Theological Dispute (1200 words)

[TheDustyZebra]

Wouldn't a cross between a milestone and a landmark be a landstone?

I didn't have any trouble with "halt", but I do have a working knowledge of archaic vocabulary, so it's possible that I just didn't realize it wasn't well-known. I did pause for a second when it was transmuted to "lamebrained" ... err, "lame of mind" or whatever that was, but it made sense in context.

 

[Vertigo]

I'll also have to make it clearer that Annzgar himself is all very laid back about the issue -- he's actually not all that bothered, he's just arguing to irritate Todvulf.

I definitely got that feeling as it is TJ, it felt to me that Annzgar was needling Todvulf was mostly because he thoroughly enjoyed doing it, which is why I wandered if the use of halt was intended to be a reference to Todvulf's limp.

As I said I don't read a lot of fantasy and most of that is not the style that would use period language. So I think it is just unfamiliarity with that style. And actually I do like that style here; it seemed appropriate for a bunch of senior clerics.

 

[David Evil Overlord]

* The main characters like Chais and her mother actually won't be that concerned, though, not least as the fresco is only about twelve or so years old so the artist could simply be brought back to repaint it.

You might want to research that again, Your Honour. The guides at Pompeii insisted a fresco must be painted while the plaster is still wet, and repainting wasn't possible.

If that's correct, maybe your characters don't know that (unless they're fresco painters), so they assume repainting is possible and don't react too badly until they discover the damage is permanent.

 

[The Judge]

Thanks for the warning David, but in fact there are three different way of painting frescoes. The most long-lasting is the wet plaster way, but there's also painting on dry plaster, which produces better colours for some pigments, but seems to be less durable (and, I'm hoping, more flaky). But either way, if it can't be patched up, it can easily be repainted from scratch. Not that it will be.

Thanks again, everyone, for all the thoughts. It's been tremendously helpful.

 

[David Evil Overlord]

Oh, good. I was hoping I hadn't ruined everything by saying that. I didn't know about the other methods, but then I'm not a fresco painter myself, either...

 

[Ursa major]

Perhaps we should simply be grateful that Annzgar didn't insult anyone by saying they were wall-eyed.

 

[RJM Corbet]

The only thing I miss in this piece is perhaps a better picture of the picture itself, to make it real, otherwise no complaints about your handling of this age-old theological argument, Judge ...

 

[The Judge]

Thanks, RJM. Yes, I thought that might be a problem, but we've seen the picture twice already, through different eyes, so I didn't feel I could justify another description here.

 

[Jo Zebedee]

I kind of took that from it, TJ, that we knew what it looked like already. Plus, I didn't feel it was the central point of the argument, but more of a illustration, so was happy it left me not so precise I couldn't see it as an allegory. I'm not sure that makes any sense. I hope it does.

 

[The Judge]

Yep, I think it does.

 

[Teresa Edgerton]

I had no trouble with "halt." And the closest synonym would be "lame," which would sound, well ... lame ... if you used it.

I like cartouche. I assume that in the context of the story it would be plain what it means. I like that it refers directly to the cartouche on a map, and also has associations with Egyptian cartouches -- which I already knew, and it doesn't distract me as it does Brian. It resonates. Cartouches encircled the names of Egyptian royalty; the pharaoh was both priest and king; they wore cartouches as amulets against evil spirits.

All this comes together (in my mind) to give the cartouches on your maps and sacred paintings suggestions of the mundane, the holy, and the magical, all in one. Of course I may have the wrong idea entirely.

If you have already led readers to understand what the cartouches are, why and how they are used in maps and on this religious painting (and perhaps on others like it), I certainly wouldn't worry because readers trip over the word in a tiny excerpt.

 

[The Judge]

It's strange how some words resonate like that isn't it? A whole gamut of associations in just two syllables.

I hadn't mentioned the cartouche association with real maps as so far we've only seen one (they're actually deemed heretical by the church so to possess one is dangerous) but I've just realised I completely missed the opportunity to raise the issue there, which will add another layer to the scene, as well as some irony. Thanks!

 

[Ursa major]

I'm now thinking of the punishment someone owning a map might receive, and thus also of the map-maker: the Carte-ouch-ographer.

(But I refuse to suffer on my own!)



EDIT: Speaking of which, I've just realised why TJ used the word, halt: it's to let us know that Hugo's there.....

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