The Mountain that Does Not Move


"The Mountain that Does Not Move" was painted by Bentis, who is believed to be a human artist in the tutelage of the Vyrum during the Sixth Age. It is a famous work of art considered near priceless. 

There are two versions of this painting and the owner of each claims the title original, while indicting the other as a forgery. One hangs in the Old Temple of Moder, in the city of Treft. The other is in the Hall of Art at the Bard's College in Ald Ciula. 

To the Last Coin


"To the Last Coin" was painted by the Vyrum artist Duris in the Sixth Age. It is a famous work of art considered near priceless. 

Its subject and style have been imitated many times over and the value of its reproductions is based on how true they are to the original. 

The original hangs in the Bank of Aqilia in the Free Provinces.

Salt, Oil and the Widow's Cup


"Salt, Oil and the Widow's Cup" was painted by the Vyrum artist Duris in the Sixth Age. It is a famous work of art considered near priceless.

Its subject and style have been imitated many times over and the value of its reproductions is based on how true they are to the original. The original is in the Grand Cathedral of Westrun in Peakshadow.

Apples at the Dawn Watch


"Apples at the Dawn Watch" was painted by the Vyrum artist Alorin in the Sixth Age. 

It is a famous work of art and considered near priceless. Its subject is a basket of apples in a simple farmhouse at mornings light. The hourglass depicts the sense of a fleeting moment in time.

The original is in the Library of Lyosha in Peakshadow, behind glass.

Of Bread and Bronze


"Of Bread and Bronze" was painted by the Vyrum artist Alorin in the Sixth Age. 

A still life, it depicts a helm of the type in use at the time, a loaf of bread and a soldiers dagger. It evokes the sense of exhaustion and mundane pedantry of war.

The original is in the Library of Lyosha in Peakshadow, behind glass.

Worthy Vyrion


Worthy Vyrion, was a soldier of the High King's legions who was slain in battle in at Ald Calta in the Principalities of Vyruma Serpentis.

A man of great personal courage, he led a company of men over the wall of Ald Calta and opened the gate, holding it open while rallying others to that breach in the ramparts. One by one, those with him fell and still he waved his banner to allow the legions to take note of his position -- though doing so, without taking cover, meant his death by dozens of missiles. Because of his sacrifice, the legions arrived in time to penetrate the city through the portal he held open.

Dancing Woman of Fah Tawaj


"Dancing Woman of Fah Tawaj" was painted by Soran Haber and is a famous work of art. 

Its subject would appear to depict a tavern of Southrun, its patrons and its entertainment.

The original is rumored to hang in the Governors Mansion in Free City.

Coronation of Ash and Gold


"Coronation of Ash and Gold" was painted by Jal Halawir and is a famous work of art. 

It depicts Agronar the Conqueror after the Battle of Seabird Bay receiving a crown of laurels. This event would lead to his taking the title of "Ghost King."

Its subject and style have been imitated many times over and the value of its reproductions is based on how true they are to the original. It hangs in the High King's Gallery at Kathmbir Keep in Peakshadow.  


Worthy Vyrion at the Broken Gate


"Worthy Vyrion at the Broken Gate" was painted by Jal Halawir and is a famous work of art.

It shows Vyrion the General at Ald Calta as he held the open front gate for the legionaries of the High King to enter behind him.  

Its subject and style have been imitated many times over and the value of its reproductions is based on how true they are to the original. It hangs in the High King's Gallery at Kathmbir Keep in Peakshadow.  

Last Light at Ald Calta


"Last Light at Ald Calta" was painted by Jal Halawir and is a famous work of art. 

It depicts the beginning of what would be the utter destruction of Ald Calta during the Taming of the Serpent.

The original hangs in the High King's Gallery at Kathmbir Keep in Peakshadow.  


Parade of Lanari


"Parade of Lanari" was painted by Sylvio Firena and is a famous work of art. 

It depicts the fall of the house of Lan after the death of the would be emperor of Vyruma Serpentis.

Its subject and style have been imitated many times over and the value of its reproductions is based on how true they are to the original. It hangs in the Hall of Art at the Heralapix of Ald Ciula. 

The White Stag


"The White Stag" was painted by Sylvio Firena and is a famous work of art. 

