A picturesque ruin of a Unknown cathedral, located on the shore of a minor lake, close to Roanokae Camp, deeper in the Coalition territories. It was discovered during the quest Take Me to Church, by Bethany Claie, Lanliss Ashscribe, and the Ashen Hawk

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Appearance

Normally, it's a simple derelict ruin partially sunken into the mud and water, overgrown, with many components missing, and architecture reminiscent of Kiara's chapel. Through the cracks in the walls and all the flora (which is greener here than it should be during autumn), one can see glimpses of colourful cloth swaying in the gentle breeze. There is a faint melody, like a hummed chant, and the smell of fragrant incense reaches from afar. The shoreline is littered with something glimmering, buried in the sand and mud - amber, upon closer inspection. 

The floors of this holy place are not unlike the mosaics of Kiara's chapel, but they are in a much worse shape, probably due to the exposure to the elements. Still, golden lines and a once-glorious depiction of a sun are somewhat prominent among the greenery.

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The building has a standard, cross-shaped floorplan, with a central nave and flanking aisles, with transepts and a chancel. The right transept is partially flooded, and has a semicircular radiating chapel attached to it, with a large baptismal basin in it. The left transept still features grooves in the walls that served as bookshelves and platforms for candles. The chancel shows signs of a once-grandiose altar, though almost none of it remains today. 

The ruin is temporarily inhabited. There is a smoldering campfire in the chancel, a shock of colour in the form of a tent, censers and talismans hung from the walls and jingling like chimes in the wind. The Cathedral is tended to by a Unknown mendicant monk named Friar Hafez, and seen as a holy site by his Order of the Aureate Roar in particular, and by his sun-worshipping religion of the Radiance in general. 


During the Take Me to Church visit, the Cathedral was awakened and temporarily restored to its former glory through a magical process reminiscent of kintsukuroi, which allowed access to a number of visions related to the Halfling conflicts and their civil war. 

The general aesthetic of this place:

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While restored, it featured four prominent pieces of artwork:

1) "The Martyrdom of St. Odwulf", a stained glass window in the chancel, depicting the Hierophant, behind the altar that could be moved;

And the altar moves, first by disassembling itself into smaller chunks, then by shifting to the very edges of the chancel, where it rests. The window is revealed; it depicts a Halfling man, old and grey-bearded, wearing vestments of clergy and holding a sceptre as tall as him. This clothing seemingly cannot decide what colour it is - now, it's golden, now it's red, now it's silver; nonetheless, religious icons are woven into it.
Behind his back are glorious wings of so many colours; behind his crowned head is the glorious sun; below him is his congregation, kneeling and praying.

- Viktor

2) "The Passion of Light and Dark", a statue looming above the baptistery basin in the right transept, depicting the Lovers;

It is clear now that this room is a baptistery, where faithful Halflings would be initiated into this belief. The basin is far more decorated, now that it is repaired with mnemonic gold, and above it looms an elaborate statue.
Two Halfling figures, a man and a woman, one horned and one winged, woven together into a passionate embrace. It is dramatic in composition, which the lighting only accentuates tastefully. Their act of love is tragic and cathartic at the same time - little cherubs and imps hold them aloft among draped fabrics and sculpted clouds, but many hands below them are trying to tear them apart from each other. Their lips are so close, but they don't kiss; their eyes gaze longingly to meet, but there is a cosmos between them; their faces are the epitome of wretched torture and unearthly bliss. 

3) "The Book of War", a lavish tome in the left transept, which described the civil war of the Halflings, and depicted the Charioteer;

Blessed now by remembered gold, the shelves and grooves here are filled with books - memories and stories in and of themselves, really. One in particular stands out, displayed upon a lavishly decorated lectern.

In flowery language that flows on and on and coats itself in metaphors and similes, the book describes the horrors of the civil war of the Halflings. Along the way, Lanliss encounters a page filled by an impressive depiction of the conflict - a chariot, with many wings - feathery, no, leathery... Both? - and many wheels. It is pulled across the sky above the field of battle by a Pegasus, or perhaps a Nightmare. Its rider is a Fiend, a Celestial, a mortal Halfling, or perhaps even a god. 

4) "The Lamentation of the Lost", a floor mosaic depicting Inquisitor Sparrowtuft;

The floor is richly decorated by stylised mosaics, depicting the sun, the heavens, and golden light. Yet, some of the pieces stick out suspiciously...

As Beth walks the path of light, and reaches the sun, the mosaics change. The heavens turn into darkness and flame, the golden rays are silvered instead, and the sun shifts into its shadow - the moon.

When the Ashen Hawk completes the path, the mosaics shift again, and reveal a depiction of a hooded figure in a scarlet robe and a long, pointed cap, with fire raging all around him. The lunar disc upon which you stand is eclipsed partially, and looks more like horns upon the figure's head. Below his feet, there are smaller people, in throes of sorrow; within the flames, more people, in throes of pain. Overall, this scene is similar in composition to Odwulf's stained glass portrait, but contrasting and dark.

- Viktor