A Hearts Artifact

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A king in the Land of Rod is no mere figurehead, an empty title of office with no purpose but to command.


A king rules by action, through the glory of combat and valor, and the Scepter is his symbol. No king has embodied this more than Old King Vukashin, and though he was a swordsman, he still maintained a scepter which he used for executing traitors. Forged by hammering the lost souls into the bleak stone of the Underworld with hammers of dead brass, this dread Scepter is the symbol of Fallen's might. It is said that no creature of the Underworld but the Gatekeeper can resist the commands of the Scepter's wielder. Some gods are best forgotten, their shrines demolished, their champions slain.

Their talismans Two heads look forward, two heads look back. War is the fertilizer of the field of life. Behold the storm, for I am both Perun and his brother.

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We know what you did. We will tell no one but you. Beware when using the Wings of Simargl, for such power comes at a heavy cost. Chains bind Simargl's grip tightly to whoever would dare use this artifact frivolously, and each flap of those powerful wings once brought ruin and desolation. A cold? Eat onion. Axe wound? Try this ointment. Bogged down by Shroudspawn?

It is the Feather of the Witchdoctor. Don't mention it. Namespaces Page Discussion. Views Read Edit View history. This page was last modified on 11 September , at MediaWiki spam blocked by CleanTalk. Animal Heart: Boar. Animal Heart: Rabbit. A heart extracted from a sanctified rabbit bears all its spiritual trappings: fleetness of foot, quickness of wit, and an excess of energy and vigor. Animal Heart: Snake. Hitting enemies with your primary attack summons a dagger that passes through enemies and deals physical damage to all enemies hit.

Chalice of Veles. Perun is the god who drank the most of all the gods, but Veles loves to say that he is the one who drank the best. Chest of Greed. Corrupted Bone. Chunk of Corrupted Flesh. Crown of the Fallen. Crown of the Mammoth King. Earthsplitter Charm. Evergrowing Vine. Goblet of Strength. Grozota Twins. Hateful Visage of Svarog. Svarog gazed upon the world as it was, like a misshapen lump of clay, and bellowed: "One must destroy so that one can create!

Heart rate variability

Inscriptions of Revival. Iron Maiden Pendant. Kablar's Eye. Some dragons can hypnotize with their gaze, even petrify. Mirror of Massacre. A veela queen from another age used a mirror just like this one to do her hair. Molten Chains of Svarog. Morana's Tome. Perun's Gauntlet. Perun's Shield Strap.

Repulsive Visage of Morana. Sceper of the Fallen.

Nefertiti's Heart (Artifact Hunters, #1) by A.W. Exley

Stribog's Talisman. Svetovid's Scroll. Holding aloft fan-shaped hearts, they look triumphant. Such bizarre images were stitched on pre-Columbian textiles 2, years ago; yet their vibrant colors, complex patterns and seemingly macabre imagery make them as compelling as anything woven today.

The fabrics were buried with the dead in southern Peru in graves that remained largely undisturbed until the 20th century. Now, 15 of these fabrics can be seen in "Ancient Peruvian Mantles, B.

These superbly preserved works underscore a long-held view that the Peruvian palette is one of the richest in antiquity. The vivid reds, yellows and blues, pastels and mauves on the cotton and wool fabrics glow in the dimly illuminated gallery. Half of the rectangular cloths are mantles, ranging from one the size of a potholder to a panel nearly nine feet long. The rest include a skirt, a hood, a turban, a shirt and fragments. The fabrics, along with body ornaments, food, slings, bits of gold and a gourd bowl, were arranged around the corpse, which was placed seated, knees to chin, in a basket.

Artifact I

The show's largest textiles were among those wound around the corpse, creating a multilayered construction, sort of a cloth coffin, which is now called a bundle. Haunting forms, the bundles resemble today's blanketed homeless huddled against the wind on city streets. Jones, the curator in charge of the museum's department of the arts of Africa, Oceania and the Americas, collaborated on the show with Mary Frame, an art historian in Vancouver, British Columbia, who specializes in pre-Columbian textiles; Ms.

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Frame also wrote the brochure. While no Rosetta stone has been found to decipher the images on the cloths, several theories are cited in the exhibition's brochure and wall labels. The agrarian nature of ancient Peruvian society was reflected in the elaborate dance rituals in which the imagery of planting and harvesting were major themes.

Metaphors of plant growth are pervasive in this exhibition. Several photographs show the seed-shaped bundles that were found buried in the Ica Valley, an inland desert, and on the Paracas Peninsula, a knob of barren land jutting into the Pacific. A sketch depicts the corpse as an effigy at the center of the bundle; beans, maize and peanuts were placed in the layers inside the bundle.

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And the act of burying the bundle was likened to the planting of a seed. Frame, "appears to duplicate a life cycle: it compresses the feeding and clothing of the dead person at various stages of its growth into an effigy.