The Ilyan Cloud is a Loenthran airship. It was sent by Queen Cadhla Loenthra to open trade between House Loenthra and Western Elanith, especially the Turamzzyrian Empire. The ship arrived unannounced in Solhaven on Lormesta 16, 5099 (January 16, 1999) bearing a variety of wares, some two dozen merchants and a dozen ship's crew, including Calum, Danae, Detilerus, Eiladar, Mangus, Mystickal, Ophelya, Pathia, Puffen, Ritue, Syphon, Urnlas, and Xarascribe. It returned in 5102, once again bearing wares and merchants.
The Lormesta 5099 voyage of the Ilyan Cloud delivered the first shipment of musical instruments to the Western side of the DragonSpine. The ship's bardess Eiladar furnished a customized instrument for each bard that visited the ship during its visit.
Queen Cadhla Loenthra was the initiator of the Cloud's first trip to the West. The public reason the elves gave for this visit was that they desired free and open trade. And while this was, in fact, quite true - Queen Cadhla is a skilled and shrewd tradeswoman who has never considered a market she didn't want to master - a second more covert reason for the visit was to evaluate whether the growing human population might someday pose a threat to the elven kingdoms on the eastern side of the mountains. The Cloud, being a privately owned merchant vessel, was deemed a good choice for this reconnoiter. Captain Calum himself had served in the Loenthran military in his younger years and was reputed to still occasionally spy on his Queen's behalf. Some number of the ship's merchants were undoubtedly in the Queen's employ as well.
Whatever her spies reported back to her, Queen Cadhla was satisfied that it was safe for her people to continue visiting the west, and additional skyships continued to visit over over the next few years. Three years after the Cloud's first visit to Solhaven, Queen Cadhla, along with her son-in-law King Eamon of House Ardenai, were instrumental in convincing the other elven leaders that opening their borders to foreign visitors would be a safe and financially lucrative endeavor. In particular, opening the route into the east would not have been possible without Queen Myasara's cooperation and support, since travelers must venture into Illistim lands upon exiting the dwarven stronghold within the DragonSpine.
Ship's Name: The Ilyan Cloud was named after a Loenthran merchant family's surname, Ilya. The Ilya family built the ship and at some later point in time was acquired by Calum Gaothaire. "The Cloud" is its commonly used nickname.
Ship's Captain and Owner: Captain Calum Gaothaire
Ship's Wayfinder: Mangus the Wayfinder
Ship's Crew: The ship's crew and her resident merchants referred to themselves as "Ilyaners".
Structure and flight: According to an airship model found in Museum Alerreth, the hull is plated with veniom, and the ship has common Loenthran design elements including large masts, multi-part sails, and wide decks. It is based on an earlier Illistimi design. Airships, also known as skyships, are navigated by Wayfinders using a combination of telepathic ability and physical instruments in place of a helm or rudder. The navigation skill itself is called "Brou Setche" by the elves, and is a learned skill that requires lengthy training.
The following contains excerpts of art on display at the Ilyan Cloud on a later voyage in 5102. The log also captures unique detail and dahcres carved into the ship's woodwork itself, dating from the original 5099 voyage. The elves believe the dahcres bring good fortune to skyships and their crews, and finding charmingly placed dahcres carved in discreet places is not uncommon on elven airships.
