1190

Spring 1190: Reading "Whosoever listens can hear, whosoever reaches out shall touch: a discourse on the use of the Art if Imáginem and its use to our House"

Day 1:
After the disaster which was the effect I instilled in the chariot, I have decided that I should make certain that I am well versed in the basics of the Art of Imáginem. Therefore, I've taken the copy of the covenant's text on the subject to my sanctum for further study this season. I have only rarely read the works of my Jerbiton brethren, although I suspect that this may be one subject which they hold quite close to their hearts, being so useful in a mundane setting. Lucillius has struck me as something of a mercantile magus, however, so I think I may be somewhat disappointed with the text. We shall see, however.

Day 13:
It is unfortunate that I was correct in my initial suppositions that Lucillius's text would disappoint. He has penetrating insights and several salient points, but his overall approach to the subject is quite dispassionate and practical. It is almost as if he were unable to understand beauty, which is especially damning for a member of his house, I must say. Of course, I have only proceeded through a fraction of the text, and there may be more substance to the later chapters. I am enlightened by his wit and understanding, but disappointed by his seeming lack of passion.

Day 32:
Perhaps I have spoken too soon. The earlier chapters were mostly review, but they were review of topics which I have always found interesting. Obviously, the author found them to be mundane, leading him to cover the basics with less than the greatest degree of interest. Furthermore, the Order seems enamoured with a dispassionate dissection of the Arts Arcane when teaching apprentices, which is incongruous considering what I perceive to be our shared motives; as this is the case, it is understandable that Lucillius would write of the basics in such a dry manner in a text geared to apprentices and their training.

The middle chapters seem to give glimpses into a deeper interest in the Form of Imáginem which I found lacking in his earlier discourses. Here and there one might find a pointed reference to a beautiful woman or a masterful piece of artwork. It would appear that his Jerbiton training has told, even if it is overwhelmed by his greed.

Day 63:
I have progressed quickly and eagerly through the middle of the book to these, the final chapters, in which Lucillius discusses the more advanced topics. I am consistently impressed with the thoroughness of his treatment of the Form, his insights, and his choice of examples, even though I would have preferred the introduction be rewritten.

It is here, however, that the true magus shows through; Lucillius is obviously quite interested in these more advanced topics, and it would appear that he has given them great thought. His descriptions of auditory constructs are particularly impressive, given the medium, as are his discussions on olfactory images. He is less thorough on the tactile and the visual, and he barely scratches the surface on taste. These - although I recognize them as similar to the extent that they may be extrapolated from the others - are given short shrift, and I would have been interested to hear his opinions and insights on the matter.

Day 76:
I have progressed quite far this season, and only the final two chapters of this text would be of any use to me at all. Granted, these two chapters discuss matters which are quite interesting, being devoted to more advanced topics of research in which Lucillius undoubtedly is quite engaging. Unfortunately, I have an agenda to pursue, and it does not involve learning the last of this book's offerings yet. Rather, I have some minor investigations to accomplish before I begin learning Clio's Remembrances, which Tiphys so kindly scribed at the base of the statue in the center of the caldera. I would investigate the chamber of Themis first, then I shall progress to my summer studies. Both, with luck and skill, shall be quite enlightening.

Day 83:
I have spent several days in the Chamber of Themis, refamiliarizing myself with the surroundings. Much of my previous time here was spent in a very strange daze, and I hope that I would be able to divine some useful information while clear in my thoughts. My own statue I shall ignore for the time, as it is not the heart of the matter, but rather my own attempt at drawing the favor of the Titaness to this forsaken place. The older work, with its older purpose, is what has drawn me here.

I still find myself mourning the destruction of this chamber, and the feeling does not fade with time. I know it to be a travesty, but further, I know it to be an echo of the heinous acts which brought an end to the Gauntlet of Four Quarters. That the goddess of justice would be so defaced draws anger and indignation from the blackest corners of my soul. I am not a violent magus, but I would certainly see that such a horrible act be punished, even if it were through disgrace of his or her name. If I were more competent at combat magics, it would be my wish to have been there that day to defend this place. As it stands, my strengths call me to other duties; the injustice must be righted, and the key to this chamber is most certainly the statue.

As Constantine assured me, it is well endowed with magics, the nature of which I can only begin to determine. It would appear that the destruction of the room did not progress so far as to leave this once-magnificent creation empty of its power. I think that preliminary investigations of the flows of power should allow some amount of insight into this place.

