Imager (2 page)

745 A.L.

Authority always trumps reason, unless reason is the authority.

The Council of Solidar opened the Chateau of the Council to the public exactly twice a year, at the last day of summer, the thirty-fifth of Juyn, and at the depth of winter, the thirty-fifth of Ianus. Father insisted that I come with him because I’d just turned fourteen and finished the grammaire. In another month I’d begin my apprenticeship with Master Caliostrus, one of the more successful portraiturists in L’Excelsis.

“Since you cannot and will not be a factor, Rhenn, you need to see what great art really is.” My father must have said that at least three times while we rode in the carriage along the Boulevard D’Este and across Pont D’Nord and then another mille along the Boulevard D’Ouest. Once we reached the base of Council Hill, we had to leave the carriage and wait in a long queue under a white sun that blistered down through the pale blue summer sky. The gatehouse ahead of us was built of alabaster, as was the Chateau above, but the surface of the stones of both had been strengthened by imagers centuries and centuries before, supposedly by those of Rex Regis after he had taken L’Excelsis from the Bovarians and made it the capital of the land he had unified and renamed Solidar. The walls shimmered white and inviolate, as pristine as the day they were laid, sort of like an eternal virgin, I thought, trying not to snigger at the thought.

“Rhenn, you are not to exhibit amusement at the misfortunes of others.” Father’s eyes darted toward a crafter who was looking down at a spreading dark brown stain across his trousers. He still held the handle of the clay jug that he had swung up to drink. Fragments of pottery and a dark splotch on the wall suggested he’d been less than careful in lifting his jug.

“Sir, I was thinking of a terrible joke that Jacquyl told yesterday. Seeing the gatehouse reminded me of it.”

“Likely story.” The good-natured gruffness of his response suggested that he believed me, or at least that he knew I was not laughing at the poor crafter, a mason’s apprentice or junior journeyman, I would have judged by the stone dust on his sleeves.

A good glass passed before we reached the head of the queue short of the burnished bronze gates and the gatehouse. The Council guard there stood in the shadow of the tiny portico, but sweat had dampened the pale blue linen of his uniform tunic into a darker shade.

“The next ten of you,” the guard announced.

Father strode ahead. He always walked quickly, as if he might miss something if he weren’t the first one. The paved walks were white granite, flanked by boxwood hedges in stone beds. “See those hedges, Rhenn. That’s what a hedge should look like, not with twigs and leaves sticking out haphazardly.”

“Yes, sir.” Rousel was supposed to have trimmed the little branches on our hedge, after I cut the larger ones, but he’d gone off to play. There’d been little point in saying so, because Father would just have said that it was my responsibility. But if I’d dragged Rousel back, he would have complained, and then Father would have punished me for being too strict.

After we walked up the wide white stone steps, Father cleared his throat. “There are three arches—a main arch flanked by two smaller arches. All three lead into the Grand Foyer.”

I didn’t say anything. We’d studied the Chateau in grammaire, and I knew that.

Father took the center archway and hurried inside, out of the blazing sun. It wasn’t that much cooler, but being out of the sun was a relief. I glanced up at the faux dome of the foyer.

Father followed my eyes and gestured upward. “You see the stonework there?”

“It looks well done.” It wasn’t stonework at all, but flat painting designed to trick the eye into believing it was stonework.

“You think you could do better?”

“No, sir.” Father was always doing that—comparing me to an experienced artisan or factor or crafter. Of course I wasn’t that good. That didn’t mean I couldn’t be in time.

Just in front of us was an older and all too bulbous man in a threadbare and once-white linen overshirt. He had planted himself before the first portrait on the wall on the right-hand outer wall of the foyer, cocking his head one way and then another. I started to move around him, but Father reached out and grasped my arm.

“Take your time. Study each one carefully, especially the portraits. You’re the one who’s going to be a portraiturist. You won’t have another chance to see these for a time.”