[Ilyan Cloud, Foreward Cabin] A large leather chair rests here, a small table bolted to the floor beside it. Several small hanging oil lamps provide ample lighting. A small stove stands nearby, undoubtedly for removing the chill from the room when travelling through colder climes. You also see a large silken tapestry and a small spiral stair descending into the depths of the hold. Obvious exits: south. >l tapestry The tapestry is exquisitely wrought of fine, brightly dyed silk, and edged in pure golden threads. A young man with dancing blue eyes stares out at you, his sungold blonde hair sparkling against the dark amethyst background. His clothes, while finely made, are audaciously exaggerated, and his cloak appears to be a patchwork woven of a hundred different brightly colored scraps. Fine golden lettering has been carefully stitched across the bottom of the work. There appears to be something written on it. >read tap It reads: ~*~ Cholen, Patron God of House Loenthra ~*~ [Ilyan Cloud, Chamber of Night] The chamber is filled with soft, golden light from hundreds of candles flickering within the chandeliers hanging from the peak of the arched ceiling. On the far wall, the long expanse of a linen curtain conceals a room beyond, it presence barely glimpsed through the sheer fabric. Tall doors painted with murals of a forest scene stand in regal attendance like stately guardsmen, and a commanding painting adorns the north wall. You also see a large painting. Obvious exits: down. >l painting The only word for this painting is torrid, with its violent splashes of color and movement that threatens to break from the boundaries of the canvas and overtake the whole chamber. The color is resplendent, sending symphonies of light and shadow into vortexes of convolving violence. The painter of such a maelstrom of emoting is doubtlessly that master of pigment, J. M. W. Turnerly, and this work is unmistakably a titan of the Romantic ideal. Two figures completely dominate the windswept bedchamber, draperies and bed linens flapping in the gale like wanton spirits. The candle light flickers and dances, adding to the volatile vista. A monumental female figure reclines against the colossal bed, her flesh-tones vibrant and fulgent. A thin white shift barely covers her body, its folds contrasted with a filmy black chemise. The lady's arms are outstretched, and in the palm of one hand glitters a few coins of gold. Opposite her towers the figure of a man, his bronzed skin revealed beneath a long, pleated white tunic. His bulging muscles look nigh to bursting through the tunic, and as he glances out of the painting, his almond-shaped eyes radiate his desire through slitted pupils. The man's tunic is remarkable. While painted in shades of white, the checkered-pattern glimpsed in the folds of the pleats creates an amazingly industrious design. The contrasting plaid of his breeches is also an interesting element, as are the array of diamond rings upon all of his fingers and the leviathan diamond bracelet upon his wrist. As he lunges toward the female figure, a sparkling bottle of oil is held, clutched in his hand as if destiny itself depends upon its delivery. He thrusts the bottle toward his counter-part, and at the same time reaches desperately toward the gold held invitingly in her dewy hand. A plaque at the bottom of the painting is engraved in elegant elven calligraphy, stating the title of the painting to be 'The Temptation of Lorminstra by Luukos'. [Ilyan Cloud, Spiral Gallery] The stairwell widens, as the spiral stair reaches its culmination. An elaborate chandelier hangs from the pitch of the arched ceiling, its crystal branches formed to resemble branches and vines. A flight of wide steps leads into a chamber, where large, leather sitting chairs can be glimpsed. A set of tall double doors are thrown open, admitting entrance, and opposite the doors, a painting basks in the illumination from other chandeliers hanging in the room beyond, as regal as the one above. You also see a large painting and a flight of steps. Obvious exits: down. >l painting Created by Franchesca Goyaryl, the painting can reliably be attributed to her later, more robust Enlightenment period. This painter was known for her bold colors, innovative composition and striking overall treatment of light and shadow, making her unreservedly the only artist of that era who may be called a true genius. A figure sits in the darkened fastness of an austere chamber, his haggard visage illuminated by the sputtering flame of a single candle. His expression reveals an age-old weariness, which is likewise reflected in the stooped posture of his shoulders. The man sits perched behind a sturdy, wooden table, its top seared and