Day 86:
It would appear that this statue predates the founding of the Order, as it contains many strange theurgical overtones which echo those I recall from the mosaic. The whole of the statue would seem to be a vessel of some sort, perhaps similar to that which briefly contained Hecete, although I cannot be certain, having had very little time to examine that receptacle.

Of course, it is perfectly possible that I am misinterpreting these signs; it is not as if I have spent a season with this statue in my laboratory....

Day 89:
The course of the last few days has been an odd one. Having little direct magical or physical evidence to examine concerning the statue, I have turned to the walls, which obviously once held some clues to the purpose of the chamber. Constantine described them as having been completely destroyed, but it would appear that he did not look carefully enough. I have discerned a pattern in the destruction which would indicate that someone - either before or after whatever cataclysm which spilled into this chamber - wiped clean the walls of their inscriptions in much the same manner that Alexius and I wiped clean the markings on the walls of the Temple to Aphrodite on Crete. The walls were apparently inscribed with something using chisels or other similar, perhaps magical, implements; furthermore, the carvings appear to have gone quite deeply.

The entity which was responsible for this destruction, however, left traces; he was not as thorough as I.

There are very slight depressions in the wall, almost imperceptible, which indicate the shape and depth of at least some of the carvings. I have managed to spend nearly four hours discerning the content of a single square cubit, and that only after many Intéllego Terram magics and several rubbings. It would appear to be Greek of a particularly archaic sort, and it further appears to be an appeal to Themis herself (although she isn't explicitly mentioned in this section) to defend the covenant and its knowledge in future times of need. It would appear that she did, after a fashion.

I shall spend the next day or so attempting to divine the meanings of more of these sections, although I believe that I might get a clearer explanation with some more concentrated mystical investigations. Clio's Remembrances might very well provide some better clues.

Day 90:
I am cut short due to time and lack of progress; it would seem that the section I was able to translate was the most easily discerned of them all, and the destruction is almost certainly complete elsewhere. I shall return at a later date with more impressive tools at my disposal.

Summer 1190: Learning Clio's Remembrances

Day 2:
I spent yesterday working on a missive to Feronia, who is doubtless wondering if her last letter became lost. The letter had been many seasons in the making, as I knew that it needed to be succinct, yet penetrating. Furthermore, since she seemed to avoid my previous queries into the nature of the Chariot Mysteries of which I have heard much, I made certain to draw as many parallels to what I knew of them to her work. Frankly, if Solomon indeed was as creative and knowledgeable as Feronia describes, it is unsurprising that he is generally considered the wisest of kings. His grasp of the Enigma, or at least its periphery, was quite firm, and it would appear from what little I know of him, that he was also a powerful conjurer, adjurer, and abjurer of spirits. She is correct in her assessment of the Bible, it would seem, at least to a point. Perhaps I shall read some of the texts in our library on the subject....

Today, however, I begin my studies of the spell which Tiphys so kindly scribed at the feet of the statue of Clio in the center of the caldera. I must admit, however grudgingly, that I did not expect such skill lay within his frame. Layers of skill and power, conflated.

He might have picked a less open place to scribe the spell, but I suppose that exposure to the weather has never truly hurt anyone that much.

Day 8:
The Terram magics I have used to move the pages of the statue were easier than I thought they would be, augmented, perhaps, by my facility with artwork. Yet another reminder that She has denied me true creation. Not that I need reminders, for she looks over my shoulder as I study at Clio's feet, gazing with her hate-filled eyes upon this wretch that dared challenge her. I am stunned that I have been able to concentrate at all.

Tiphys has surprised me with the formula of the spell. It is nearly as theurgical as it is based in the standard Hermetic Arts, which is unsurprising, given its nature, I suppose. The incantations are very focussed, and evoke the Nine as a whole only once, concentrating instead upon Clio herself and her dominion over all that is known or has been known. Very surprising, yet not unexpected; I would have assumed that Tiphys would have investigated the mosaic in the Chamber of Possible Origins more thoroughly than he apparently did, but his invocations are less complete than I would have suspected.

Perhaps he was working on the assumption that the caster would have the intuitive understanding of the Art of Intéllego that he shows? Difficult to believe, as he is more understanding of the nature of things than that. But why invoke the Nine at all, then? What does he hope to gain for the spell?

