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In order to mark the momentous occasion of the 800th anniversary of the founding of the Artesian Empire, the Royal Artesian Museum is very proud to announce the opening of three new display rooms dedicated to the co-regnant emperors, Damianos the Great and Laurent the Liberator, as well as their heir, Emperor Alexandros I (or Alexandre I, in north Artesian traditions). The rooms contain classic pieces from our collection, such as pottery recovered from the old palace of Ios, a pair of arms wielded by Damianos the Great and Laurent the Liberator, and tapestries from the time of Alexandros I. Most excitingly, for the duration of the anniversary year, the royal family has agreed to loan to our museum a few never before shown artefacts from their private collection.
The pre-order period for the winter seasonal passes shall begin on October 7th, 799. Day passes may be purchased up to two weeks in advance of all exhibit days both on-site and at select off-site vendors.
An Introduction to the Beginnings of the New Artesian Empire Collection
Just as Damianos the Great and Laurent the Liberator are the protagonists of numerous legends today, the two emperors were the centre of numerous rumours during their lifetimes as well. Their reign lasted from 20 AU (Avant Unification) to 25 EA (Époque Artésienne), after which they abdicated their positions to their son, Alexandros I. Their joint reign lasted 45 years and was marked by an unprecedented period of peace, prosperity, and cultural renaissance as they reformed the two disparate kingdoms into one empire. The story of their meeting, subsequent alliance, and eventual ascensions have twists and turns that seem near outlandish in nature. In the past 800 years, the tale has been told and retold with new details added, removed, and embellished with every variation. This collection, while unable to completely verify any one account or narrative, sheds light onto various personal details of their lives, as well as shows how divisive some of their decisions were during their reign.
Bust of Crown Prince Auguste, Marlas, circa 20 AU
This marble bust was commissioned by Laurent the Liberator early on in his reign and was placed in the royal quarters of the palace in Marlas. Crown Prince Auguste, Laurent the Liberator’s older brother, died tragically at the Battle for Delpha in 27 AU. He was slain in single combat with Damianos the Great, and his defeat and death lead to the Akielon conquest of the Delphe region. The Crown Prince was greatly beloved by the Veretian people, including his younger brother. Due to Damianos the Great’s actions, it is believed that Laurent the Liberator held a great grudge against him for causing the death of his brother.
A popular folk song still extant in modern day Varenne and Belloy imply that Laurent the Liberator had Damianos the Great flogged in revenge: “Crowned by stars our golden prince demands his honour-bound due / fifty lashes for my blood, fifty lashes is my price / fifty lashes here and now, then a small death for my captive”. A small number of north Artesian scholars insist that Laurent the Liberator never had a romantic relationship with Damianos the Great, as evidenced by records of his blatant resentment; they posit that their partnership was purely political in nature. Mainstream scholars find this claim unsubstantiated at best.
During the first half of their reign as independent kings, there were multiple instances of pretenders to the Veretian throne claiming to be the illegitimate children of Crown Prince Auguste. Historian Isander ironically notes that without the legalisation of illegitimate children in the Empire, the pretenders would have never had any claim to begin with. Moreover, most historians and contemporary sources suggest that none of these pretenders were truly children of the late Crown Prince. The later period of the emperors’ co-reign was also unfortunately troubled by multiple dubious claims of blood relations to Damianos the Great who, prior to his meeting with Laurent the Liberator, was known to have had numerous lovers.
Crown of the Heir Apparent (Child’s Version), Marlas, 14 AU – 10 EA, on loan from the Royal Collection
This circlet made of gold wrought in motifs of laurel and decorated with pearls is believed to have been what Alexandros I was presented with upon his official appointment as heir to Damianos the Great, which took place at the court in Marlas in 14 AU. The then prince had been kept from the public eye until he was seven years of age in order to protect him from any assassination attempts.