blackened. A cloud of fog, or perhaps smoke drifts about his form like an unbidden visitor. The dark cloak draped around his shoulders almost looks as if it is smoldering, and his absence of eyebrows and the fizzled tufts of black hair framing his face underscore the impression of catastrophe just elapsed. His hands, lying loosely on the table before him, are long-fingered and expressive with their blackened tips. They are turned slightly toward you, as if in a gesture that intimates 'why me?' The painting's ambiance on a whole is sorrowful and evocative, as though this man has been burdened with the cares of the world. That, or perhaps the fundamental ennui of a never-ending fire that has gone abjectly awry. Yes, it was undoubtedly a simple fire -- a simple fire painted by a simple mind. Fires burn, and this one apparently did just that. Danged fire! A plaque at the bottom of the painting is engraved in elegant elven calligraphy, stating the title of the painting to be 'Fash'lo'nae Ponders the Folly of Simple Gifts'. [Ilyan Cloud, Spiral Gallery] As the steps curve up, irregular shadows are cast upon them, reflecting from braziers hung on the walls. The amber-shaded lights give the stairwell a warm glow, and colors from a painting hung on the outside wall breath life into the illumination. A plush wool carpet runner climbs along the enter of the steps, woven with patterns of forest, fanciful creatures and elven heraldry. You also see a large painting and a spiral stair. Obvious exits: down. >l painting Jon Bardic Corporal, perhaps one of the most consummate virtuoso Ta'Ardenai produced, has created in this painting a stirring balance between realism and internal vision. If a single word could describe the quality of light and dramatic contrariety within the borders of the canvas, it would have to be 'honestly!' An imposing central figure dominates the composition, juxtaposed with the horizontal drama produced by a group of forms kneeling around him on all sides. The chamber forming the background is evocative and dark, lit by the chiaroscuro of candles in elaborate sconces set among the crowd. All in the prostrate group are posed upon hands and knees, and they are shown garbed in rough, brown robes tied with humble ropes, a stark contrast to the rich fabric composing the standing figure's short blue tunic. This man is quite muscular, as well as pleasing of feature. He is rendered with shoulder-length brown hair framing an expression of aloof disdain. His arms are crossed loosely before him, and in one hand he holds a curious paddle-shaped implement of unknown function. However, by its conformation, one might suppose it to be a weapon of some sort. It is decorated with a pattern of stripes and archaic symbols along its long, flat length. A plaque at the bottom of the painting is engraved in elegant elven calligraphy, stating the title of the painting to be 'Kai Addresses His Noble Supplicants', however a sub-title is added beneath the larger heading. It reads, 'THANK You M'lord, May I Have Another?' [Ilyan Cloud, Spiral Gallery] Overhead, the ceiling of the stairwell is high, carried on the shoulders of graceful arches of polished wood. The walls are covered with elegant panels of linen, woven sheer and billowing gently in a slight updraft. A large painting is placed on the outside wall, where it levels off between two of the beam ribs. It throws color onto the ivory panels and light wood steps, its vivid tones harmonizing with the rich blue, red and gold tones woven into the carpet runner adorning the stairs. You also see a large painting and a spiral stair. Obvious exits: down. >l painting To whom this stunning painting can be attributed is uncertain, however the bold style and masterful composition suggest the work is by the hand of the Great and Powerful Daveed of Taz. (Of course, the existence and exact location of Taz is still debated, however evidence suggests that it does indeed lie at the nether extremity of an arc of prismatic colors appearing in the heavens opposite the sun. Three figures surround an open fire-pit, their attention intent upon an additional form posed horizontally, tied to a spit over the fire-pit's flame. The three -- obviously Faendryl judging by their elaborate and fanciful apparel, and exotic features -- appear to be in an animated discussion. The elf on the left winces, his face contorted beneath a receding forehead surrounded by a lively fringe of red hair. In the center, the Faendyl's visage is wrinkled into a closed-eye grimace. He is rendered with a nearly bald pate, and his face is strangely full-fleshed for that race. On the right, the remaining elf is depicted with a shock of black hair, cut bluntly in a style often termed a 