Day 24:
It is clear that Tiphys intended the invocation to the Nine to be repeated, although this was unclear until I reached the discussion of the flows of power. Tiphys makes repeated references to "Place" in such a manner that I am not entirely certain to what he refers. I will certainly give this thought; he uses economy of words, it seems, to highlight important aspects of the spell, while he uses riddle and allegory to mask the motifs. I will understand of what he speaks, however, for it is obvious that he intended this description to be sufficient on its own; he left clues to its mastery within the text, waiting for one with understanding to uncover them. Tiphys is brilliant, but I believe myself to be closer to the Enigma than he at the moment, despite his age and experience. I will uncover the meaning.

Day 32:
The ritual itself is coming clear, and study of the incantations, motions, and manipulations proceeds apace. By "Place," it is now clear that Tiphys was referring to that which was all places, yet none, where one might draw forth a connection to the past through invocation of Clio's blessings. It is a clever way to circumvent the limitations of Hermetic magic without exceeding them, and I am duly impressed with his understanding and wisdom. This allows for the spell to transcend Sight range without the Connections, for the actions of the past are themselves interconnected. Furthermore, there are indications that the location chosen for the ritual's enactment is as important, if not moreso, than the topic chosen by the caster's words and mindset.

The nature of the subsequent visions are somewhat unclear, as the control of the tone and tenor seems almost completely based on the initial few minutes of the casting. Certainly, a blind magus who wished to be completely overcome by his magics would have no difficulties, but I shall not play that game. Tiphys is not one to completely let loose his hold on the world, even if that world is subjective and that grip is tenuous. There must be deeper controls which I have yet to understand.

Day 45:
I have completely read through the spell's text without stopping for the first time today, and I believe that my understanding of the spell's mechanics is almost complete enough for a foray into the realm of visions Tiphys describes. The underlying spirit of the spell eludes me. Tiphys is indeed a hard nut to crack. Glimpses at the totality of the control are fleeting, yet palpable. It is his reference to the "Eternity of all" and "All-Time" which are particularly frustrating, since these are often mentioned close in concert with the "Place" and with mention to invocation of a specific prayer - never mentioned - to Clio and her sisters.

An interesting challenge, and a worthy riddle. I shall enjoy this study.

Day 67:
I have memorized all but the most complex of the passages, and I know the meanings behind most of what is to be said, but Tiphys's writing continually alludes to deeper understanding of the meanings which surpass those needed to invoke the powers inherent in the ritual. The same references mock me time and time again, even as I grow in confidence that I can work the magics described herein.

Whatever the result of this season of study, I now know the topics of both of the letters to my currently active correspondents. I have decided that I do not have the time to keep up writing to all of those who responded to my tractatus, and Feronia, certainly, has made me think in a completely different fashion about the Enigma; the others, save Iphigenus, I shall apologize to, and I shall ask if they would be amenable to similar correspondence in the coming years. I think that I can phrase it in such a fashion that I will not offend, perhaps even flatter. In person, I may not have a silver tongue, but given time, I can argue nearly as well as Constantine, or so he says. Perhaps he lied and said this only to mock me, but I think there to have been a kernel of truth to his words.

Day 77:
I am almost finished. My initial aborted castings (aborted since I had no vis and wished not to invoke powers beyond my control out of turn) went flawlessly, and although I still understand less of the spell than I would like, I know that my grasp is greater than that which other magi might glean from these stone pages.

Tiphys's understanding of the Enigma and of the Art of Intéllego is difficult to understand at the best of times, no matter how I have tried to twist my perceptions. Perhaps a season of study of his Intéllego summa might prove worthwhile. I know that I might understand his references better if only I read more of his works.

In the meanwhile, I have decided that I shall draft a final copy of the letter to Feronia, including allusions to some of what I do not understand of Tiphys's outlook, and I shall draft a new letter to Iphigenus based on the theurgical references Tiphys included in Clio's Remembrances. Mayhap they would aid my understanding some.

