From SuspireWiki

Exterior Description

The iron-gated-in estate rests on a large swath of prime land in Parkview. There are many lush trees that are rather pointedly arranged around the structure that looks, from the front, much smaller than it is as you get onto the property itself. There is a guardhouse directly by the driveway, though the gate is almost always open after dusk, and there is at least one individual inside.

As one draws up the cobblestone driveway, which is lined by slate, the structure which has the initial appearance of being rather small in comparison to some of the other ones in the area, is anything but. The trees that overhang the structure do a good job of hiding it's size, but the building itself, arranged somewhat like a mansion, sprawls backwards from the initial entranceway, and there are several wings that spread off through the back.

The walkway to the front doors is inlaid with dark marble tiling. The doors, which are thick and wooden (and intricately carved as one draws closer), are marked with rather biblically grotesque carvings. They appear to be hand carved, and do not have any markings that are openly obvious.

(OOC Note: If desired, a Wits + Academics -2 roll may be made to decipher a hidden Theban Inscription marking on the main door. If deciphered, one can see the faintest outline of some of the grotesque carvings spelling out the words, in Latin, 'Those who follow the words of the Dark Prophet are welcome within these walls; a worshiper of his dark wisdom shall not come to harm whilst inside; those who mean harm to these walls and those who worship inside will be destroyed by the infinite wrath of the Lord God's Holy Monsters.')

The Main Room's Description

Foyer

The large doors open up into a wide foyer area. The floor is inlaid, likely painstakingly, with expensive white marble. If closely inspected by a party, it doesn't even look to be the cheap and thin paneling -- it is the real thing.

The most notable thing in the foyer area is the presence of what looks like a golden statue. The statue portrays a Roman Centurion that is slightly larger than life-sized, and gleams as if it were made from gold. In fact, a close inspection of the piece's visible metal does in fact appear to be gilded. It appears to be hand sculpted and is of exquisite life and character. Nearby to the statue is a prominent golden plaque, which reads:

The members of The Invictus, Thomas Finch, Vanessa Miriza, Zarko Subodic, Gideon Thomas, and Ethan Vance, proudly dedicate these grand and faithful halls of the Basilica of Saint Icarus to the glorious and spiritual worship of the Lancea Sanctum on this night May Ninth in the year of our lord Two-thousand-and-ten.

Thick, wooden double-doors push inwards into what is the main congregation gathering area...

Main Congregation Gathering Area

What a beautifully dark sight the interior and main gathering area of the basilica is. The flooring is inlaid, likely by hand, with the same beautiful white marble that's showcased in the foyer. The walls of the Basilica are sculpted beautifully to reflect the past glories that could be found in true Cathedrals and Basilicas in the Old World. Clearly, a whole heaping lot of money has been expended on the entirety of this place. A secondary type of darker marble lines the flooring along the walls, and is separated from the white Italian marble by thin gilded stripes. The second type of marble seems to be closer to black, and for those in the know, is called China black marble.

Large, sturdy and plush pews line either wall, and there are six of the large pews on either side of the room. The seats and back rests of the pews are exceptionally cushioned and the fabric appears to be of a dark sanguine colored brushed velvet. Between the pews, in the center of the room that leads towards the pulpit, the darker marble rests and inside of the marble is a gilded insignia of the Lancea Sanctum's cross, fanged skull and spear. Again, it appears as if a ridiculous amount of funds were expended on this building and it's gilded interior.

The pulpit is a sight for eyes, as well. It is elevated about two feet from the rest of the floor and outlined by the gilded separation between dark marble and white, and is inlaid with marble on it's top. There are pillars that lead up and support a small balcony, though it's not easily discerned how one reaches that balcony without further inspection. The altar itself is a large, wooden and intricately carved piece of wooden furniture. It's carvings on the front, visible portion look to be of the very same fashion as the large main doors leading in from the exterior of the basilica. There are depictions of kindred hunting fearful mortals in groups, kindred who worship, and six saintly figures -- those who read the testament would recognize five of the saints easily by the manner of their depiction: Daniel, Adira, Gilad, Maron and Pazit. The most prominent of dark saintly figures isn't easily recognized by most... but those in the know would recognize it as Saint Icarus. Across the top of the altar is fashioned a (likely) working spear, set into golden clips to keep it firmly set in case of enthusiastic sermonizing.

