questions about his “trip to Kaban” and tried to resume his studies. Issedeus of the line of Ulys writes that he was “changed by his journey west, and for the worse, if such a thing could be possible. He sequesters himself in his chambers for days on end, painting, emerging only to eat, to buy more paint, and to demand wine. It is as if something is eating him from within, something that has come back with him from 'Kaban' and none of us really believe that is where he has been – or rather none of us believe that was his ultimate destination.”

	Six months after this trip west,Andretti abruptly flees Axos. It is 277YE by this time - a year before his death. Issedeus, Tessina and the political historical Emmanel of the line of Destine all report that he did so hours ahead of a band of Tavos Ageli sent to apprehend him. Three human bodies were found in his chambers, preserved in barrels of brine. He left behind him a single painting, that by all accounts was so shocking to Axou sensibilities it was burnt by order of the Grand ~~Illarch~~ Messina shortly before she was dethroned by her nephew Samul of the line of Maykop.		Six months after this trip west,Andretti abruptly flees Axos. It is 277YE by this time - a year before his death. Issedeus, Tessina and the political historical Emmanel of the line of Destine all report that he did so hours ahead of a band of Tavos Ageli sent to apprehend him. Three human bodies were found in his chambers, preserved in barrels of brine. He left behind him a single painting, that by all accounts was so shocking to Axou sensibilities it was burnt by order of the Grand Ilarch Messina shortly before she was dethroned by her nephew Samul of the line of Maykop.

	Her patronage of Andretti – while not the sole reason she was ultimately forced to abdicate – was mentioned several times in contemporary accounts as an indication of her unfitness to rule. Andretti's crime also damaged the attitude of the Maykop people to Imperials, such that they took even longer than the rest of the Citadels to open their gates to visitors from the Empire.		Her patronage of Andretti – while not the sole reason she was ultimately forced to abdicate – was mentioned several times in contemporary accounts as an indication of her unfitness to rule. Andretti's crime also damaged the attitude of the Maykop people to Imperials, such that they took even longer than the rest of the Citadels to open their gates to visitors from the Empire.