'soup-bowl' arrangement. His hand is raised, almost aggressively poised with two fingers extended toward his neighbor. Perhaps the artist is giving his audience a glimpse into a form of archaic Faendryl mannerism, now lost to scholars and students of this ancient race. The figure in the foreground watches the Faendryl from his toasty perch, his halfling features suggesting either horror or perhaps incredulity or even disgust. However, the answer to that philosophical question must remain a mystery. A plaque at the bottom of the painting is engraved in elegant elven calligraphy, stating the title of the painting to be 'Faendryl Ambassadors Seek Allies Against the Ur-Daemon Threat'. [Ilyan Cloud, Spiral Gallery] The stair winds up in an elongated curve, its banisters ornately carved and its steps carpeted with a thick carpet runner. Where the wall flattens a bit on the far side of the turn, a large painting is hung, lit by crystal sconces attached on either side of it. From downstairs, the muted sounds of conversation and the delicious smell of food drifts up the stairwell. You also see a large painting and a spiral stair. Obvious exits: down. >l painting Possibly the finest representative of the classical period of elven art, Jean Dominick Yngrys painted with both brilliance and ease. This example of his work is nothing short of a masterwork, with its paradox of classical associations combined with personal responses and rhythmic structure. Two figures are set within the melancholy shadows of a dimly lit bedchamber. They face each other, leaving the man in the foreground turned away from the painting's audience. Over his left shoulder, a voluptuous elven woman cowers against a bed, half lost in deep shadow and with one hand out-stretched, as if to ward off the menace reflected in her horrified expression. The man's anonymity underscores the ominous nature of his presence. The male figure appears to be slight, although he is mostly concealed within a voluminous grey cloak. The garment reveals little about him other than his unruly shock of black hair. The hilt of a dagger can be glimpsed protruding from the cloak's folds, held in the man's left hand. The immediacy and suspended violence of the painting is sharply contrasted by one element in the upper right corner of the canvas. There, a mirror is positioned, and upon its face, the viewer is given a glimpse of the figure's visage. He smiles at himself, an admiring expression curving up his well-shaped lips. His right hand is also revealed, poised in the act of arranging a stray curl at his temple. A plaque at the bottom of the painting is engraved in elegant elven calligraphy, stating the title of the painting to be 'Assignation With An Assassin', however a sub-title is added beneath the larger heading. It reads, 'You're So Vain, I'll Bet You Think This Painting Is About You.' [Ilyan Cloud, Salon] Light suffuses the chamber, shining from a row of crystal chandeliers hanging over large, ornate rugs scattered across the wood floor. A large canvas covers the eastern wall, facing a circular staircase on the west, and a brace of tall armoires flank the painting. The staircase is made of highly polished wood, its elegant curve sweeping up from the floor in ornate majesty. You also see a spiral stair and a large painting. Obvious exits: northwest. >l painting The vast canvas is obviously a work by the finest of the Illistim Rococoa artists, Jeanlyr Fragonardyr, who painted with a masterful and fluid breadth and spontaneity. His figures move with a floating grace that also links him with the vibrancy and immediacy of the earlier Banale Academie. Set in the midst of a pastoral glade, three figures form a triangular composition -- two nymphs flee a pursuer, through flowers, trees and shrubbery portrayed in profuse detail. The female nymphs are idealized and beautiful, draped in wispy veils that reveal the vibrant tones of flesh for which the Rococo period is revered. The male figure following them is likewise idealized, however he is shown wearing a toga-like garment and a gold crown. Behind him trails his mane of flowing grey hair, which matches his dignified carriage, albeit his headlong plunge after the virginal nymphs adds an element of strain that creates a striking juxtaposition within such peaceful surroundings. The chubby flesh of the chasing, toga-clad halfling is rendered as resplendently as that of the ladies. A plaque at the bottom of the painting is engraved in elegant elven calligraphy, stating the title of the painting to be 'Koar's Magnanimity Revealed to the Early Races'. [Ilyan Cloud, Salon] The expansive salon is furnished with groupings of generous, leather-covered chairs to either side of a long banquet