The painting evokes the image of a hunter of Rath and his hound, overcome by the awe of meeting his prey, the fabled white stag of Mistwood.

The original hangs in the court of the King of Rath at Longmeadow Keep.


Deluge of Dalenas




The "Deluge of Dalenas" was painted by Sylvio Firena and is a famous work of art. 

It depicts the cataclysm at the end of the Fourth Age. In the foreground are halfling scholars of the Academy of Dalenas (as the artist envisioned them), blissfully unaware of the coming of the great deluge in the background. Also in the background are others fleeing for safety. Another of Firena's ahistorical perspectives it nonetheless has great value. 

The work has traded hands many times and now resides in the hall of the King of Collonia. 

Siege of Ald Dovaris



"Siege of Ald Dovaris" was painted by Sylvio Firena and is a famous work of art. 

It is his rendition of part of the Taming of the Serpent. Like many of his works, sages of history question its accuracy as Agronar the Conqueror is not known to have had siege equipment at Ald Dovaris or elsewhere. 

The original hangs in the High King's gallery of art at Kathmbir Keep in Peakshadow.

Fair Berronar



"Fair Berronar" was painted by Sylvio Firena and is a famous work of art. 

Some argument exists whether it was an attempt to render the famous "Glorious Woman" colossus as a human girl. Gone are her wings and cup, but the facial similarities are unmistakable.

The original hangs in the Hall of Art at the Heralapix of Ald Ciula.  

Cavalier Resplendent



"Cavalier Resplendent" was painted by Sylvio Firena and is a famous work of art. 

Firena's curiousity about previous ages again emerges in this work. Its subject would appear to be that of a Vyrum Cavalier, but historians find the work incongruous as there is no evidence of the widespread use of bears as mounts during the 6th Age. Some have called this "Sylvio's Whimsy" as a result.

Nevertheless, its subject and style have been imitated many times over and the value of its reproductions is based on how true they are to the original. It hangs in the Hall of Art at the Heralapix of Ald Ciula.  

Favored Pet




"Favored Pet" was one of the latter works by Sylvio Firena and is a famous work of art. 

The subject is that of a dragon and a maiden asleep. Its title is a question and many sages of art have argued over which of the two is the pet.

The original hangs in the Hall of Art at the Heralapix of Ald Ciula.  

The Fisher Baron




"The Fisher Baron" was painted by Sylvio Firena and is a famous work of art. 

Its subject was reportedly a jumped-up baron of Bolden who enjoyed his trade long after he had any need of it. The picture is a curious juxtaposition of two different styles of fishing and it isn't clear that the baron would have practiced either. 

Sometimes called Sylvio's Folly, it was painted while Firena was still a student at the Heralapix. It lacks the presentation of his later work and is often presented as a case of the artist not knowing his subject well enough to communicate it to his audience. Despite it's odd character, it is a painting held in very high regard. 

The original hangs in the Hall of Art at the Heralapix of Ald Ciula.  

The Fifth Virgin





"The Fifth Virgin" was painted by Noris Tuwar. It is a famous work of art and painted as it's subject, a noble woman of Southrun posed for it. The noble woman did not care for the work, resenting its libidinous undertones and demanded another be made. Noris secreted the original out with him as he was ushered from her remote palace. 

While the curious name of this work has been debated, most sages of art believe that the reference to virginity came from his attempt to belie any titillating aspects of the painting, and that the number refers to how many times he attempted to mollify his patroness.

Noris himself came to an untimely end... apparently his love of wine was his undoing as he was found dead of extreme intoxication in his art studio. This painting was well-hidden in his personal effects and was recovered only when the Heralapix came to take custody of the body of one of their Accomplished Masters.

The original now hangs in the Hall of Art at the Heralapix of Ald Ciula.  

The Fair Widow



"The Fair Widow" was painted by Sylvio Firena and is a famous work of art. Sylvio was a student of history and based his painting on the death of Faen. The painting purports to be that of Aerdrie Faenya the elven matriarch, though it is well known that Sylvio had an art student and paramour sit for the portraiture. 

The work was presented to a elven nobleman but was famously rejected by the recipient. Reportedly he called it the picture of a human strumpet gussied up with folk ears.