After the older man finally moved, Father pointed to the image of a trim black-haired man with sweeping mustaches in a black dress uniform with silver-banded cuffs. “That’s a portrait of Seleandyr. He was the one who led the Council in the trade war against Caenen and Stakanar . . .”

I’d seen Factor Councilor Seleandyr before, if only from the balcony when Father had hosted the cloth factors’ fall reception, and he’d never been that slender. Hs mustaches had drooped, as had his belly, and his thin hair had kept falling down over a low forehead.

“. . . managed to keep matters from getting out of hand and made sure that the taxes to support the war were only temporary. His death last Fevier was a great loss . . .”

I’d heard the rumors that his death hadn’t been from age, but from sweetmeats transformed into pitricine, after he’d eaten them, by an imager whose niece he’d procured for his son. Seleus had sworn it was true.

The next artistic object was a bust, and again we had to wait for the gyrations of the bulbous fellow before Father led me forward. “Charyn. He was the last rex of Solidar, and the one who founded the first Council . . .”

I knew all too well those details of history, but all I could do was listen.

We made half a circuit of the foyer and reached the point where it opened, through three arches that mirrored those of the outer entry, onto the landing at the base of the grand alabaster staircase leading up to the Council chambers. Father marched right up to where the guards were posted. On the pedestals that formed the base of the rose marble balustrade of each side were a pair of sculpted statues—a winged man and a winged woman.

“Angelias—they’re the work of the great Pierryl, Pierryl the Younger, that is. What do you think of them?” Father turned to me.

“The workmanship is excellent, sir.”

“They’re great art, Rhenn,” murmured my father. “Can’t you see that?”

“Father . . . the carving is outstanding, but they’re ridiculous. Those tiny wings wouldn’t lift a buzzard, let alone a child, and certainly not a man or woman.” I didn’t mention that each wing feather had been sculpted to a length of nine digits, not quite the ten of a full foot, and that wings that small would not have had individual feathers that large.

Father began to get red in the face. “We will have a talk later, young man.”

“A sea eagle has wings almost that broad, and the largest weigh but half a stone.”

“An angelia is not an eagle,” snapped my father.

“No, sir. They’re much larger, and they would need far larger wings to support themselves if they were truly to fly.”

“Rhenn! Enough.”

I’d said too much, but Father’s opinions on art were limited by his own shortcomings and lack of understanding. I managed to placate him with pleasant inanities and agreements for the rest of our visit, consoling myself that, by the next time the Chateau was open to the people of L’Excelsis, I would be apprenticed and studying under Master Caliostrus.

750 A.L.

In art and in life, what is not portrayed can be as a
vital as what is.

At breakfast that first Mardi in Juyn I sat near the end of the long table—as usual, because the only one junior to me was Stanus, who’d just become an apprentice. He sat on the other side and one place farther toward the end. Shienna was to my right, and Marcyl was across from me, with Olavya to his left and Ostrius on his father’s right.

“I’ll need some golds from the strongbox after breakfast,” Caliostrus said to his wife Almaya, seated to his left. “I can get some imagers’ green from Rhenius.”

“I’m certain it’s less dear than from Apalant.” Her voice cut like a knife.

“You’re the one who insists on the strongbox and keeping all the golds here.”

“After what happened to my father when the Banque D’Rivages failed, and the Pharsi lenders came to collect . . .”

“I know. I know.” Caliostrus looked down the long table. “Tomorrow, Craftmaster Weidyn will be here at the eighth glass of the morning. He will be here for two glasses.”

What Caliostrus was also saying was that he didn’t want the sitting disturbed, but why would he ask that for a craftmaster, rather than a High Holder or a factorius? I’d heard Weidyn’s name at my parents’ table, but couldn’t recall his guild.

“Why is he a craftmaster, Father?” Marcyl’s big black eyes fixed on Caliostrus.

“Because he’s one of the best cabinetmakers in all of L’Excelsis. That’s why.”