The contentious topic of who would inherit the empire was an issue that was present in the public consciousness since the emperors had announced their intentions to wed. While Akielos had no qualms against extramarital affairs and bastard heirs, bastards were still very much taboo in Vere at the time. The marriage of the two kings would bring about a grand unified empire, but a bastard heir seemed like the inevitable solution as both Kings no longer had any living relatives. The closest relatives for either of the emperors were cousins at least two generations removed with claims that were weak at best. In 18 AU, one year after the emperors’ marriage, they announced they had secured an heir in then Prince Alexandros. The emperors declared that the child was theirs by blood and would be their one and only heir.
Even at the time, the parentage of Alexandros I was a hotly contested topic. He was described to be fair of skin with hair the colour of gold, similar to Laurent the Liberator, but had the brown eyes and tall stature of Damianos the Great. While there are many outlandish claims that somehow Emperor Laurent was blessed by the gods and was able to carry a child despite being born a man, there are other more plausible theories as to Alexandros I’s parentage.
One theory popular amongst contemporary scholars was that Alexandros I was the child of Athanasios of Isthima (a maternal cousin of Damianos the Great) and Lady Aurelie (a second cousin of Laurent the Liberator) who were wed around the time of Laurent the Liberator's ascent to the Veretian throne.
Another theory postulates that Alexandros I was one of the bastard children of Damianos the Great that was chosen for his similar colouring to Laurent the Liberator. According to this theory, possible candidates for his mother included Lykaios, one of Damianos the Great’s household slaves that was killed during Kastor the Bastard’s coup d'état, and various Vaskian clan women the emperor was known to have coupled with.
Most intriguingly, Lady Jokaste (also known as the Bastard’s Queen), who was Kastor the Bastard’s mistress or wife, is also a possibility. Before Lady Jokaste’s infamous affair with Kastor the Bastard, she was well known to have been Damianos the Great’s lover. Following the death of Kastor the Bastard, there were no longer any mentions of Lady Jokaste’s fate; whether it was exile, imprisonment, or death, yet remains a mystery.
Regardless of Alexandros I’s parentage, it is clear that he was greatly beloved by both emperors and he in turn loved and respected them both.
Amphora, Summer Palace, circa 10 AU – 30 EA
This clay pottery vessel, painted in the traditional red-figure Akielon style, contains traces of olive oil. The two figures in the foreground, depicted as competing in a wrestling match, are Damianos the Great (identified by the laurel crown and gold cuff) and one of his subjects, possibly Nikandros of Delphe. The two men were known to be great friends, having grown up together, and later in their lives Nikandros was an integral advisor to both emperors. They are both wrestling in the nude as was the norm for the Akielons of that era. The figure to the left of Damianos the Great, who is speculating the match, is depicted as having light hair and crowned with dark laurels. Most notably, the spectator is garbed in hybrid old Akielon and old Veretian fashion. The chiton is knee length as was traditional at this time, but its long sleeves are seamed with old Veretian-style lace closures. This figure is most likely either Laurent the Liberator or Alexandros I.
Damianos the Great was known to be an exceptional warrior and athlete. During his reign, he participated in numerous sporting games and was said to have excelled at wrestling and the Okton. He competed in the Okton every year at the new palace of Marlas until his fifties, when the then Crown Prince Alexandros acted as his champion. While the Okton is no longer one of the Olympic sports, the modern Olympic games trace its roots back to the old Akielon style of sporting tournaments popularised by Damianos the Great and Alexandros I.
