Despite the fact that the events of the Queen’s War are only in Izora’s recent past, the tumultuous episode of the country’s history influenced an entire generation of artists Over the last decade the armed conflict and its prelude inspired many artistic scenes and tableaux depicting both what can be considered the glory of war as well as the lamentation of severe loss What is often considered most striking in this art movement, which indeed is even considered to be an artistic period of its own by contemporaries, is the attention to emotion , be it in the carefully detailed visages of the figures or the feelings that are meant to be instilled in those that lay their eyes upon what Izora’s finest artists have to offer The Wedding of Christoph IV and Queen Siobhan – master Jaspar Bosswerth (The Younger), 295 AU Painted well before the hostilities, this work was commissioned by none other than the King Christoph himself for the 10 th anniversary of his wedding to the Queen Siobhan Depicted left is the fresh and youthful King who moves to touch the hand of his beloved, but only under a glance of approval from the clergyman performing the union It is thought that the work was meant to claim religious sanction of the marriage - one that was clearly lacking in reality Depicted right is Queen Siobhan looking regal but also suitably pious and humble Her left hand rests on her stomach as she expects her first Princess The Callous Murder of Ghislaine Sorcha (The Sippening ) – Annibal of Camarden , 305 AU Created at the apex of the Queen’s War this work by a master of Camarden and commissioned by his noble patrons was intended to condemn the murder of several notable members of House Sorcha by a poisoned vat of soup Seated right is the unfortunate Ghislaine, the first to perish because of poisoning She is visibly surprised at the realisation of having been served certain death by a ghastly, ungodly skeleton It is notable that the other Sorchas at the table are not afraid as much as they are horrified and justly angered at the cowardly move of the Doonish family they hold responsible to this day Blessing the Doonish armies – Ioanna Trevona , mistress of the arts, 304 AU Completed with impressive speed upon the command of the Collective of Voices in its supporting the Doonish cause, this scene depicts Southern soldiery receiving blessing from none other than the harmon Estara While Estara is not often correlated to martial matters, the artist wished to underline the godly being’s long memory and interest in seeing slights against the faith repaid Her golden chariot was replaced by a battle - ready steed as she wields a pure war - banner Behind her the soldiers of the Spirit march with fervour to the acclaim of the city of Durham The painting is but one of an entire collection of religious works meant to promote the righteousness of the Southern cause during the War The Combustion of the Doonish - Marisian Fleet in the strait of Essen – Rebecca Villesia , mistress of the arts, 309 AU The Grand Victory in the Rocky Seas – Melyssa of Richmond, mistress of the arts, 308 AU When viewed together these paintings, among a whole array of other scenes depicting naval scenes, illustrate the stalemate of the Queen’s War at sea The left - hand painting depicts one of the Solarran - Fonessian alignment’s most significant successes : the surprise attack of the stationary Southern fleet near Essen The attack, spear - headed by admirals Hector Sorcha and Harald Evariste , resulted into the destruction of at least half a dozen warships, one of them allegedly exploding by virtue of fire elementism The right - hand tableau illustrates the decisive Doonish - Marisian naval victory in the Rocky Seas where a daring attack punctured the Northern fleet’s defensive formation, allowing Southern ships to wreak havoc on a large number of Solarran and Fonessian vessels At the centre of the painting the Duke Pryce’s Dauntless can be seen doing battle with an enemy flagship The Bloody Ambush – Castor Rembrond , 307 AU This painting commissioned in Doone depicts a highly controversial episode of the Queen’s War, namely the ambush on the Evariste column during the early months of the Queen’s War The carriage carrying the doomed Duke Evariste can be seen in the back of the scene It is set upon by Havisham soldiery emerging from all sides The artist continues to deny that is in fact the slaying of notable Evaristes that he painted, but one is inclined to wonder which other event bears such a resemblance It is noteworthy to many that the black riders that are seen here slaying their enemies left and right are the very same cavalrymen that were obliterated