#The era of exploration and friendly interchange is slowly giving way to imperialism

[ettelenethelien]

Comparative Studies, or Twice on the Verge of Falling  

The Rimôn fresco of Elwing is considered to be one of the greatest artworks of the Late Classical Era. Found in the courtyard of the old Helcaril Villa (itself a marvellous example of architectural trends during the reign of Tar-Elendil), it occupies a relatively modestly-sized, but excellently exposed niche across from the entrance. Aside from the considerable fame the artist had later gathered, it remains remarkable both for its vividness of emotional expression, contrasting to the usual art style of the era, and for the number and fame of its copies.  

The best known of these is the one gracing the lesser courtyard of the villa Surë-or-Falmar. Indeed, the glory of the two is so closely interwined that it seems impossible to ascertain which had contributed to the fame of the other more. And yet the effect of the copy wildly differs from that of the original artwork.

The Rimôn Fresco depicts the figure of the young Elwing standing on the cliff with her back to the churning waters below. She is poised halfway toward the drop, as if on the verge of throwing herself in, one hand clasping the Silmaril at her neck. Wind whips at her torn dress and loose hair. A rarity among artworks confronting the subject, it depicts neither the enemy she is facing, nor the the transformation into bird itself. The figure stands alone - and seems strikingly young. Beholders oft remark that it is hard to believe she is meant to depict a wife and a mother.  

The wild and violent atmosphere of the fresco, even though, as with most Classical works, it depicts no blood, and despite the aforementioned lack of actual fighting shown, made its artistic quality fall under scrutiny in its day. From diaries, journals and letters of the period we can, however, see that it proved intriguing enough that people would come visit the Helcaril Villa only to see it in person - and that it won over many of those who were originally critical. Thus it is difficult to ascertain whether the changed nature of the Surë-or-Falmar villa Fresco was intentional on the part of the copyist, or the sign of an inexperienced hand.  

The name of the copy's painter has unfortunately escaped history. The style is typical to the reign of Tar-Meneldur, though an exemplary of its genre rather than a dull attempt at imitating fashion. The colour combinations are soft, slightly more so than in the Rimôn Fresco, the lines clean, and the light hazy. The figure depicted is in the exact same position as that in the original artwork.  

Viewers of both frescoes predominantly agree, however, that despite the technical skill the painter has exhibited, the Surë-or-Falmar Fresco lacks something of Rimôn's Elwing. The posture is just a little less dynamic; the cliff's edge (perhaps unconsciously or accidentally) removed slightly father from Elwing's feet, making her situation seem something less desparate. The wind's effects hardly seem those of a real gale, and more an aesthetic choice. One of the most interesting judgements has been pronounced by Herunimon of Eldalondë in a letter to his cousin, Rilendur, son of Verahil, dated 24th Nárië, 901: "The S.o.F. figure seems less the Lady Elwing fenced in by foes and making a tragic choice, but more the heroine of one of those new romances, unsure whether to flee the scene after a man has confessed his love to her, or to accept his proposal - or, I hardly know, perhaps such heroines lead more exciting lives than I would guess (...) - but anyhow, the fresco seems more like a coloured plate in a rich novel, than a mural depcting a tale of the Elder Days. All in all, there is not one element which does not fit. But taken together, the effect is incongruous." (Collected Letters, volume II, as accessed from the Royal Library in Romenna)  

(from the Romenna Journal of Artistic and Literary Studies)  

***

Editor's note: Remembering the considerable public outcry after the publication of Songs of the Elder Days: Lyrics, History and Analysis, the University of Romenna along with its subsidiary organisations seek to make it understood that the views of authors, as regards the addition or not of Lord and Lady before the names of Lord Eärendil and Lady Elwing, do not necessarily represent its own. Were the University to be flippant, it might also seek to ask why proper respect being accorded to the Lord and Lady seems to be held in greater importance than that it be accorded to the Valar, but the University understands that this would bring on public outcry against it from people on both sides of the moro-political divide, so it shall keep its silence.

#A.k.a. adventures in drawing - when your sketch has more life in it than the clean copy. #I imagine this to belong to the later #but not yet Akallabêth-adjacent era of Númenor. #The era of exploration and friendly interchange is slowly giving way to imperialism #the divides are beginning to become semi-entrenched in society #and the fear of mortality is there -- #but it has not begun to consume every waking thought of the people suffering it #it is not illegal to hold to the old ways #and elves are still admired by many. #Surë-or-Falmar should translate to “Wind-over-Waves” #though I cannot be sure I did it correctly. #Rimôn is a name invented by me #supposed to sound at least a bit Adunaic; the other names are meant to be Quenya. #my post #Númenor #Elwing #tolkien #Silmarillion #silm #in universe texts #peoples of arda #in universe documents #in-universe meta #in-universe academia #fictional academia