Tapestry of a Royal Hunt, Arles, 6 AU – 40 EA
This grand tapestry measuring 380 x 1020 cm depicts an elaborate scene of the combined last courts of the Akielon and Veretian kingdoms engaging in a hunt in the forests of Chastillon. In the centre of the tapestry are Damianos the Great, Laurent the Liberator, and Alexandros I. Damianos the Great is dressed in traditional Akielon bronze plate armour, crowned with golden laurels, riding a large black stallion and holding a javelin in one hand. Behind him are Laurent the Liberator and Alexandros I. Laurent the Liberator is riding the white mare, dressed in Veretian hunting leathers, and wearing a sapphire circlet. He is leaning towards Alexandros I and appears to be instructing him in archery, as Alexandros I is wielding a bow aimed at the boar to the left of the tapestry. At the time of the hunt, Alexandros I would have been a teenager still, and he is depicted wearing what will later become the iconic Artesian style of crowns, a diadem of gold wrought in laurel motifs and decorated with sapphires. Other notable figures in the tapestry include Nikandros of Delphe, General Makedon of Sicyon, various members of the Imperial Guard* (Captain Jord, Lazar, and Pallas), and Lord Berenger of Varenne and his husband, Lord Ancel.
This tapestry is the first in a set of four depicting the Courts of the Two Emperors. The second tapestry is a record of a sporting tournament in the traditional Akielon style (Room 69, Exhibit 2). The third is of the two courts at the Summer Palace (Room 69, Exhibit 3). The fourth tapestry shows the two marriage ceremonies of the emperors and is the largest of the four. The fourth tapestry is still currently in the custody of the Royal Family.
Around this period of time, the castle of Chastillon was either destroyed or abandoned, such that by the time of Empress Leonida’s accession (circa 70-75 EA), Chastillon hosted a small village and “little else”, according to records kept by the imperial court. Though unsubstantiated by official historical record, there is contemporary and historical speculation that this area was held by the regent that governed during the period between the death of Crown Prince Auguste and the beginning of Laurent the Liberator’s reign. Despite popularity, there are no surviving Veretian records that support this theory. Contemporary Akielon records mention the existence of such a man, however, so it is speculated that Laurent the Liberator must have ordered for all records relating to him to be destroyed or modified. According to Akielon records, the regent was executed in Ios after colluding with Kastor the Bastard.
*Please refer to Room 68, Exhibit 6D for the stele of the imperial guardsmen and the complete roster of imperial guardsmen
Ceremonial Xiphos Pair, Marlas, 1 EA, on loan from the Royal Collection
This pair of ceremonial xiphe was created to mark the coronation of Damianos the Great and Laurent the Liberator as Emperors of the New Artesian Empire. Though it may be difficult to discern, the blades were originally glided in full; the pommels are made entirely of solid gold. The blades would have been worn at the hip decoratively during court events. Historical source Isander of Marlas noted that Laurent the Liberator preferred the longer and slimmer shortswords of Vere to Akielon xiphe but had agreed to the xiphe form for symbolic purposes.
The gold used in the creation of the blades is fabled to have been made from the gold chains and cuffs worn around the wrists and necks of the slaves of the old Akielon royal house. Upon the abolition of the slave trade in Akielos and the liberation of Akielon slaves, the emperors had melted all the gold chains and cuffs and minted them into gold coins. When the freed slaves were deemed capable of living independently, any former slave in Akielos was permitted to redeem 50 gold coins from the local Kyros or from the emperors as recompense for the exploitation they suffered. Many of the palace slaves transitioned to becoming the household servants of the royal family, and it is said that they instead asked for a portion of their gold to be reforged into the ceremonial xiphe.
Three of the aforementioned gold coins can be found as a part of the museum’s permanent collection in Room 70, Exhibit 3A. These golden coins are believed to originate from the first mint that featured the likeness of both emperors. It was said that when the Veretian Pet Reformation Laws were completed, Laurent the Liberator had ordered a minting of silver coins to mark the occasion, in direct mimicry of the gold coins, the major difference being that the face of the silver coins that did not show the two rulers and instead bore the likeness of a young man, whose name was recorded as Nicaise. These silver coins can be seen in Room 70, Exhibit 3B.
Traditionally, the xiphe would have been buried with the emperors as part of their burial gifts. However, Laurent the Liberator insisted they be kept and displayed at the Palace instead as a reminder to all the emperors to come of their duty to protect the people of the New Artesian Empire from slavery.
