Introduction

It can be easy, in a city as beautiful as Hallifax, to take the breathtaking vistas, the exquisite statuary, and the inspiring installations of light and sound for granted. This is not inherently a bad thing. It speaks to the high standards of Hallifaxians, to the excellence which forms the backdrop of our lives, and from which we cannot but fail to be inspired and formed, even if only subconsciously. Still, it is worthwhile to occasionally take time to engage intellectually with the art which surrounds us, to consider its purpose, and meditate upon its value.

It would be too ambitious to seek to explore all the intricacies of the art that can be found throughout the city, therefore work will focus on exploring the art of the Lower Wards. Broadly speaking, the artistic exhibits of the Lower Wards fall into one of three categories: sculpture, mosaic, and functional installations. The art of the Lower Wards is no less magnificent than that of the upper, and it is fascinating because it is particularly designed to inspire members of the lower castes to fulfill their duties, and to aspire to advancement. It is worth noting that the most abstract of the exhibits are the functional installations, which take objects that many of the lower castes interact with on a daily basis and decorate them so that they are both functional and aesthetically pleasing. Abstract sculptures that would require mathematical background to truly appreciate are largely confined to the Upper Wards. Therefore, to the members of the lower castes, the art is all accessible.

Those interested in a more thorough analysis of the Architecture of Hallifax are encouraged to read Lady Nihmriel Shevat's "The Architecture of Hallifax".

Sculpture

Hallifax is studded with sculpture. Some are exceedingly lifelike, and serve to defend the city from her enemies. Others, however, are primarily decorative and instructive in purpose. While much of the sculpture may have been particularly designed for the lower castes, it is nonetheless worth viewing by anyone. Indeed, many of Hallifax's visitors first taste of the city's art (beyond the architecture, which deserves an article in it's own right) are the statues from which the Bridge of Wings gets its name. The two trill depicted are beautiful examples of Hallifaxian artistry. Their upwards gaze draws the eye in that direction, and with it the emotion.

The statues around the Ministry of Peace in Ward 5, Precinct 23 serve a dual purpose. They honour the warriors of the Collective, while also reminding that it is not brute strength alone that gives the warriors nobility, but what they have chosen to defend. The statue of the warrior kneeling before the artist is particularly poignant. The idealised features of each remind us that this is the sort of harmony we strive for in the Collective, with the warriors defending the artists that they may create things of beauty, and the artist blessing the warrior. It may be significant that the artist depicted is a sculptor wielding a chisel. The warriors of the Collective are a great source of inspiration, for they provide a wonderful means for exploring the higher emotions of honour and selflessness.

There are many statues of artists and scientists in the Lower Wards. They serve as a reminder to the lower castes of who they serve, why, and what they may aspire to attaining, either for themselves or their children. The satues of the mathematicians and scientists outside the Ministry of Intelligence in Ward 5, Precinct 24 are particularly worth noting. The statues themselves are of course, magnificent, but the attention shown to their instruments is particularly loving. The lattice structure and skeletal diagram are, in addition to being beautiful, entirely precise. While one would hope that when depicting science any Hallifaxian artist would strive for complete accuracy, this has the added benefit of providing the lower castes with some instruction into the formation of crystals and anatomy, should any be so enterprising as to seek it out.

The sculpture of Hallifax serves to inspire and instruct, but also to warn. Reliefs outside the Ministry of Justice in Ward 5, Precinct 25 serve as a reminder of what happens to those who seek to live outside the order of the Collective. That the prisoners are trill, rather than dracnari, or one of the other races, serves to reinforce the idea that none are above the laws of Hallifax, not even those races that those outside the city would like to claim the city is biased towards. The relief is not merely a reminder of the punishment that awaits those who break the laws of Hallifax, it also serves as a reminder that redemption is possible through those same laws. The trill are reaching towards the judge, rather than simply cowering away in fear. Combined with its location, one might hope that it serves as a reminder to the criminals brought to the Ministry that by working through their wrongdoing, they may once more come to benefit from Hallifax's laws.