table, where a veritable feast is laid, giving off mouth-watering aromas that fill the chamber. On the far wall hangs a massive painting, and the wide, indigo sky and vibrant colors within the canvas dominate the light hues elsewhere in the room. Crystal chandeliers throw off a soft light from hundreds of flickering candles set within their elaborate garniture. You also see a large painting. Obvious exits: south, southeast. > l painting This is obviously a marvelous example of the Mannequinisic painter Correggialli, with its elevated, ideal conception of man -- or in this case woman, at the heart of society. A phenomenally gifted artist, his grasp of illusionistic perspective and vast, luminous space filled with monumental figures was unparalleled. In this work, a tall, striking woman is lit with pronounced sfumato, and exhibits a striking sense of color and texture, producing an effect of exquisite voluptuousness. Certainly this is an energetic being of flesh and blood rather than some disembodied spirit, an effect characteristic of earlier artists of that time. The central, female figure stands proudly in a large chamber, notable for its strong contracts in white and black. Drapery, furnishings and floor all are starkly portrayed, the checker-board of the floor tiles giving the woman a sense that she seems to frankly delight in the surrounding absence of color. Even her long white gown, which sweeps down in dramatic folds, is offset by the deep black over-dress covering it. A luxurious fur cloak falls from her shoulders to the ground, rendered in ermine's distinctive silvery white tufted with black. Her features are strikingly beautiful, of which her strong, enviable cheek-bones are the crowning glory. Her hair is puzzling though -- the artist has painted half of it pure white, while the opposite side is shown as jet black. Also curious, is the fact that Correggialli has placed his monumental figure in the midst of a large number of small animals, which lay, scamper and stand around the lady's feet. They are shown as juveniles, and what meaning the small dogs represent is debatable. They are, similar to most everything else in the painting, portrayed as white with black spots. There must be over a hundred of them! A plaque at the bottom of the painting is engraved in elegant elven calligraphy, stating the title of the painting to be 'Lorminstra Contemplates the Nobility of Fashion'. [Ilyan Cloud, SilverMist Deck] The delicate silver filigree trails through the dark wood like sparkling tendrils of mist, occasionally coalescing into recognizable shapes. A high arch cuts into the wall, and a steady stream of people flow beneath it, in and out of the mysterious, dark room on the far side. You also see an arch. Obvious exits: south, east. >l arch You see a glyph-like mark on the arch: O (*) o < > o (*) O "Spiritlight" is written below the mark in small, light writing. [Ilyan Cloud, SilverMist Deck] Twin tapestries hang on either side of the hold's hallway, facing one another with visages as light as day and dark as night. The glaes lamp overhead flickers incessantly in an endless struggle to keep alight. You also see a bleached pine door. Obvious exits: north, south. >l tap Worked entirely in shades of brown, black and grey silk, the tapestry depicts a dead, lifeless city in the center of a barren wasteland. What appear to be fresh graves dot the landscape, and a tattered flag flutters weakly from the ramparts of the walled city. Although the work itself is good, it is almost childlike in its composition. >l other tap A stylized picture of a bright, vibrant city covers the upper half of the tapestry. Underneath, in a vain but valiant effort at achieving true perspective, the artist has rendered in silk townsfolk of all ages, kneeling in fealty to a crowned woman on a raised dais. From the childlike structure and metaephor the work carries, the artist must surely have been quite young, although the work holds a promise of talent undeveloped. [Ilyan Cloud, SilverMist Deck] A singularly exquisite tapestry hangs on the corridor's mahogany wall, drawing the eyes of passersby. A small crowd has gathered before it, blocking any good view of the piece. You also see a gilded haon door. Obvious exits: north, south. >look tapestry You jostle and elbow your way through the crowd to get a better look at the tapestry. Round time: 3 sec. > You find yourself at the front of the crowd with an unobstructed view of the tapestry. A woman, garbed in deep amethyst and silver, gazes back at you from the silken threads of the masterful work. She is seated in what appears to be a conservatory, with books stacked on shelves and tables around her. Hanging on the wall above her head is the crest of