“It might be nice to have something of his,” suggested Almaya.

“It would indeed, but it’s less than likely,” replied Master Caliostrus. “A single sideboard of his, and that’d be one of the plainer ones, would fetch at least a hundred golds. That’s if it ever came up for sale, but his work never does. People commission him a year in advance.”

“They commission you in advance, dear,” offered Almaya.

Despite her words, Master Caliostrus was fortunate, I knew, if a patron commissioned a portrait a season in advance—and paid upon completion and delivery of the framed work. That was one reason why I was the only journeyman in the household, besides Ostrius, who would soon doubtless become a junior master, and who would in time inherit his father’s studio.

“But not so far in advance. People feel that cabinets and sideboards last longer than portraits. They do not. One only has to look at the artwork in the Chateau of the Council to see that. The chests and sideboards commissioned when Riodeux painted Rex Charyn have long since been turned to kindling and burned, but people still marvel at the portrait.”

“And the bust,” I added.

“The bust is by Pierryl the Elder and is far inferior to the portrait,” declared Caliostrus. “Pierryl and his son—Pierryl the Younger—were diligent hacks compared to Riodeux. Sculptors have but to remove stone from stone. It is tedious, but it is more a craft than an art.”

I’d heard Master Caliostrus declaim on that before. To create the impression of life and light on the flat surface of a canvas did take not only craftsmanship but an artistic sense. No one ever expected a bust or a statue to look alive, but merely to present an accurate representation, but everyone expected the best portraits to be good enough that the subject looked as though he could step out of the canvas and resume what he had been doing.

“Why do they get more golds than you, Father?” Marcyl persisted.

“Because what people will pay for often has no relation to its true value.” Caliostrus lifted a large mug of tea, slurping slightly as he drank, not that he didn’t slurp whenever he drank. Then he turned to me. “As for you, Rhennthyl, you also have a commission, far more modest, but one must begin somewhere.”

“Sir?” I inclined my head, as much to conceal my surprise as anything. At last, after all the studies, all the criticism from Master Caliostrus, and all the glasses spent grinding and stirring and watching simmering pots of oils and waxes and solvents and pigments, I would have a chance to show what I had learned and could do on a canvas for a real patron. I thought Ostrius might also have been surprised, since most junior commissions went to him.

“Craftmaster Weidyn’s youngest daughter has never had a portrait. She’s but eight, and I suggested you could do credible work.”

“When will I start, sir?”

“Tomorrow as well.” Caliostrus smiled. “You will have to work in her favorite doll and her cat.”

The doll certainly wouldn’t be a problem, but, for some reason, few cats cared for me, and that could pose a problem. “The cat . . .?”

“I suggested that the cat be added later, after you had designed the composition, but I wanted you to know that you would have to work in the creature.”

“Yes, sir.”

“I want several possible rough designs ready for me by the end of the day. Oh . . . she is a redhead, I’m told.”

That made everything worse. A redhead? Their color and complexion were difficult to capture on canvas without making them appear wan and pale. Once more, Caliostrus had presented me with something in a light that seemed far more charitable than it was in fact. A redhead—that was just the sort of portrait where an excellent effort would look merely adequate, and a good effort would come across as poor. That was another reason why I’d gotten the commission, instead of Ostrius. “I will most certainly have my work cut out for me, sir.”

“Nonsense, Rhennthyl. A portrait is a portrait, and each commission is an opportunity.”

“Yes, sir.” I would just have to deal with another one of Master Caliostrus’s near-insurmountable opportunities, that and Ostrius’s concealed smirk from across the table. Stanus just looked bewildered.

Even as a recent apprentice, Stanus should have known the problems of portraying redheads. I’d heard that those were even less than the difficulties involved in living with them, but I’d been unfortunate enough in dealing with young women that I had no experience by which to judge such a statement.

“The designs before dinner, Rhennthyl, remember!”

“Yes, sir.” How could I possibly forget?