Day 88:
Eleven days of writing. Feronia's letter was quite simple, especially after many seasons of thought, and I have included it in the pile that shall be collected by the Recap when next he or she arrives. As to the other, it took much longer than I would have hoped, yet turned out much better than I had feared. In these essays on the nature of theurgy, I have decided that I shall write them in the style of the mosaic, in that I shall clearly delineate one facet of my argument and use it to cast a light whereby the shadows of the others are illumined. It took much time to find a reasonable argument to counter the claims that I ignored important counterexamples in my work. While I agree that those examples have merit (indeed I have been forced to include many of them in my models), I would not go so far as to say that they invalidated my theories. Far from it, they verified many of the predictions by offering a glimpse from a new angle, where even more aspects of supernatural entities might be examined. I have discarded a rigid structure in both my theories and my missives, concentrating on a fluid, yet cohesive whole, which describes both a portion of my understanding and a fraction of the forces at work in a being not of the Mundane realm.

These eleven days, although quite useful to my studies overall, have done little to further my understanding of Clio's Remembrances. I shall now take to the library again, I think, in order to investigate the tome that Tiphys entered there. I expect I shall find the answers to my questions within the covers of that text.

That, however, shall wait for some days; part of the reason it took so long scribing my final letter was the cold which had taken hold of me as a result of studying in the inclement weather. It would appear that I was incorrect in my previous understanding; the weather has hurt on occasion. I rest now, on the advice of Milosh, who is only now forgiving himself for what happened to poor Pathos.

I miss Pathos sometimes, as I am certain many of the grogs miss him; he was a good man, and while not the best of soldiers, he was certainly competent and passionate about his cause. He died well.

Autumn 1190: Reading "Questions pondered on a windy day within the caverns of a Magus' mind"

Day 2:
I am recovered from my bout of illness, and I am anxious to read Tiphys's text, as I am certain that I shall gain insight into Clio's Remembrances through his work. I recall Cara Ayesha mentioning that Tiphys's work was unintelligible, mainly due to his obsession with the Enigma and its ramifications on divination magic. With luck, the references which were contained within the stone pages of the tome at Clio's feet shall be found within this quite imposing text. If I am not able to understand his spell with the aid of this monstrous work, then I shall be forced to ask Tiphys himself. Normally, I would not mind so much, but I have a sneaking suspicion that this is a riddle that he has posed to me directly, and it wouldn't do to ask for help; the Enigma is a personal quest, even if it might be someone else's at times.

Day 15:
I am fascinated at the extent of information within these pages. Furthermore, it has become readily apparent that Tiphys used a complex network of numerological interconnections, the keys to which lie within the network of rambling prose. Furthermore, Tiphys has chosen this as something of a vehicle for exploration of his particular understanding of the Enigma. If I am able to puzzle out his code, I am certain that I will learn a great deal both about his references within the written copy of Clio's Remembrances and about the Art of Intéllego, a subject on which Tiphys is eminently qualified to pontificate.

Already, I have learned many interesting lessons on aeromancy and necromancy of which I was previously unaware. It is written in a plodding style which stumbles through obscure references, to be certain, but there can be no mistaking the carefully assembled arguments which lead easily to understanding. I am convinced that Cara Ayesha would learn a great deal faster from this text if she would only read my own. The numerology is clearly delineated, such that even a novice in our House could follow its reasoning.

Ah... the ignorance of the rest of the Order is astounding sometimes. I have hopes for our covenant, however, as the pages of my primer appear more worn with each passing year; they are learning.

Day 23:
I have come to a passage which I am certain is of importance in my quest for information which might lead to mastery of Clio's Remembrances. Within a discussion on the nature of scrying through Arcane Connections, Tiphys digresses into a description of Eternity (not for the first time!), but in this case he expounds on the nature of Time and the distinctions between Time, Space, and the Enigma. I believe that this may serve as the centerpiece of my quest, as it explicitly talks of "All-Time." "Place," of course, has by now become transparent for what it is, what it might be, and what it has been. Tiphys's entire magical framework is centered on Place and its history, which is one of the reasons why his experiences with Clio were so formative. He seems to crave an understanding of place and its past in order to see the future and plan his actions and development. The Enigma is beautiful to him, but in a completely different fashion from my own knowledge thereof. Not the first time that this has happened, of course, but it is interesting nonetheless.

As to my more generally applicable scholarship, I have been progressing well. Tiphys is rather easy to understand in writing, so long as one makes the effort to follow the interconnected thoughts. I have found this text to be a joy to read, even though my wax tablets are full of cross-referenced phrases and allegories. Were I less schooled in the histories and legends of bygone eras, I suppose I would be equally as lost as Cara was in her readings, but as it stands, I have begun to appreciate his cryptic, if eccentric, style.