Wedding Clothes of Emperor Alexandros I and Empress Amarante, Arles, 3EA, on loan from the Royal Collection
These carefully preserved sets of garments were what then Crown Prince Alexandros and his bride Amarante of Varenne wore during their ceremony in Arles. Following the precedent of his fathers, Alexandros I had two weddings, one in Vere, and one in Akielos. It is unknown if the same set of clothes were worn for both ceremonies, but this set is confirmed to have been the set worn at the wedding in Arles.
Alexandros I’s outfit on the right is structured similar to a chiton but much longer; the fabric would have covered the tops of his feet. The silk has yellowed with age but would have been a crisp white when worn. The purple sash displayed to the right of the chiton would have been draped across the shoulder and secured with a belt, most likely made of gold. The garment would have also been worn with a cloak. The edges of the chiton and sash are both heavily embroidered to fit more with old Veretian sensibilities.
The empress’s purple silk gown to the left is clearly a garment more suited to her Veretian habits. The purple dye used to make this dress would have been Akielon in origin, as this shade of purple was once exclusive to the royal family of Akielos due to scarcity. Similar to other formal gowns of the period, the bodice is closely fitted, aided by the laces at the back, with a low neckline. Pearls, most likely from Akielos, have been sown into the front panel of the bodice. There are three layers of skirts and an one metre long train, which would have been considered very extravagant at the time. The deviation in Veretian fashion is with the sleeves. At this turning point in history, closely fit sleeves and closely fit clothes in general were very popular in Veretian fashion. The upper sleeves of the gown are tailored quite closely however the sleeves become dramatically wider at the elbow, more in line with Akielon fashions. This dress would have also been paired with a cloak.
Amarante of Varenne had been an unexpected pick for the position of princess consort; she was of royal blood, second cousin once removed of Laurent the Liberator, but had little else in terms of political value. Her father was of the landed nobility, but only barely so. According to historical sources, Alexandros I had met her while completing an imperial tour of Varenne and had been captivated by her wit and appearance.
The two would go on to enjoy a fruitful and harmonious marriage, one that resulted in six children, thoroughly dispelling the fears of succession crises that plagued Alexandros I’s fathers and grandfathers. Starting soon after the announcement of her engagement to the then crown prince, the empress-to-be took an active role in court politics. Amarante of Varenne was one of the strongest proponents of an equal gender inheritance law that would eventually lead to her first born, Empress Leonida, ascending the throne following Alexandros I’s passing.
Other than the successful passing and enforcement (at least amongst the high born) of the equal inheritance law, Alexandros I was also known for improving relations with Kempt, which were very strained throughout his fathers’ reign, increasing foreign trade with distant nations, and furthering the blending of Akielon and Veretian cultures.
Chess Set Made from Semi-Precious Gems, Marlas, 10 EA, on loan from the Royal Collection
This chess set was custom made by order of Laurent the Liberator for the fifth birthday of then Princess Leonida. The board is crafted from black and white marble, while the chess pieces are crafted from lapis lazuli and red jasper, with each colour representing one side.
Most pieces are carved in their archetypal shapes, though they differ slightly between their lapis lazuli and red jasper incarnations. From these details, it is clear that the blue side is meant to represent Vere, while the red side is meant to represent Akielos. For instance, the blue pawns bear swords, while the red pawns wield spears. The ministers, too, are dressed in clothing appropriate to their intended culture.
In contrast, the monarchs of the both sides are identical in all but colour, each pair consisting of one figure wearing a crown topped with the royal Veretian starburst and another figure bearing a head shaped like that of a maned lion. The scant personal records that feature this chess set seem to suggest that, when in use, each side is meant to pick a different monarchic figure for its king. It is unknown whether this tradition was developed by later generations or if it was the original intended way of use.
Even before this particular chess set was crafted, Laurent the Liberator was known to have enjoyed playing chess with family in his spare time. Empress Leonida would later note in her memoirs that chess games with her grandfather were some of her most cherished memories; Laurent the Liberator would often wager sweetmeats and other desserts before purposefully losing the games to young Leonida. Most famously, she mentioned that both her grandfathers, but Laurent the Liberator in particular, often referred to her as “our little lioness”, and that Laurent the Liberator would often cede defeat by saying, “Alas, my little lioness’s wits are just as sharp as her claws.”
