When you finally get a chance to read the records yourself, all you'll find is a mention of Ammon Jerro's daughter Shandra, "the Highcliff girl with the flammable barn." You'll need to go rescue her before the githyanki get to her. The githyanki will destroy some of the records in the vault, and then they'll attack you. But when you get inside, you'll find some githyanki there already (apparently, they're better at riddles than you are). We think this only happens if you get all of the answers right on the first try.Īnswering the questions on the four pedestals will open the doors to the vault (#8). Periapt of Wisdom +2 after answering the questions. Your companions might know some answers as well. If you have a high enough lore skill, then you might be able to figure out the correct answer that way. But note: you might need to pick up a book first before any answers about it will show up in the tome dialogue. If you get a question wrong, then you can try again, as many times as you'd like, so even if you have no idea about the books, you should still eventually be able to answer the questions. The tome on each pedestal will ask you about a different book that you can find in the archives. The questions on the pedestals are random. TheĬaretaker's Veil will also allow you to open some secret doors in the archives (#9), and loot some treasure chests inside. You can also kill the first caretaker and take his veil. To see the questions on the pedestals, you'll need to be wearing aĬaretaker's Veil on a dead caretaker inside the archives (#3). If you ask him for information about Ammon Jerro, then he'll tell you that you'll need to enter the vault (#8), but that to get inside you'll need to answer four questions on four pedestals (#4-7). Not far into the archives, you'll run into a caretaker (#2). Apparently, they're interested in Ammon Jerro's Haven as well. When you arrive at the archives, you'll discover that it is under attack by the githyanki.
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He served twelve months in prison and vanished from the historic record. Arrested, Smith was charged and convicted of selling forgeries under false pretenses. Here, Smith’s day job undid him: a reader saw that the handwriting in the forgeries was similar to Smith’s. In 1892, the Edinburgh Evening Dispatch published a series of articles on the fakes and included facsimiles of some. Smith flooded the market, often selling at bargain rates. In making and selling fakes, Smith benefited both from his technical skills as well as from customers who, having spent a great deal of money on fakes, did not want to see them exposed as frauds, and thus became complicit parties. Allegedly, the bulk of Smith’s profits funded his drinking habit. (He started by selling genuine manuscripts that were given to him by his employer he moved on to fakes after running out of real ones). A law clerk, he used his forgeries to supplement his income, beginning sometime in the late 1880s. He created hundreds of forged documents, and he specialized in Robert Burns and Sir Walter Scott. James Stillie (circa 1803-1893). Manuscript note, Īlexander Smith (also known as “Antique” Smith) was a forger from Edinburgh. Finally, chemical analysis has shown that he was using pigments that did not exist in the Middle Ages, including ultramarine blue, Scheele’s green, and copper arsenite, which were not available until 1828, 1775, and 1814, respectively. When reusing medieval leafs, he often selected religious texts and supplied them with unrelated scenes of secular life. Quite noticeably (and as can be seen here), his female figures are drawn with exposed cleavage, which is not found in medieval art. He produced figures with facial expressions that were unlike those found in medieval illustrations. Stylistically, the Spanish Forger’s creations are unlike real medieval artwork. His forgeries were first debunked in 1930 by Bella da Costa Greene (1879-1950), curator at the Morgan Library. Many of his fakes were based on medieval illustrations that were reproduced in books by Paul Lacroix between 18, which indicates when he could have begun his forgeries. Sometimes he would complete unfinished illustrations or add new ones to real manuscripts. In order to give his work an appearance of authenticity, the Spanish Forger used genuine medieval vellum and parchment for his work. To this day, nothing is known about his identity. Stylistic similarities suggest that the forgeries were made by one person, but there is also speculation that the Spanish Forger was actually a group of collaborators. In reality, the Spanish Forger was probably not Spanish: most of his fakes first appeared in France. He was known as the Spanish Forger because one of his first-known forgeries was mistaken for a genuine piece by the fifteenth century Spanish artist, Jorge Inglés. In the late nineteenth and early twentieth centuries, the so-called Spanish Forger was responsible for a great number of fraudulent medieval manuscripts. Pawnbroker, with a young couple buying or selling a gold cup, illuminated manuscript leaf on vellum, įrank W. |
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