It is considered a masterpiece. Its subject and style have been imitated many times over. The original hangs in the Hall of Art at the Heralapix of Ald Ciula.  

The Vale of Sleep


The Vale of Sleep is also known as the Place between places. It is believed to be adjacent to the Shadow Lands of the Dead, and that all who go there must pass through the Vale, first. Not just the mortally wounded enter the Vale, however. All those who fall into non-magical slumber also enter it, for a time.

While the Vale often appears to be a large and continuous unlit forest, the Vale is divided into two different realms: the Dreamscape and the Nightmare Lands. 

The Dreamscape is a vast space ruled by a beneficent being known as Reme or Rayam. It is a place of wisps and clouds which often form into different shapes and terrains based on the mind and experiences of the people in it. 

The Lands are riddled with vines or webs which try to hold those who are within its borders and prevent them from leaving. They are ruled by the Nightmare Man and his Nightmare Court from its center. His court includes Hypnos, Mullonga the Witch, the Rainbow Serpent, Morpheus, and the Ghost Dancer.

The Fergus Codex: Law IX -- Concerning Coinage, Troves and Hoards

Vyrum Law
The mintwork of the Stoneborn people is legal tender and appropriate for paying all debts, public and private. 

Law of Fergon 4304
The High Throne and its vassals will accept coinage minted in Treft for the satisfaction of all debts payable as the High King shall direct.

Law of Wald 4423
Henceforth, a trove is any amount of coin, gold, silver, plate, or bullion found hidden underground or secreted in places such as cellars or attics, where it can be presumed that the true owner is dead and the heirs undiscoverable. A hoard shall be any find of similar composition which is kept by an outlaw, monster, pirate or animal and is therefore considered ill-gotten gains. Troves shall inure to the benefit of the finder; while hoards shall inure to the benefit of the baron upon whose lands it was built.

Law of Agon 5289
With respect to the common good of the realms of men and the austere condition of their present treasuries, fifty percent of all trove and hoards shall be considered the lawful property of the baron on whose land they were found. Ten percent shall be considered the lawful property of the Church of Westrun. Twenty percent shall be delivered to King. Ten percent shall be delivered to the High Throne and ten percent shall be kept by its discoverer.

The Bazaar of Bizar




Bizar is one of the earliest built Astral Cities in the Metaxyterran Sea. Whatever its original purpose was, it now exists as the host of a vast interplanar and interstellar marketplace known as The Bazaar. The entirety of Bizar is filled by the Bazaar, so there is no way to be in the city without also being in the tradeplace.

Entering and leaving the Bazaar happens through a series of portals which are seemingly located at random throughout the marketplace. Some appear as simple wooden doors, others as common archways, others as stout and bound doors, others as simple curtains drawn between two pillars. Each one of those portals connects the city to a unique location on another plane or place in the Astral Sea.

Time does not pass in the Bazaar, or if it does, it passes so slowly as to make hours seem like mere seconds to those who transit in and out of the city.

While most of the merchants and customers will operate on a barter system, the most reliable legal tender is Spice -- the blue-hued sand which is weighed out and spent in granules. 

The Bazaar operates under three absolute prohibitions: violence of any kind* within its bounds; the sale of superior technology** to conceptually unprepared societies; and the Bazaar may not be used as a shortcut between worlds.*** These rules are not enforced through policing, but somehow through the structural features of the Bazaar itself. Violations result in Exclusion. Exclusion is the permanent expulsion from the Bazaar and the loss of all future access. There is no appeal. 

Governance of the Bazaar is attributed to an entity or system collectively referred to as the Authority. Its nature remains unknown and is the subject of extensive scholarly debate. The Authority does not issue explanations, accept petitions, or visibly negotiate, yet its judgments are consistent and final. It manifests through intermediaries, environmental alterations, or spontaneous adjudications, and is widely believed to exist as a stabilizing intelligence aligned within the structure of Bizar rather than as a conventional sovereign power.

For some eons a cabal of Illithids and Gith presented themselves as representatives of the Authority, to extort customers and merchants alike. This cabal eventually ran afoul of that Authority when their elaborate pretense extended to the use of violence. No one has seen any of their uniforms in the Bazaar since. In their absence, the Bazaar has run as it always has, and their fraudulent claims are made manifest. 