Kingsmeet Marble Statues (Recreation), Marlas, circa 26 EA
This life-sized sculpture depicts Damianos the Great and Laurent the Liberator seated side by side on their thrones while holding hands. The hands of the statues that are entwined are also wearing recreations of the iconic gold cuffs that the emperors wore in life. The emperors are dressed in the period-defining hybrid style of old Akileon and old Veretian garments. Damianos the Great is dressed in a traditional chiton and sash pinned by the imperial lion pin. The chiton and sash are both heavily embellished with traditional Veretian style embroidery with the starburst flourishes associated with the royal house of Vere. Laurent the Liberator is wearing a Veretian doublet with trousers, but the fit of the doublet is noticeably different from the purely Veretian styles of that era. The doublet is longer, with fabric covering the hips, and the sleeves have a much looser fit. A short half cape in the traditional Akielon style has been pinned to the right shoulder with the imperial lion pin.
The statue displayed here was originally commissioned by Alexandros I shortly after his coronation and displayed within the Royal Apartments of the Palace. It was meant to be an exact duplicate of the statue that was placed at the Kingsmeet in Ios and was crafted by the same sculptor. The only difference between the two statues are the inscriptions. The originals at the Kingsmeet were inscribed in Middle Akielon and Middle Verentian with: Emperor Damianos I and Emperor Laurent I, who both chose peace and forgiveness. The inscriptions on this statue are likewise the same in both languages, and it reads: My fathers of Akielos and Vere, may your strength and wisdom guide us all.
Wooden Lyre, Ios, 40AU–60 EA
This type of wooden lyre is of the style most commonly found in Akielos during the time that Damianos the Great and Laurent the Liberator lived. Historical records indicate that, towards the end of their reign, possibly around the time of his abdication, Laurent the Liberator had learned to play this type of lyre and was quite adept at it.
Information regarding Laurent the Liberator and Damianos the Great becomes steadily more scarce towards the end of their reign and decreases even more after their abdication as they withdrew from the public eye. Contemporary scholars agree it was likely that, when the two emperors announced their abdication, many people were shocked by it. Voluntary abdication was practically unheard of in that era; most abdications happened due to civil wars or severe physical and/or mental barriers. Both emperors were starting to grow old but, at ages seventy and sixty-five respectively, both the emperors were in surprisingly good health. Damianos the Great was said to have suffered stiffness and soreness due to old wounds acquired during his youth, but records indicate that, even at their advanced ages, both emperors still regularly participated in athletic activities such as horseback rides. It seems their abdication was due less to health reasons and more to leisure reasons. They remained active in the Artesian court for the first two years after their abdication, most likely to ensure a smooth transition of power, but afterwards the two emperors were noted to have spent their summers in the Summer Palace and only returned to Marlas for the winter social season.
Much of the information we have regarding the later lives of the two founding emperors comes from Empress Leonida’s memoirs. While the originals have been long lost there exist several copies that were created at the behest of her descendants. It is from these memoirs that we gained more intimate glimpses of the emperors’ lives. For example, while we know Laurent the Liberator was an accomplished lyre player, Empress Leonida revealed that very few had ever heard him perform. Laurent the Liberator only ever performed for his family, and even then, rarely so. According to Empress Leonida, only Damianos the Great had the privilege to listen to Laurent the Liberator’s music with any regularity, as Laurent the Liberator would often play for his husband when his old injuries bothered him.
