“At the top, worked into the rose window itself, was the familiar banded face of Haldora […] Then, taking up most of the height of the window, was a toweringly impressive cathedral, a teetering assemblage of pennanted spires and buttresses, lines of converging perspective making it clear that the cathedral sat immediately below Haldora.”
More fanart! We return to Absolution Gap, subject of the Inhibitor cushion. One of the things I love about Absolution Gap is the collision of the future with the past (at various levels of literality). The gas giant Haldora is an object of pilgrimage and vigil, in a fashion that wouldn’t be inherently alien to, say, Chaucer; but the pilgrims come in lighthuggers, kilometre-scale starships, and are assisted in their unsleeping devotions by life-support machines. The cathedrals the worshippers build are recognisably descended from the medieval European version, with flying buttresses and stained glass; but they move, on feet and wheels and tank tracks, tracking Haldora’s precession across the sky.
I feel that using an ancient art-form (people have stuck tiny bits of cloth together since the invention of cloth) to depict a scene set in … 2727? … fits in nicely here.
As well as simplifying the cathedral pretty drastically from the description (I ran out of room for flying buttresses; the finished patchwork is only about 50x60cm), it also mentions elsewhere in the same passage I quoted above that the night sky is supposed to be blue, not red. Call it artistic licence.
It’s roughly quilted down the dividing bars; the main picture sections are unquilted.
The back is mostly rough blue cotton left over from the Viking kyrtill, with a chunk of quilting cotton that seemed apt. The binding is left over from Vogue 1419, and, because I wasn’t paying enough attention, is on the wrong side.
And that’s it!