Re: Chapter 2.5: Safe [02/01/1925]
After three hours, Tommy, Leo, and Walter returned from the library. After an exhaustive search of multiple sources of records, they managed through Leo's guidance to locate information on a property located in Essex, in an area called the Naze at the edge of the North Sea. The estate has passed from one set of hands to another over the years since it was constructed in the 17th century, but some five years ago it was acquired by Edward Gavigan. They are unable to locate any other property owned by Gavigan during that time, however.
Vincent's chosen tome is a leather bound manuscript, slightly damaged with some foxing and occasionally irregularly sized pages. No title or author is given on the cover but a frontispiece identifies it as Ye Booke of Comunicacions with ye Angel Dzyon. The manuscript contains text in archaic English and an unknown set of symbols as well as marginal notes in what appears to be Greek.
This book is a loosely organized collection of what can be described, for lack of a better term, as séances between an unnamed medium and an “angelic spirit” identified in the text as Dzyon (or sometimes as Dzyan). The sessions are supposed to transcribe the wisdom of Cehuti, an archangel (?), and are composed of a mixture of divine pre-history, angelic law and magic, confounding cabalistic discussions, and suggestive discussions of how certain humans may be elevated to divinity. The papers that form the text seem to have been collected and organized along specific themes and not chronologically. Some of the portions in the non-English symbols appear to be written contemporaneously with the regular writing but not in the same hand. The work itself is confused and sometimes self contradictory. While portions of the English text seem to be translations of the two types of ciphers used, other portions are left untranslated. Certain sections, particularly those dealing with incantations, are heavily annotated in Greek.
Rosalie picks up a large vellum manuscript bound in brass-capped leather. The interior of the work (entitled Liber Ivonis) is in illuminated Latin, accompanied by copious marginal illustrations, miniatures, and decorated initials (most of which seem to consist of a rather fanciful toad or frog). The manuscript binding is in fair condition—some of the brass fittings have been lost, the inside cover has been gouged repeatedly (apparently to remove a book plate, the scraps of which remain, but are totally illegible), and there are recent small scorch marks on the rear cover. The manuscript interior is in excellent condition. The artwork within depicts many strange scenes, some of which are rather disturbing and unlike those found in a typical medieval work. Based on her experience studying old manuscripts, Rosalie can date the manuscript to the early 13th century, most likely the Sicilian Court of Frederick II. The cover is more recent, probably dating from the early 16th century.
This work is a grimoire allegedly written by the magician Ivon “of Hyperborea.” It serves as both a grimoire and to provide an autobiographical account of the author’s life, from his time as an apprentice to his departure from Hyperborea. Ivon, after his apprenticeship, journeyed about “Hyperborea” encountering many strange beings and individuals (some of whom he traveled with for a time). Most importantly, he pledged his service to some sort of batrachian being of great power (Xatogua—“he who sleeps and is served by crawling shadows”) in exchange for the being’s vast magical knowledge. Beyond Ivon’s tutelage under this strange furry being, there are also discussions of astronomy, astrology, protective magical signs, and a lengthy passage about a dragon of some sort that laid waste to much of “Hyperborea.” The work concludes with a discussion of Ivon’s flight from this kingdom due to some sort of religious conflict as well some commentary about his apprentice (apparently written by said apprentice). The frequent illuminations of the tome often depict the disturbing topics contained within in a shocking manner. The artistic style is somehow more representational than that typically found in medieval manuscripts, yet contains elements that would almost be described as modernist, if the book did not date from the 13th century; certain stylistic elements suggest the artist was trained in the Persian Miniature school. The combined effect of the unsettling illustrations with the bizarre text is an undoubtedly disturbing one.
OOC:
Greater research into these books will take longer than the time that you have to sort of skim the tomes.
15:40, Today: The Keeper, on behalf of Rosalie Elias, rolled 41 using 1d100 with rolls of 41. History 71%. (Just to give you some advanced information on the book, already included in the paragraphs)
This message was last edited by the GM at 18:22, Wed 05 July 2017.