Day 47:
The descriptions within the spell's formula are becoming clearer and clearer. It would seem that Tiphys might not have completely mastered the spell after all, yet he understood its workings better than I; perhaps better than I shall in many years to come. Regardless, I shall not give up hope so easily. Even as others might understand purely objective truth better when they have no invested subjective viewpoint, so might I understand the magics at work with greater skill than Tiphys, even if he does know the length and breadth of the field of study far better than I.

All-time is a similar construct to All-place, yet it is slightly different, in much the same fashion that Eternity is understandable in its vastness, just as it can be in its very minuteness. All-place and All-time, focussed through the quasi-Hermetic invocation of Clio, circumvents standard Hermetic limitations through echoes of Connections which can be understood in their entirety only through understanding of Eternity, and likewise, the Enigma.

I am not one would would suppose that he might know the ultimate truths of Creation, yet I know that there must be a way to follow this line of thinking to a realistic understanding of the workings of the spell; if this were not the case, than it would be the Divine with which I was dealing, and a saint Tiphys is not. In any case, it is quite possible that Tiphys will provide an understanding of the magics of the spell unknowingly later in this text. It would certainly appear that he has already given more than he would suspect away....

Day 65:
Almost three weeks now, and little more progress on Clio's Remembrances. Instead, I have turned my attentions to the marvelous quantity of Tiphys's collected understanding. He is indeed his pater's filius. I have taken pleasure in rereading sections of the text in order to review the basic concepts which Tiphys explores, and even as I do, I notice small indications of parallels which I otherwise might not have noted. Geometry holds a deep fascination to this magus as well, and he expresses many of his most significant insights with geometric representations of constellations in the zodiac. It amuses me that Tiphys even begins to attempt an explanation of these to the uninitiated, as he obviously simply gave up after two paragraphs, turning instead to the more interesting and palpable applications of translating the effects of one's spells to intelligible words. The numerology here is thicker, if possible, and the progress is slow indeed. I have had to turn many pages to glean insights which might have better been spelled out explicitly, yet even in a fit of irritation, I appreciate that Tiphys understands one of the most fundamental of Criamon's philosophies: knowledge comes only with personal experience and understanding of the Enigma. He is right, of course.

I just wish I could find the key to the spell....

Day 76:
I have decided to finish my studies of Tiphys's text for some time. I have brought to light knowledge which I might not have otherwise understood, even if there are stacks of wax tablets strewn across nearly every inch of my laboratory in a haphazard fashion. I shall spend the next few days copying these insights for future readings, and then I shall ponder my next steps.

Day 85:
I have finished copying my notes, and the contents of each tablet have been carefully checked against the original text to be certain that I made no mistakes. Knowledge comes through care, and lies through carelessness. I am still no closer to an understanding of Clio's spell, and I think that I shall revisit the island in the caldera in order to see if her presence might spur me to insight. One can never be certain.

After perhaps another week of thought, I think that I shall begin my next project. I am certain that I shall be quicker at sculpting statues if I can but mold the stone to my will; such must be my next invention, for only with that might I finish the statues of the senior magi of Domus Trismegistus in a season; more than that would be a waste of my time, I think. I have longer-term goals than simple scribing, and I cannot accomplish them if I am to decorate all of Constantinople for the sake of Iardanus and his sodales.

Day 87:
A small insight, but an important one: Clio is most certainly a reasonable source to draw upon for inspiration, as she is a goddess who specializes in such; furthermore, as half-sister to Hermes, she is certainly not quasi-Hermetic, as I have assumed, but rather, her worship is a perfectly natural extension of the overall magical schema which Bonasagus developed. One must only think on the nature of the Gift and the implications of ambient vis in magical auras to see the connections which must be obvious to even the greenest apprentice.

I know not if I can live this down if this knowledge sees me to mastery over this spell. It was so trivial, so minor, yet so important.

In the meanwhile, I shall try to entertain myself during these last few days with some light reading. I was realizing that the library had a copy of a text called "Musings on the world, astrology and the Old Ones" by Iphigenus, courtesy of Constantine, and I thought I might read through it. Certainly it will give some insight into Iphigenus's theories - his earlier theories, certainly. Perhaps.