The most abstract of the sculpture in the Lower Wards is found in Ward 7, Precinct 40. The figures are composed entirely of transparent glass, with featureless faces, although recognizably star shaped. While unlike the previously described statues they do not immediately provide an obvious lesson or illustration, the postures of the figures are still highly evocative, and provide inspiration for contemplation and discussion on their meaning, and the emotions they convey. Such discourse can only encourage artistic taste, something to be desired in any and every Hallifaxian. While the utility of the realistic sculptures described previously is certainly to be praised, that does not in any way diminish the worth of this more abstract example of Hallifaxian art.

As with all great art, the statues of the Lower Wards are worthy of being visited and admired. Taking the time to truly contemplate the aesthetic and intellectual properties of the sculptures is a worthy endeavour, which allows the art not only to influence us subconsciously by touching our emotions, but causes the mind to think about their themes of harmony, order, and beauty. The statues have much to teach us, whether we are young citizens gazing upon them for the first time, or longtime servants of the Collective who pass them by every day. Let us be grateful that we live in a city where such care and artistic sensibility is demonstrated so consistently, serving as a reminder of the value of all citizens, no matter their caste.

Mosaic

Mosaic is a particularly intriguing art form to explore, as there is evidence to suggest that it originated from the Lucidians race. That the Lucidians should be the ones to develop an artform comprised almost entirely of crystal, gems and glass that lends itself very well to geometric representations makes a great deal of logical sense. Furthermore due to the medium and the nature of Lucidian physiology, mosaics of Lucidians can more precisely record them than all but the most exquisite paintings. It does not seem unreasonable to suppose that they might more naturally have developped mosaic art initially, and adopted painting later.

But there is more observable evidence than logical thought to support the theory. Places with heavy Lucidian influence tend to have a higher concentration of stunning mosaics than those without, particularly Hallifax itself and the Arthar'rt Observatory. The Mesa Compound also has examples of mosaic art, and while Talthos does not have art that meets the strictest qualifications of mosaic, their gemstone walls and geometric tiling suggest a connection. While other cultures do have examples of mosaic, it is largely in the large cities, or places connected to large cities, and so it seems reasonable that these places were inspired by the lucidian artform to create their own mosaic. The exception to this may be the mosaic of Shanthmark. The Lodge contains an example of mosaic, however it is comprised of painted pieces of wood and ceramic. It is possible that this Aslaran mosaic form arose independently from the Lucidian glass and crystal form, as a natural progression from the wood carving and inlay and ceramics that are plentiful among the Aslaran.

Finally, and most convincingly, is the evidence of Linaeve d'Murani's "An Introduction to Lucidian Mosaic" a highly regarded scholarly work despite its mistaken literary classification. Although her research methods as recorded in the work are problematic at best; as a Magnagoran and a Viscanti, she can safely be said to be unbiased. While she recognizes the mosaic art form, her fascination with the examples in the Arthar'rt Observatory indicate that there is certainly something uniquely Lucidian in its presentation, particularly with its deliberate design in catching and reflecting the light and its geometric precision.

While the intricacies of the creation of Lucidian mosaics are fascinating, there is not time to describe them here, but Linaeve d'Murani lays out her personal findings and some information she gathered from a conversation with Etil'ck. Those interested are urged to seek out her work, although be warned that she stooped to unscrupulous methods and unnecessary subterfuge in order to discover what she did.

Having now established that mosaic has its origins in Lucidian culture, we will now explore the examples in the Lower Wards of Hallifax, and their role in inspiring and instructing the lower castes as a continuation of our series on the art of the Lower Wards which began last issue. The mosaics are chiefly found on and around the Ministry Buildings of Ward 5. Of interest is the fact that while the mosaics may be bordered by geometric patterns, these are never the primary composition of the mosaic, so a mathematical background, or an understanding of the abstract is not require to appreciate what the mosaic depicts.

In general, the mosaics illustrate the function of the Ministry, reminding citizens to be grateful for the services rendered by that Ministry, while also portraying how the Ministry's service to the greater whole is what is truly important. The functionality of the Ministries is not to be revered in and of itself, but only for how it advances the Collective. As one might expect, therefore, the mosaics adorning the Ministry of Peace depict warriors, while those of the Ministry of Intelligence depict artists and mathematicians, complete with correct and educational mathematical formulas.

