Cara Ayesha's sanctum design is based on that of the noble residences of her homeland. A Persian townhouse is walled, with a dihaz, or arched corridor, which leads from the outer wall of the house to the hayat or main courtyard. The main rooms of the house open out into this courtyard, often with another passageway leading to a smaller courtyard and the women's quarters. In this case, Ayesha has chosen to use the main courtyard and its adjacent sitting rooms for visitors, and has placed her sanctum and living space where the women's quarters would have been. The rooms are lit with oil lamps, scented by wrought-iron braziers, and are generally warm and cozy. The decoration tends toward opulence--the rooms are resplendent with Persian rugs and silk draperies in warm tones tending towards reds and oranges, and embellished with choice examples of Persian pottery. The outer walls (those in the courtyards) are tiled in lustre star-tiles patterned in bright chromatics, while the inner walls are left as stone, and are for the most part covered. The main doorways (those opening onto the courtyards) are arched and decorated in stylized patterns showing the phoenix cycle.
The two courtyards are planted with fragrant, bright flowers, such as marigolds, heliotrope, sunflowers and poppies, and several cushioned iron benches are positioned around the gardens in the main courtyard. Wall-mounted torches provide light at night, and a Creo Ignem effect keeps the courtyards warm and bright during the day, no matter what the actual weather. In the main courtyard, a Chahar Taq--a temple dome supported by four arched pillars--houses a small altar with an eternal flame dedicated to Asha Vahishta, the Zarathustran deity responsible for creating Fire. Surrounding the temple are about a dozen or so newly planted fireflowers.
The main sitting rooms and guest chambers are lavishly appointed in the above-mentioned style. The focus is on comfort, and the furniture consists mostly of cushions and low divans, with thicker rugs and mats for the bedrooms. Fresh flowers and ornately crafted candelabra complete the decor. Wide windows look out onto the main courtyard, the frames of which are decorated with thick, brightly-colored glass. Of late, several of the guest rooms have been renovated. The ones closest to the Caldera have been connected by way of a passageway carved out of the rock to a spot near where the Armenians and their families have moved in.
The library and reading room are both very minimalistic, if comfortably (and expensively) arranged. They are both very ordered and quiet, decorated in earth tones and furnished with wooden chairs and tables. Her texts are neatly organized and well-maintained.
Ayesha's laboratory, however, belies the general organization and order of the rest of her surroundings, and chaos abounds. Tables are messy--covered with parchment, various spell components, and writing utensils--if not completely broken, overturned, or actually on fire themselves. The entire lab is covered with scorch-marks, and the walls, floor, and ceiling are pitted and scarred. There is not much in the way of expensive equipment, as most of what she uses needs to be either replaceable or indestructible.
The baths are a series of pools set into the stone floor. The smaller pool is heated and used for washing, while the larger pool is surrounded by benches, and kept luke-warm for soaking. Various hair combs, cosmetics and compounds are arrayed on a table in the corner, and there are several full-length mirrors along the walls.
Ayesha's personal chamber is modest in comparison with the rest of her rooms (the exception here being her wardrobe, which is overflowing with fine robes, veils and accessories, as well as several tight-fitting working outfits for the lab, and various costumes from her days as a performer) There are several large cushions and rugs for sleeping, a few personal items and correspondence on a set of shelves, and some of her old props--balls, scarves, knives and torches for juggling; and bells, gongs, and other noisemakers--in a chest in the corner. The walls have been left bare, and the chamber is for the most part empty space. On the floor by the foot of her bed rests a cleverly carved and very beautiful white marble statue of Ilithyia. She holds a small baby in the crook of her left arm, wrapped in cloth, and in her right hand, held aloft, is a torch. Upon the base are the following words in Greek: Fair Ilithya, of Zeus and Hera born, who salved Leto's pains with her touch, I call upon you to bestow your blessings, upon my child and upon me. Scald me not with your flame, but by its light, let new life begin.
The lab and bedroom are both protected by Ayesha's Waiting Spell, both set on Pilum of Fire (lv. 20) and Alarum Spell (lv. 5). The lab is keyed to go off on anyone not invited in by herself, and her room is keyed to hit anyone and everyone except those of her blood. In addition, when she is in residence, the enterances to her sanctum are guarded by otherwise off-duty grogs, or the Armenians.
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