* No weapons discharge. No physical harm. No coercive magic, mind control, or forced contracts.

** “Superior” is defined not by power, but by conceptual readiness. A steam engine sold to a bronze-age culture? Prohibited. A philosophical text explaining democracy to a tyranny? Allowed. A star map without context? Often allowed. A starship engine? Never. The Authority does not care about intent. It cares about consequences.

*** The Bazaar cannot be used as a shortcut between planes or dimensions. Those who do attempt this method of travel may quickly find themselves placed under Exclusion. Smugglers exist—but they generally sell knowledge, not passage.

The Devoted and the Queen

I
Beneath the banners pale with dawn,
Where storm-lit shadows lie,
A squire knelt before the silver queen
With steady heart and downward eye.
“My lady of the starlit crown,
Your throne is far above;
I am dust beneath your feet —
Yet dust might dare to love.

“Grant me no oath, nor promise sworn,
Nor place at hand or throne;
Only a kiss before the war,
To carry when I’m gone.
For when the Rift should call my name
And darkness take my breath,
I’ll spend my mortal heartbeat there
To purchase you from death.”

II
She heard, but answered not at first —
For queens are taught to stand
Where love is sacrifice, not claim,
And grief holds tight the hand.
Yet in her gaze a tremor stirred,
A softening unshown;
For though she wore immortal years,
She walked the field alone.

And so they rode to battle’s gate,
Where stone and fire met sea;
His shield before her glittered bright —
Her sword fell true and free.
Then dawn cried out, and trumpets broke,
And terror split the sky…
And somewhere in the clash of blades
Her mortal knight did die.

III
No cry he gave, no plea for aid —
Just stillness in the spears.
The Tree upon his shattered shield
Was washed with salt and tears.
They bore him from the reddened field,
And laid him where he fell —
And still upon his silent lips
His final promise dwelled.

It was not till the trumpets ceased,
Till thunder lost its roar,
That she, the Queen of Teraniel,
Found space to feel once more.
Then love, too late, broke through her breast
Like spring beneath the snow —
And grief became the only blade
She had the strength to know.

IV
“O foolish heart, that feared to speak —
O faithful heart, so true.
Had ages all been mine to give,
I would have given you.”
She cast aside her crown of gold,
Her tears like falling rain,
And strode alone into the Rift
To kiss his lips again.

No spear nor talon barred her path,
No terror made her yield;
For love had found her in the dark
And marched her to the field.
She held him close — her fallen knight —
And kissed his lifeless brow…
And there the Queen of Teraniel
Found peace at last — and now.

V
So sing, O halls of elven stone,
Of mortal hearts made bold;
For never in six ages’ span
Was braver love foretold.
And when the star-winds stir the leaves
And night is deep and wide —
Two shadows walk the Rift in peace,
Forever side by side.

Enya and Tyrol at the Dry Rift


“Enya and Tyrol at the Dry Rift”

Unknown Half-elven Master, Late Sixth Age
Oil on panel

This celebrated work depicts Queen Enya Teraniel, during the opening hours of the Battle of the Dry Rift. Clad in ceremonial war-armor and crowned in acknowledgment of both lineage and burden, Enya is shown advancing toward the emerging terror. Her expression is resolute rather than furious, in keeping with elven ideals of disciplined courage.

At her side stands Tyron Halegard of the Vyrum Cavaliers, known to the elves as Tirion Vanyarin, “The Devoted.” Bearing a shield marked with the Tree of Renewal, Aric protects the queen’s flank against unseen assailants. His inclusion affirms the long-held tradition that he fought within arm’s reach of Enya throughout the final campaign. His steadfast, defensive posture contrasts with her forward focus, visually articulating the partnership of oath and sovereignty.

The painting is revered not merely for its artistry, but for its symbolism. To the High Elves, it commemorates the moment when immortal and mortal stood as equals in courage — a turning point after which the race of Men was held in abiding honor. While the battle ended in tragedy with the deaths of both figures, their sacrifice is remembered.

This portrait hangs in the Hall of Accomplished Masters at the Heralapix, where visiting dignitaries are traditionally brought to pay respect to the institution.