Day 90:
If they are not his thoughts, then I know not why he has a reputation for being a Seeker. Indeed, the tone of the text was very much like a Flameau, and much of his points, though salient, draw upon disaster motifs at length. His focus on the cyclical nature of great infernos would seem to suggest an Ignem magus, while it is well known that he comes from the school of destruction. Interesting.

Further interesting is why Iphigenus has not yet become an archmage. It is certainly not through lack of skill, for he is quite renowned. Perhaps I should think on this further, as it might offer some insight into a potential ally. Either way, I am intrigued at the contents of this thin tome. They are well-reasoned arguments for the path of the Seeker, and are further supported by our trips to Clochis to visit Aeetes. I should wonder what he would say if I told him that we knew of a demigod....

As to my further studies on Clio's Remembrances, I am certain that I shall find no more inspiration for now. The stream has run dry, and although I feel I know the spell very well, I have the nagging suspicion that there is something that I am missing. Certainly there are paths to control which surpass that hinted in Tiphys's text. I would know the spell before I cast it, for I will take no chances where the Muses are concerned. The ramifications should I fail....

Winter 1190: Fashioning the Knife of Molding the Stone of Sculptor's Toil

Day 2:
I have decided that I shall put my skill to the test in the crafting of yet another magic item, although this shall be a lesser enchanted item, rather than one such as the chariot. Knowledge comes from strange quarters, and I feel that if I but take my time, I shall understand Tiphys's spell; further, with the coming of this season, I shall have the vis to complete it, yet I know that it would be folly to try without more time.

Instead, I have turned my thoughts to how I might find a gift sufficient for my entry into the libraries of Constantinople. I have settled on statues, and Alexius has said that he shall be able to provide me with the stones I requested by the end of Spring, yet I know that I shall be a year in their crafting if I do not determine some magic with which I might speed the process.

Thus, I have turned to my lab. I have sketched out initial plans for a knife with which I might quicker shape the stone I carve. It shall be a small effect, as these go: only second magnitude. Thus, I shall only need to use one pawn of Terram vis, which shall be more than recouped by my vis selection at the Winter Council. The knife shall constantly change any stone which it might touch (and some amount of stone around where the blade has touched) to the consistency of clay for up to a diameter after the blade has been removed. I think that, if I have the time, I shall also make the consistency vary with the duration and proximity of the blade's touch. Certainly a great boon for sculpting, as it would allow for rapid finishing (and modification!) of the last, most detailed aspects of a sculpture.

Indeed, I think that this is a worthy goal to pursue this season. With its completion, I shall be able to accelerate my sculpting quite a great deal. On occasion I wonder why the ancient Greeks and Romans were such accomplished sculptors, and then I recall that they had the Order of Mercury in their midst....

Day 13:
My initial planning is complete, and I have acquired (with Alexius's help, bless him) an appropriate knife. It is both sturdy and able to be sharpened against steel, which allows for later mundane modifications of the blade's shape, although I would almost certainly accomplish such with magics. The preliminary formulae are prepared, and their implementation should be simple, even considering my relative inexperience with the relevant Arts. Were I to have several years left to my own devices, I would love to simply sit and study so that these magics were pale reflections of my true potentials, yet I have duty which binds me to my work. I must press ahead.

I have prepared samples of many different types of stone, which seemed somewhat annoying to Alexius, who mumbled something about "odd requests" and left me to my work. I should think that his master taught him sufficient respect for a magus's techniques that such requests would not be particularly taxing. I sometimes wonder about his devotion to the Arts over devotion to gold.

My initial formulae suggested several obvious spontaneous spells which I proceeded to cast on the stones. With the information I have gathered from these samples, I am certain that I can refine the enchantment's formulae to the point where it will take less than I month to instill the effect. Of course, there will undoubtedly be some amount of time spent realigning some of the most difficult magics, and the enchament itself is to be opened with Terram vis, so it shall be a little trickier than before, when I needed no such preparations. Tomorrow I open the knife and instill the magic. Over the next week, while I am still shaping the gross manifestations, I shall refine the theories and impress them.

Day 35:
Matters have proceeded apace. The knife was opened, and the pawn of Terram vis instilled. I have completed the formulae, and I have been following their course to create their effect. It is not particularly taxing, so I have even managed to spend some amount of time in contemplation of my correspondence. I have taken notes, of course, on wax tablets, although I am running short on space, so I may need to curtail my letter-writing while I consolidate my laboratory notes.