Behind the pulput and overlooking the balcony is one massive stained glass window, which is not exactly in the same fashion as the other stained glass windows in the main hall. It depicts two figures -- Saint Vahishtael the Archangel and the same Roman Centurion that is so gilded in the foyer: Saint Longinus -- in the most recognizable scene from the Testament of Longinus: Vahishtael visits Longinus and explains the role and Purpose of all Kindred. The mammoth stained glass window is illuminated by night by the moon and casts a beautiful bluish hue across the room when fully lit.

There are two wooden doors on either side of the pulpit, but are always locked.

There are what appear to be emergency doors (though they are wooden and still quite ornate) that are inset by the pulpit. Along the walls leading towards the pulpit, there are some large stained glass depictions of various scenes from the Testament of Longinus. Though they are not quite as large as the mammoth one behind the pulpit and it's balcony, they are still quite large onto themselves. There are four of these smaller stained glass windows, and they are of exquisite quality. There are two of these windows on each side of the building, and allow the moon light into the room through their myriad of colored pieces. The scenes depicted are of Saint Daniel, Saint Adira, Saint Gilad and finally of Longinus.

The Second Floor's Description

Accessible through the stairwells in the Main Room, the second floor generally refers to the second floor of the main section of the converted mansion. In the second floor, one is taken to a more relaxed environment, and offices and bedrooms line the hallways. All of these offices and bedrooms are fully furnished, too, with expensive silks and gilded decorations that are tasteful but yet purposely done to express comfort and wealth.

There are also two large meeting rooms, and there are long, sturdy wooden almost-oval-like boardroom tables that that sit fourteen, so long as there are six on each side of the table and one at either end. The chairs and furniture lining these rooms are both tasteful and of high quality.

Lastly, there are two meditation rooms on this floor, which are serenely laid out and mostly barren. Though their lack of items does not mean that what is present is not comfortable and assisting to one's meditative state.

The West Wing's Description (The Training Area)

Through the west door there is a very short hallway connecting to the exterior of the home, but also to the west wing of the converted estate. The hallway is surprisingly spartan in nature, with nothing of the same gild and pomp of the main room, nor the pretentiousness of it's upstairs offices and bedrooms. The closest door to the Main Room leads to the outside and back of the estate as would be expected and is locked from the outside, while the furthest door remains thickly locked and bolted.

Once through the locked furthest door, the west wing looks to have been completely gutted out from it's once a large two storied affair into a large, open area, partitioned by equipment.

There are racks and shelves full of various weaponry, both practice and real of the making. There are punching bags and various training dummies set up and are all floor-standing so they can shifted and moved as necessary. There is a long partial "wall" made up of a bullet proof glass that partitions off an indoor firing range for small arms and throwing weapons. Inside of the small range, there are light marks to designate meters from the two targets set down at the end of the range, in front of a sand and gravel pit, which catches any errant bullets or thrown weapons as they pass through their targets.

(OOC Note: The equipment list for this area of the Cathedral can be found on the Lancea Sanctum covenant forum -- or by a Storyteller if you do not have access to the forum, and have access to the room.)

Lastly the floor on the back half of the room is mostly covered by a thin, padded, circular mat, that is emblazoned by a large symbol for the Lancea Sanctum.

Doors on the walls lead to the exterior of the home, and on the outside are very neatly covered by the large amount of foliage that has been purposely placed around the entire structure. These are always locked from the outside and generally barred on the inside, though such barring is easily removed in case of emergency.

Martial Saints Triptych

A painting is displayed in the training room, a triptych of three oak panels, large enough to dominate the long wall opposite the entrance. The panels are fastened with brass hinges, though it doesn’t look as if the whole work is meant to be folded. The style is modern, but heavily inspired by the Byzantine period, each panel depicting a Black Saint in mid-battle: Daniel on the left, Pazit in the center, and Maron on the right.

Daniel is depicted slinging terrible magic at cascading hordes of Roman soldiers, accompanied overhead by winged Amoniel. Pazit points out members of the mob that surround her, and they burn with a white fire. Maron fends off a multitude of barbaric foes and a huge wolf-man amid the wilderness. The triptych evokes two distinct impressions: one, that the Saints are outnumbered and doomed; and, two, that they remain mighty and ultimately triumphant. The panels are tableaux of martial prowess, magical supremacy, and unflinching determination in the face of impossible odds.

The color palette sets cool yellow-white violence against nocturnal blues and purples, the only warmth coming from blossoms and streaks of blood red. With its hues and bold lines, it crackles with the vitality only the living or the truly gifted Damned can instill in a work of art.

The Eastern Wing's Description

((Sexy description to come))