the House Loenthra. At the bottom of the tapestry, there appears to be some finely wrought lettering stitched in silver thread. >read tap ~~~~~~~~~~~~~~~~~~~***~~~~~~~~~~~~~~~~~~~~~~~~ ~*~ Her Majesty Queen Cadhla of Loenthra ~*~ The Fourth Age ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Ilyan Cloud, SilverMist Deck] The dark mahogany panelling in this room provides an elegant touch to the room and serves as a reminder that, though far from home and living the rough life of a sailor, those sailors are still elves. The tapestry on the northern wall attests to the elven love of all things beautiful. You also see a small elegant staircase. Obvious exits: east, west. >l tapestry The tapestry is delicately embroidered in rich, colorful silks. The picture depicts a large, glaes-walled room filled with flowering plants and trees. Shimmering butterflies flit through the leaves. Through the glaes walls, a great forest stretches into the distance, topped by the tall, slim spires of Ta'Loenthra. The work is so realistic, you feel as if you can step right into the room. [Ilyan Cloud, SilverMist Deck] The inlaid mahogany walls flash with the trademark silver filigree seen elsewhere on this deck, but their delicate beauty cannot compare with the stately gilded thanot door which graces this part of the hall. Next to the door, several empty crates are piled precariously one atop the other, and look as though the rocking motion of the ship could send them toppling onto hapless customers at any moment. You also see a gilded thanot door. Obvious exits: north, south. >l door You see a glyph-like mark on the thanot door: /\ ` \ ) /) /_ (_| |_) \./ "The Wyvern" is written below the mark in small, light writing. [Ilyan Cloud, SilverMist Deck] Two pure white beeswax candles stand on either side of the doorway, and slowly dripping candlewax keeps track of the time while the Cloud is put into port. The white ash of the door is carved with leaves and ivy which trail down as if hanging from the top of the doorway. You also see an arched white ash door. Obvious exits: north, south. >l door You see a glyph-like mark on the white ash door: . o O _ / \ \_/ "Happiness" is written below the mark in small, light writing. [Ilyan Cloud, SilverMist Deck] The dark mahogany panelling gives way to a small golden oak door which leads into an adjoining room. A scarlet and gilt tapestry hangs on the opposite wall from the door, and a knot of people have gathered around it, making passage difficult. Obvious exits: north, south. >l tap The image of a breathtakingly lovely elven woman has been woven into the fabric of the tapestry. Her honey colored hair drifts around her like a cloud, her eyes are an endless, deep violet, her skin is alabaster and rose. She is standing on the deck of the Ilyan Cloud itself, as the ship drifts off into a brilliant sunset of fiery scarlet, down to a deep indigo near the base of the tapestry, almost the color of the mysterious woman's eyes. >l door You see a glyph-like mark on the golden oak door: --. .-- \/ ) /\ ( < (==) > )( || "Wellness" is written below the mark in small, light writing. [Ilyan Cloud, SilverMist Deck] Long, flickering shadows dance merrily along the hall as the flood of people pass by. Here and there someone will sidestep an empty crate, or a giantman will duck beneath a hanging oil lamp, but most are so intent on their exploration that they do not notice. You also see a white-washed oak door. Obvious exits: north, south. >l door Quality oak has been lightly white-washed to give it a pale and almost antique presence, then trimmed with bands of scarlet and chartreuse, outlining the deep-set panels. Lettered with a delicate hand, "Enchanted Robes" has been spelled out in painted vines with tiny budding flowers as serifs. [Ilyan Cloud, SilverMist Deck] The oil lamps lighting most of the rest of the hall are absent for a space, along this section. The lack of light has cast the carved maoral door in deep shadow, and the silver filigree that decorates the rest of the hallway is all but invisible here. Obvious exits: north, south. > The crowd pools here, as passersby attempt to gain their bearings in the near-darkness. [Ilyan Cloud, SilverMist Deck] A strangely carved arch leads to a dark room, with mysterious lights flickering faintly beyond. Here, the hall is warm and well-lit with bright oil lamps which sway slightly with the motion of the ship. You also see an arch. Obvious exits: south, west. >l arch You see a glyph-like mark on the arch: O (*) o < > o (*) O "Spiritlight" is written below the mark in small, light writing. [Ilyan Cloud, SilverMist Deck] The polished mahogany panelling is inlaid here with the intricate silver filigree, creating ethereal