Emberyl
Goddess of Art and Artifice
Lesser Goddess

Epithets: Mistress of the Arts, Lady of the Quill, Dreamwright, Queen of Bards, Mistress of All Guilds  
Alignment: Neutral good
Symbol: Hammer & quill
Colors: Scarlet, violet, and gold
Primary followers: Artisans, engineers, shipwrights, architects, and artists of all mediums

     For those mortals who treasure beauty and revel in art, the image of the Dreamwright might prove to be a trifle disappointing. The true form of Emberyl is that of a tall, sinewy human woman in her early thirties, with a build well suited for anyone who had spent a lifetime behind a forge, in a quarry with chisel in hand, or hefting planks in some sprawling shipyard. The Dreamwright is normally a silent, taciturn figure, speaking only out of need…a trait that makes her rare utterances all the more imposing.

     Though mildly attractive with her close-cropped hair of copper red, bright hazel eyes, and finely chiseled countenance, the Dreamwright is clearly not the equal of either Serenyi or Alviani in terms of physical beauty. Emberyl’s hands are particularly revealing, with their slightly callused skin and spider’s web of scars seemingly at odds with their phenomenal grace and dexterity. It would seem that the goddess is far more concerned with the beauty of her works and those of her faithful than that of her own person.

     In keeping with her place in the pantheon, Emberyl has no consistent manner of dress aside from its practicality; it is said that her attire in the Havens is determined by whatever project the goddess is working on at that moment. Her scarlet robes, with their violet hood and gold belt, are donned only in Emberyl’s more contemplative moments, when literature and poetry are her companions.

     No matter her task, Emberyl has two articles that accompany her always. The first is Annella, a silvery quill pen thoughtfully provided by Alviani from her own feathered wing. The other is Préimohn, a hammer with an engraved mithril head upon a shaft of polished mahogany. Upon her command, Annella and Préimohn will transform into whatever tools the goddess might require for the task before her. On rare occasion, they also become weapons against those would wantonly forge or despoil artworks, plagiarize authors, sabotage construction, or otherwise taint the labors of her faithful.

     Unlike many unenlightened mortals, Emberyl makes no distinction between the artistic creations of the painter, the engineering acumen of the architect, or the skilled labors of the artisan. To ask the goddess whether the creator an epic poem, a formidable castle, or a simple pewter mug has any greater "value" to the world than the others is irrelevant, the question itself absurd. To the Dreamwright, all these efforts are equally blessed and deserving of respect.

Avatars: In the days of the Astarith (particularly in the Age of Mists), Emberyl’s avatars were a fairly common sight. Largely aloof from the unceasing horror and carnage of those ancient days, the Dreamwright wandered the world, making sure that no matter what corner of Minarra was being pounded into dust, no art or craft would perish before the world could come to terms with itself.

     Today, appearances of the Lady of the Quill are momentous occasions. In the 3500 years or so since the close of the Astarith, only two dozen or so visitations have been reliably recorded throughout all Minarra. The variety of her manifestations is noteworthy; the Mistress of the Arts has taken the form of each of the New Races at least twice, yet always as a redheaded female of impressive grace and powerful build.

     Most often when she is encountered, the goddess is just putting the finishing touches on some magnificent masterpiece. These works are not intended as gifts, but as inspirations for others to follow. As a not-so-subtle hint, Emberyl will almost certainly leave behind a set of enchanted tools to continue the work.

     Emberyl’s avatars carefully tailor their utterances to their mortal audiences. Before those of literary bent, the goddess’s speech is costumed in clever allusions, vibrant imagery, and delicate meter. For the educated, precise minds of engineers and architects, the Dreamwright is detached and analytical, and employs the language of mathematics to best advantage. If appearing before artisans or performance artists, Emberyl says as little as possible—her demonstrations cannot help but to speak volumes.

     It is revealing what avatars of the True Goddess don’t do when appearing before mortal kind. They don’t appear to a lone artist or craftsman to provide personal guidance, nor will they drop a set of finished plans for some revolutionary structure or vessel on someone’s workbench. At most, such inspiration comes as shadowy, half-formed ideas floating in dreams and idle musings—the Dreamwright might provide a subtle clue here or there, yes, but it is left to the mortal to think the idea through and make it a reality.

Mortal Servants: Unlike most that serve the True Gods, the chosen of Emberyl are so much a part of daily life that they have become more or less "invisible". Most ordained servants of the Dreamwright are found, not in temples or cloisters, but in smithies, artisan’s stalls, and construction sites, laboring alongside their congregations. Very often, the only way to separate a servant of Emberyl "at devotions" from their lay brethren is by their gold holy symbols, tied to their belts by a dy’naav, a thick, rugged strip of canvas or leather dyed in the violet-and-scarlet hues of the Order. This tradition holds true even for the Graces and Serenities of the Order.

     In most cultures, ordained servants of the Dreamwright must undergo two forms of apprenticeship in their youth: one as an acolyte of the Order, and one as an apprentice to a guild or master. This parallel structure is often maintained throughout the cleric’s lifetime, with Adepts hiring out as journeymen and Graces setting up shop as masters. So common is this practice that religious and guild titles are used interchangeably by the public, with no offense taken by the Order.

     Taken as a whole, the Order is and has been the greatest single patron of the Arts Minarra has ever seen. With talent, facilities, and cash always at the ready, the servants of the Dreamwright staff virtually all of Minarra’s great art schools, dance halls, and conservatories. Tuition at the Order’s own schools is surprisingly modest; the Order’s guild connections provide ready subsidies for the talented poor. As can be imagined, many of Minarra’s artistic giants began their careers as students under the Order.

     In keeping with the spirit of the faith, the Order is one of a minority that neither has nor wants a Knightly arm. In those instances where an armed contingent becomes necessary (such as escorts for traveling pieces of priceless art), the Order will obtain Knights from other Orders of the House.

     Since the everyday efforts of her devoted are Emberyl’s most endearing form of worship, formal services to the Lady of the Quill are rendered only on the eve of the new year. This service, held on Minarra’s most holy night, is the only occasion for which the priests of the Order will don the formal scarlet-and-violet robes of their office. These ceremonies are conducted in chapels that are magnificent in their appointments.

     There are but three items on the agenda during these services. The first are the formal rites, culminating in a spectacular instrumental and choral performance. Next comes the ordination of new priests, often coupled with their induction as journeymen in their lay guilds.

     Lastly, there is the sai’i’vahn, an Istari term loosely translated as "rapture". The term is more than justified, for the effect upon the soul of this mother of all exhibits is intended to inspire just that. Not only are many of Minarra’s finest art treasures on display, but also the masterpieces of dozens of guildmasters over hundreds of years. The sai’i’vahn has often been credited with the revival of long-abandoned styles in the arts and crafts.

Philosophy/Tenets of Faith: As already alluded to, the most precious gift any mortal can give the Dreamwright is an intense, lifelong devotion to their art, whatever it may be. Ideally, one’s labors should always be born of inspiration, crafted with dedication, and shared joyously with all the world.

     There is also the responsibility that each member of the Order must discharge for the sake of the next generation. No innovation to a craft should be allowed to perish because the originator is too selfish to pass it on, nor should a student be content to mindlessly copy the ideas of his masters. If both these tenets are ignored, the result can only be stagnation, mediocrity, and the eventual demise of a once vibrant art.