‘Did that event really take place?’
‘I doubt it,’ smiled the sorcerer. ‘It’s more likely that, during the first journey and landing, Bekker and the others were hanging over the side, vomiting bile. After the landing which, by a strange twist of fate, was successful, he was able to overcome the Power. Let’s go on. Here we see Jan Bekker once more, forcing water to gush from the rock, in the very spot where the first settlement was established. And here, if you please, Bekker – surrounded by settlers – drives away the clouds and holds back a tempest to save the harvest.’
‘And here? What event is shown in this painting?’
‘The identification of the Chosen Ones. Bekker and Giambattista put the children of the settlers through a magical test as they arrived, in order to reveal Sources. The selected children were taken from their parents and brought to Mirthe, the first seat of the mages. Right now, you are looking at a historical moment. As you can see, all the children are terrified, and only that determined brown-haired girl is holding a hand out to Giambattista with a completely trusting smile. She became the famous Agnes of Glanville, the first woman to become an enchantress. The woman behind her is her mother. You can see sadness in her expression.’
‘And this crowd scene?’
‘The Novigradian union . Bekker, Giambattista and Monck are concluding a pact with rulers, priests and druids. A pact of nonaggression codifying the separation of magic and state. Dreadful kitsch. Let’s go on. Here we see Geoffrey Monck setting off up the Pontar, which at that time was still called Aevon y Pont ar Gwennelen, the River of Alabaster Bridges. Monck sailed to Loc Muinne, to persuade the elves there to adopt a group of Source children, who were to be taught by elven sorcerers. It may interest you to know that among those children was a little boy, who came to be known as Gerhart of Aelle. You met him a moment ago. That little boy is now called Hen Gedymdeith.’
‘This,’ said the Witcher, looking at the sorcerer, ‘is just calling out for a battle scene. After all, several years after Monck’s successful expedition, the forces of Marshal Raupenneck of Tretogor carried out a pogrom in Loc Muinne and Est Haemlet, killing all of the elves, regardless of age or sex. And a war began, ending with the massacre at Shaerrawedd.’
‘And your impressive knowledge of history,’ Vilgefortz smiled once again, ‘will remind you, however, that no sorcerer of any note took part in those wars. For which reason the subject did not inspire any of the novices to paint a work to commemorate it. Let’s move on.’
‘Very well. What event is shown in this canvas? Oh, I know. It’s Raffard the White reconciling the feuding kings and putting an end to the Six Years’ War. And here we have Raffard refusing to accept the crown. A beautiful, noble gesture.’
‘Do you think so?’ said Vilgefortz, tilting his head. ‘Well, in any case, it was a gesture with the weight of precedent behind it. Raffard did, however, accept the position of first adviser so became the de facto ruler, since the king was an imbecile.’
‘The Gallery of Glory . . .’ muttered the Witcher, walking up to the next painting. ‘And what do we have here?’
‘The historical moment when the first Chapter was installed and the Law enacted. From the left you see seated: Herbert Stammelford, Aurora Henson, Ivo Richert, Agnes of Glanville, Geoffrey Monck and Radmir of Tor Carnedd. This, if I’m to be honest, also cries out for a battle scene to complete it. For soon after, those who refused to acknowledge the Chapter and submit to the Law were wiped out in a brutal war. Raffard the White died, among others. But historical treatises remain silent about it, so as not to spoil a beautiful legend.’
‘And here . . . Hmm . . . Yes, a novice probably painted this. And a very young one, at that . . .’
‘Undoubtedly. It’s an allegory, after all. I’d call it an allegory of triumphant womanliness. Air, water, earth and fire. And four famous enchantresses, all masters at wielding the forces of those elements. Agnes of Glanville, Aurora Henson, Nina Fioravanti and Klara Larissa de Winter. Look at the next – and more effective – painting. Here you also see Klara Larissa opening the academy for girls here, in the building where we now stand. And those are portraits of renowned Aretuza graduates. This shows a long history of triumphant womanhood and the growing feminisation of the profession: Yanna of Murivel, Nora Wagner, her sister Augusta, Jada Glevissig, Leticia Charbonneau, Ilona Laux-Antille, Carla Demetia Crest, Yiolenta Suarez, April Wenhaver . . . And the only surviving one: Tissaia de Vries . . .’