shapes that flow up the walls and 'round the base of the glaes lamp on the ceiling. You also see a round etched silver door. Obvious exits: north, south. >l door Fancy scrollwork rings the door, containing images of just about every race, creature, and plant known to Elanthia. Dark kohl fills the deeply-etched word in the center of the silver surface and declares "Scroll Scrivener" in simple script. [Ilyan Cloud, SilverMist Deck] The polished mahogany panelling is inlaid here with the intricate silver filigree, creating ethereal shapes that flow up the walls and 'round the base of the glaes lamp on the ceiling. You also see a round etched silver door. Obvious exits: north, south. >l door Fancy scrollwork rings the door, containing images of just about every race, creature, and plant known to Elanthia. Dark kohl fills the deeply-etched word in the center of the silver surface and declares "Scroll Scrivener" in simple script. [Ilyan Cloud, SilverMist Deck] Twin tapestries hang on either side of the hold's hallway, facing one another with visages as light as day and dark as night. The glaes lamp overhead flickers incessantly in an endless struggle to keep alight. You also see a bleached pine door. Obvious exits: north, south. >l tapestry Worked entirely in shades of brown, black and grey silk, the tapestry depicts a dead, lifeless city in the center of a barren wasteland. What appear to be fresh graves dot the landscape, and a tattered flag flutters weakly from the ramparts of the walled city. Although the work itself is good, it is almost childlike in its composition. >l other tapestry A stylized picture of a bright, vibrant city covers the upper half of the tapestry. Underneath, in a vain but valiant effort at achieving true perspective, the artist has rendered in silk townsfolk of all ages, kneeling in fealty to a crowned woman on a raised dais. From the childlike structure and metaphor the work carries, the artist must surely have been quite young, although the work holds a promise of talent undeveloped. >l door You see a glyph-like mark on the pine door: . o O _ / \ \_/ "Happiness" is written below the mark in small, light writing. [Ilyan Cloud, SilverMist Deck] The corridor continues on, its elegant mahogany walls washed in pale golden light from the small glaes lamps suspended above. The silvery marks embedded into the panelling march onwards, telling a story one may only guess at. You also see a narrow fel door. Obvious exits: north, south. >l door You see a glyph-like mark on the fel door: ______ |%\ ~@| |\%\ ~| | >%\ | \%^%\/ \_\/ "Mystic Shield" is written below the mark in small, light writing. [Sunset Deck] An elegant ladder hangs from one wall, each of the wooden rungs hand-carved and trimmed with gleaming brass. Just below the ladder is a plaque. You also see some stacked brass-bound barrels, a brass-trimmed cherry wood door and an elegant maoral door. Obvious exits: north, south. >read plaque It reads: "May the Ilyan Cloud always climb" [Sunset Deck] Suspended from one wall is an antique mariner's compass. The device is missing several of the pieces, most importantly its needle. A tiny placard is embedded into the wood of the compass. You also see an ornate silver door, a gilded mahogany door and a brass-trimmed chestnut door. Obvious exits: north, south. >read placard It reads: Etched into the placard are the words, "There is no wrong direction when you are among friends." [Ilyan Cloud, Amoriand's Armory] Several neatly stocked free-standing brass racks line two adjoining walls of this elegantly designed room. On one wall, three paintings are arranged in a semi-circle surrounding a vaalorn falchion with an emerald blazestar imbedded in the hilt. An expensive woven rug covers the polished haon floor with an ornate carved maoral table set in the middle. Obvious exits: east, out. >l painting This priceless painting depicts a battle scene between an elven army and a staggering band of orcs. >l other painting A wizened elf sorcerer dressed in luxurious robes raises a long modwir staff towards a lightning filled sky in this valuable work of art. l third painting >Riding on the back of a rearing chestnut steed, a lone elf warrior carries a banner bearing the crest of Ta'Vaalor. [Ilyan Cloud, Amoriand's Armory] An enormous solid oak cabinet lines one entire wall, almost touching the ceiling. Brass racks of various sizes and shapes are neatly arranged throughout the room. A breathtaking painting of a solitary elven female is displayed proudly in an ornate gilded frame. Obvious exits: west. >l painting This refined elven woman is dressed in lavish silk clothing adorned with dozens of precious jewels, yet she wears an eerily melancholy expression on her face.