by Aquilan Rangers during a later battle of the war During this encounter the Fonessian bowmen collected the dark spurs of the dead in the aftermath of the fighting The King Enters the Fray – Tellemon , master’s apprentice, workshop of Reuben, 305 AU The King Under the Aegis of the Harmons – Master Reuben the Elder, 305 AU War and combat provided a new opportunity for an artistic tendency that already existed for centuries – the glorification of the Valerian dynasty Master Reuben, one of the most renowned painters of the land, did not hesitate to set his entire workshop at work to depict the prestige of a mighty King going to war Above are two of the most well - known scenes showing King Christoph IV in battle On the left, the King rides into battle with an aimed lance, his jubilant cavalry in close proximity It is a clear depiction of the North’s victory over the South during the Battle of the Fields of Lasair ( 305 AU) resulting in a hasty retreat of Doonish - Marisian armies from the Solarran mainland On the right is one of master Reuben’s masterpieces – it is Christoph IV in a more classical setting, clearly placing the Valerian monarch on equal footing with the great conqueror of antiquity, Caden III The golden - clad king charges forward confidently, guided by the Harmons themselves depicted above him, and trampling his enemies under the hooves of a mighty white steed It is said that it was by virtue of these impressive works that the master - painter secured large patronage from the king and drastically expanded his shop Routing the Northerners – Ambrose of Tewkesbury , 310 AU The Marisian - born Ambrose is considered to be a master of martial depictions He is often heralded for giving the clashes of arms a real touch whilst also maintaining some form of symmetry in most of his work In this painting Ambrose illustrates the Marisian - led victory of Southern forces over an invading force of Solarrans and Fonessians Emboldened by their own victory on the Fields of Lasair , the Northern expeditionary force crossed the water into Doonish lands only to be expelled after two months of fierce fighting (early 306 AU) during a pitched battle now known as The Battle of the Seven Woods as hostilities spread themselves far and wide on the lands of House Dickerson On the right side Northern forces can be seen retreating from advancing Southern forces after both sides sustained terrible losses The Battle of Green Beach – Ambrose of Tewkesbury, 311 AU The tragedy of the cataclysmic event at Green Beach ( 306 AU) shook much of the nation to its core On top of most of an entire duchy simply ceasing to be came a gargantuan loss of life It seems fitting that the event which led the nation to look for avenues toward peace is depicted by Ambrose in such a way so as to make it clear that there was no winner that day, only death On closer inspection one can clearly see the anguish and horror in human and beast alike as a thick battle is spread out almost as far as the horizon A clever touch is the entire omission of Whitehall and Brighthaven , the former Duchy of Green Beach’s most notable locations Ambrose sought to depict the battle from the viewpoint of the unfortunate inhabitants of the castle – as if it happened right in front of its walls Recognition of the Heirs – Amalia of Crescent City, 307 AU This painting was completed within the first year of peace being declared in the Izoran Isles It depicts the Valerian children (in the form of a single child) being accepted by prominent clergy - members while the royal court looks on approvingly Whereas none of the Valerian offspring were still infants, the depiction of a new - born was meant to symbolise new beginnings Another central idea of the work was to promote newfound reconciliation No sooner was the last brush of paint added before the Princess Cressida eloped with a husband of her own choosing casting the nation into an uneasy situation once more Queen Cerys Valerian – Robert Vaughn, 309 AU After a strenuous search for a suitable bride for the King Christoph, now divorced from Lady Siobhan Sorcha, the Temple agreed to forward the young Cerys Pike of Doone Again the notion of a fresh start with a new bride was central, and so the artist elected to depict the new queen with colourful blooms from her homeland She points decisively to a bowl of fruit so as to herald the bountiful future the country marches towards in the wake of her being crowned The gift of pearls that she wears around her neck as well as on her wrist signals having been accepted by her new family as well as the royal court at large – a somewhat optimistic presumption from the artist, no doubt