Day 46:
The enchantment is close to where I would like it to eventually be. I have been attempting to make certain that the grain of the stone is unchanged after the item's power is used, and although I know this to be possible, even probable with the formulae I have designed, it is not working as easily as I would like it. It seems to want to make the stone move as if it were the consistency of clay at all times, and however useful this might be, it makes the stone seem unnatural. At the very worst, I shall attempt to make it move the natural patterns into a pleasing shape. I would have it seem normal, but I fear that Polyhymnia shall deny me this boon.

Day 54:
My fears seem justified. The magics are working well - too well, in fact. The stone turns to the consistency of clay slowly over the course of a diameter, such that it will maintain this consistency for the next diameter, and the softest the stone becomes is limited to that of the most easily molded clay. Unfortunately, it will then take on the appearance of stone which has been modified in an unnatural fashion, although I suspect that few would notice besides those most familiar with stone: the sculptor, the miner, and the stonemason.

I shall have to bend my efforts instead to making certain the pattern of swirls is pleasing to the eye. Even this small device is denied by Her simple perfection. Would I be in her favor again....

Day 72:
It is finished, and though I know it shall be quite useful, it shall be yet another reminder of my failures. She has marred it, though my sodales will doubtless complement my aesthetic touch as if it were my choice.

I turn now back to the issue of Clio's Remembrances. I am certain I can know its deepest intricacies....

Day 78:
My efforts have been to no avail. Even as I think on the formula of the ritual, I find myself caught in a spiral, caught between Tiphys's clever circumvention of Hermetic limitations and the Enigma, which none may know completely. Must I cast my fate to the winds when I begin my incantations? If such is my fate, I shall embrace it as Constantine certainly would. But there must be a way.

Bah. I have not made any progress on this in the last few weeks that I have pondered it. I must find some other mental exercise. Perhaps the Book of Nemesis. I believe that Theristes mentioned that it had been found in Ianus's sanctum after his departure. I have often wondered what it might contain.

Day 85:
I have read the entirety of this tome, and I must admit that it is interesting. Perhaps the work of a pagan who thought himself a Christian. Who knows? Whatever the source, it is most entertaining. The riddles it presents are many-faceted: the Unicorn, the Dragon, and Man. Further, the juxtaposition of many different mythologies, both Greek, Judaic, and arcane unknowns: what might this entail? Is a message meant to be delivered, and if so, what?

These are all questions I know I can understand with time. Perhaps even before the seasons change.

Day 89:
The Book of Nemesis has become clear, and, ironically enough, so has Clio's Remembrances. Trust in the powers unknown to Man, unburdened by flaws, is what must carry us through the darkest hour when we cannot know our course a-certain. This was what I missed in my understanding of Tiphys's explanations. Despite his logical façade, he has faith: faith in his intuition, faith in his powers, and faith in the powers he calls to guide him and his visions. He has cast his lot, and it would appear that he is correct, for the spell has served him well. While I know that I can trust my powers and my knowledge so far as they do not extend into Her domain, can I truly believe that Clio shall not rebuke me for calling upon her guidance? Did not Polyhymnia say that I would not know the hand of her sisters in my works?

This is a test which I never thought I would put to myself; can I trust myself to Clio and to Tiphys? Or shall She intervene?

Game mechanics of this effect

MuTe 10 Knife of Molding the Stone of Sculptor's Toil
Range: Touch
Duration: Diameter (constant)
Target: Small (special)

Stentor placed this effect in a small molding knife as a lesser enchantment. It will cause any stone which the knife touches to gradually change so that is consistency is much like that of clay. The longer the blade touches the stone, the more easily molded that stone becomes, until it begins to shift with gravity as the softest clay does, at the two minute mark; the stone will become no more pliable than this. After the blade is removed from the stone, it will slowly regain its former rigidity, until it is as its former self after a full diameter has elapsed since the blade was touching it.

Only the stone immediately in contact with the blade and attached stone within a handspan will be affected at any one point, although the knife can be used as often as is required, as the enchantment is always in effect.

Stentor's sigil has manifested so that the natural patterns in the rock will change with the knife's use, swirling in pleasing shapes which are made more intricate with extensive use of the power, although they are not particularly noticeable as strange to the untrained or unaware observer. The natural patterns will never completely fade, even with repeated use of the knife, simply realigning into a new shape with each use.