Most intriguing, perhaps, are the mosaics of the Ministry of Plenty and the Ministry of Finance for their depiction of the harmonious relations Collectivism fosters between Hallifax and its villages. Various races are depicted bringing goods to Hallifax from around the basin, and the rich fields that are the product of Collectivist farming practices are lovingly detailed. The Ministry of Finance shows Angkrag in all its magnificence, from the days before the Taint.

The mosaics of the Lower Wards serve to reinforce Hallifax's superiority, both by the very history of the art form, and by the precise, symmetrical images the art form is capable of conveying. The mosaics remind us of what we are capable of in our service to the Collective.

Installations

Not all of the art of the Lower Wards is so easily categorised. Artistic installations abound, creatively playing with light and sound, providing ornamentation to otherwise purely functional or informative displays. Yet the art of the lower wards remains accessible to all.

A significant amount of space in the lower wards is dedicated to the harnessing of the wind. It would be a simple enough matter to create some windmills and leave them dotted about the lower wards where needed. Yet such an industrial aesthetic, while inspiring diligence and hard work, would not elevate the spirits as one would desire. Therefore, many of the functional installations of the lower wards have been tastefully ornamented. For instance the windmills of Ward 5, Precinct 25 have been beautifully embelished with sapphire. They form a beautiful background to the decorative sheets inscribed with the city's laws, rather than jarring the eye as they might otherwise do. More decorative windmills may be found in Ward 6, Precinct 34 and Ward 7, Precinct 39.

Other displays are less functional and more abstract, yet still make use of materials the average member of the lower caste will be familiar with to create intriguing patterns of light. Ward 5, Precinct 27 involves one such light display where materials familiar to any worker are used to create fascinating patterns of light and shadow, making clever use of angles and refraction. In Precinct 39, Ward 7 a glass and crystal canopy serves a similarly decorative purpose, refracting light most beautifully.

Not all the art in the Lower Wards is entirely visual. In Ward 5, Precinct 27, the wind has been harnessed to provide music. The hanging chimes have been designed to regulate the melody the erratic wind provides, providing more harmonious music than could be obtained by random gusts. Naturally the design of the chimes is visually pleasing as well. The blues and whites of the tiling surrounding the chimes visually evoke the air that so melodiously moves them.

Though much can be learned simply by observing the the art of the Lower Wards, some of the installations are more explicitly education. The beautifully designed diagrams of stars and mathematics of Ward 5, Precinct 24 are artistic as well as informative. Any member of the lower castes so motivated might receive a very beneficial education merely from studying this diagrams in their spare time. They serve as an excellent reminder of the brilliant work the mathematicians of the Collective do, inspiring both reverence and a desire to better oneself. More general knowledge may be gained by studying the trivia displays of Ward 5, Precinct 28.

Last, but certainly not least, are the gardens of the Crystal Keeper, where the beasts owned by the dignitaries of Hallifax are stabled. These gardens are truly magnificent, decorated brilliantly with multi-coloured crystals arranged by one of the artists of the Highest Castes. These crystal flowers engage multiple senses, for they release pleasant scents, in addition to their visual beauty, and their smooth texture. The beasts that wander the gardens are marvelous in their own right ranging from local jewel-toned thunderbirds to exotic chimaera or icy phoenixes. Few who witness these gardens could fail to be astounded by their beauty, or impressed by the might and variety of the creatures upon display, certainly those who work in the gardens cannot fail to be impressed by the splendour that surrounds them in their daily lives.

Hallifax's beauty is not something to be merely glanced at. While it is easy to appreciate the mere aesthetics of the pieces on display, true appreciation comes from analysis, from understanding of the angles chosen, appreciation for how the design elevates the spirits. Much of the art can be appreciated with multiple senses. All of the art of the city, from the lowest ward to the highest, is designed to inspire the higher emotions in its viewers. Let us all, as directed our great Chairman Cririk Adom, exalt in logic, science and reason and take inspiration from the higher emotions of love, beauty, truth and honour as represted in the Art of Hallifax.