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Ao3 version that lets you open the 'director's cut' where I, the author, explain every detail in excruciating detail to you and what it is in reference to.

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in the finised afreakae. straight up "readding it". and by "it", haha, well. let's justr say. Hold on i'm not feelign too good im gonna go get a glass of wat

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pentiment gerndreas yuri. do you see the vision

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If there was a camera back then…

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omg hi

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andreas

Image description by @anistarrose: digital art of Andreas Maler from Pentiment, as he appears in the first act. He's seated with his hands on his knees, and with a slight smile. The background is zoomed-in on a manuscript, featuring an illustration of a cow in a field, and some cut-off Latin text. End description.

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The darkness always ends, Magdalene. We must remember that.

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A big thanks to you and your team for making Pentiment, it's an amazing game and it'll be with me for a long time I think, especially the personal and emotional character writing.

I'm curious about what was the inspiration behind, and creative motivation for including, the motif of the labyrinth. The church's painting of the Virgin Mary with the labyrinth seems striking in particular, especially because I don't remember ever coming across a strong association with labyrinths in Christian imagery.

Thank you. I'm glad it was so impactful.

Labyrinths have a long association with Christianity going back to the 4th century, when one was placed in a cathedral in Chlef (now in Algeria). This is known as the St. Reparata or St. Reparatus Labyrinth.

The Chartres Labyrinth was built around 1200.

Christian labyrinths are meant to be walked while contemplating. The path twists and turns, but there is only one way to go. They also all clearly take inspiration from labyrinths of the classical world even if their purpose and origins are effectively lost to those who see them.

As Beatrice says to Andreas (paraphrased), the foundations of our memories become buried and invisible. And she is paraphrasing and abbreviating Plato speaking to Solon in Timaeus,

whatever happened either in your country or in ours, or in any other region of which we are informed-if there were any actions noble or great or in any other way remarkable, they have all been written down by us of old, and are preserved in our temples. Whereas just when you and other nations are beginning to be provided with letters and the other requisites of civilized life, after the usual interval, the stream from heaven, like a pestilence, comes pouring down, and leaves only those of you who are destitute of letters and education; and so you have to begin all over again like children, and know nothing of what happened in ancient times, either among us or among yourselves. As for those genealogies of yours which you just now recounted to us, Solon, they are no better than the tales of children. In the first place you remember a single deluge only, but there were many previous ones;

I also wanted the association with the labyrinth from The Name of the Rose, which in turn was inspired by the Reims Labyrinth.

The Reims Labyrinth was constructed in the late 13th century but was destroyed in the 18th century by superstitious priests. It was through the discovery of drawings that modern scholars were able to recreate and project the path of the labyrinth onto the cathedral floor.

The cover of the 1st Italian edition (and therefore, first edition overall) of Il Nome della Rosa prominently incorporated the drawing of the Reims Labyrinth.

Note the map of the Aedificium:

The final lines of The Name of the Rose are:

Stat rosa pristina nomine, nomina nuda tenemus.

The original rose remains only in name, we hold those names stripped.

This refers to a specific object in the story, but more broadly symbolizes historical records, art objects, and other artifacts lost to time. The Reims Labyrinth remains only in drawings, stories, and light projected on the ground where it once stood; the labyrinth itself was destroyed.

Nomen est; res non est. - The name exists; the thing does not.

As a side note, France uses the Reims Labyrinth as its symbol for historical monuments - an important reminder of how fragile their existence can be.

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wheels of fortune

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got u

MUAH <3 <3

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the beauty of pentiment

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PATRON: I wish to commission a painting of Saint Sebastian's martyrdom. Would you be able to start soon?

ANDREAS:

Yes, I have the time. Thank you.

⚒️ Of course. Saint Sebastian is a popular subject among artists.

✝️ You know, contrary to popular belief, Saint Sebastian wasn't actually killed by Roman archers. He was really beaten to death by cudgels then thrown into a sewer. Many people don't know this.

🍷 Mm. Ha ha.

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