First Hand Account of the Funeral and Interment of Damianos the Great and Laurent the Liberator, Aquitart, circa 50-60 EA
This account was written by Themistoklis, third son of Nikandros of Delphe, on paper, which was an exceedingly rare commodity that was imported from Ancient Zungjyun (known at the time as Seres). Certain parts of the journal have been damaged over time. The full journal was once eighty one pages long, of which nine pages described the emperors’ deaths and the subsequent funeral. The following is an excerpt that has been translated into Modern Artesian:
The crowds that greeted the funeral procession of the two emperors were unlike anything I have ever seen in my life. The streets of Marlas were absolutely flooded with people all dressed in black or dark greys—for not all were able to afford pure dyes. I had not known that Marlas was even capable of holding so many people at once. The main path the procession would take had been cleared by the guards the night before, but spectators flooded the adjacent alleyways and filled the nearby balconies and rooftops. The city echoed with sobs and cries, and flowers rained a dense blanket of white as thick as the worst snows of Verentian winters. It was then that I understood why the Exalted ordered for the lying in state to last only three days instead of the traditional seven. If the Exalted had chosen seven days, no doubt Marlas would no longer exist, instead ruptured with mourners.
The planned path from the palace to the city gates should have only taken a few hours, but instead it took us more than half the day. As we followed on horseback behind the sarcophagus, I was struck with a horribly morbid thought that it was a relief the two emperors passed in such quick succession. Emperor Damianos had passed first after a week of fatigue and poor appetite. I admit it was the first time I had ever seen him miss his morning exercises. Emperor Laurent followed him the very day after, sitting in vigil by Emperor Damianos’s body. The physicians declared it a natural death of age but I am in truth not so sure. I had been in the room when the Exalted was informed of Emperor Laurent’s passing, but he had not seemed surprised at all—horribly grief stricken, yes, but not even the briefest hint of surprise. But perhaps it is as the rumours say, perhaps Emperor Laurent died from his own quiet grief. If they had died with a significant period of time gap and I had to experience this cacophony again, I would be greatly displeased, not to mention they would have had to reopen Emperor Damianos’s sarcophagus to place Emperor Laurent in beside him, and in all honesty I do not think I would have been able to stomach the sight.
[...]
The sarcophagus in question is very grand, made wholly of marble, and carved with scenes of both Akielos and Vere. There are many horses carved into it, more so than people, no doubt in accordance with Emperor Laurent’s wishes. The sculptor commissioned for the work must be a great talent, for when I made eye contact with the carved lions’ pupils I felt myself sweating profusely in fear of being mauled to death.
[...]
It took us nearly two days to ensure that we had lost anyone bold enough to try and follow us to the final resting place of the emperors. Emperor Laurent stated he did not wish for people to disturb them in their final slumber and demanded that the location of the tomb be kept secret at all costs. Even the workmen that were hired to complete the work on the tomb were blindfolded whenever they travelled to or from the worksite. Emperor Damianos had seen little need for the secrecy, especially since it seemed cruel for the Exalted to be unable to visit them, but Emperor Laurent was wary of tomb raiders.
I do not understand it myself, in truth. The emperors were practical people and arranged for a very modest assortment of funerary goods. Their favoured weapons, pomegranates for Emperor Damianos and oranges for Emperor Laurent, along with amphoras of honey and oils, baskets of bread, dates, and olives, several sets of their favoured clothes, books written in both Akielon and Veretian, and a lyre. The only true things of value that were buried with them included the singular sapphire earring Emperor Laurent was so fond of (from a friend named Nicaise?), and of course their cuffs.The Exalted had wished to bury their crowns with them, but Emperor Damianos refused. They were both crowned in laurels instead.
Once the tomb was sealed and properly hidden, the Exalted seemed suddenly devastated. He had been so calm and stoic before, but perhaps now that the emperors were properly interred it hit him all at once. He asked all of us to leave him alone for several moments, including the imperial guard, but Father refused the Exalted’s orders!
Father! The mighty Nikandros, the very avatar of loyalty and dedication!
I was unable to hear whatever he said to the Exalted to comfort him in the depths of his grief, but I was able to hear the Exalted’s response. He said: My fathers were the most happily in love people I have ever seen. At least now they shall never be separated, not even by death itself.