Closed [GST] An Architectural Masterpiece: Palsa Hydrasa (Clyde)

[Sayana]

As the mage read the faded text, he would be able to make out some of the subheadings within the chapter.

Daek-nuit
Reacquaintance
Preservation and Embalming
Surgery Chamber

Additionally, there was a faded sketch of two bodies over top of one another and wispy white smoke connecting their mouths. Below was the caption:

Nuit performing the transfer ritual.

The rest, however, was far too faded to read with ease, let alone skim. Only someone who was fluent in the ancient tongue would be able to mentally fill in what was illegible without spending an inordinate amount of time deciphering it.

The next chapter was fortunately much better preserved. Yet it had its own sort of 'tampering' to it.


Iconic Architectural Features

The Palsa Hydrasa is not only a work of beauty but combined unique features for the age. With many of the grand cities of Alahea in ruin after the Valterrian, it still stands as a symbol of perseverance and rebirth.

The tall barreled ceiling vaults of the main office are certainly the most awe inspiring feature of the Hydrasa. Although barreled vaults were common throughout the Alahean Empire, few remain after the Valterrian, and fewer with the elaborate décor, paintings and tiling that the Palsa Hydras has. This iconic ceiling is also exceptional in its height and span. Thin steel bars give extra strength to achieve such feats and keep the building from collapsing in on itself.resist the outward forces caused by the weight of the stone vaulting.

The corner arches are another unique feature^example of poor design^of the Palsa Hydrasa. Not only do they serve the functional purpose to distribute weight and reach long spans across the rooms, but they are carved in a tiered and arching design to bring beauty to the halls. These corner arches are one of the most notable features due to their frequency within the building.Since you need so damn many to support the roof.

The ceilings of the main hallways provide a stark contrast that of the office. These ceilings are mostly flat, with large timber beams^should have been stone^covered in decorative tiling or painted finishings. The effect creates a vast open space for the embalming pool with no pillars needed to impede the facilities.

The vaults in the Rubellum Chamber, in which the bodies themselves are stored, are possibly the most intriguing. These lie deep beneath the structure and were carved from the original rock, which the initial excavation had not touched. Fashioned to store and roll out new bodies from within the chamber, they are a remarkable feat despite lacking much of the beauty from the building above.

The tunnel is the most important part of the Palsa Hydrasa. It joins the Rubellum Chamber to the Sahovan warehouse. The tunnel is straight and pure with the perfect width for two corpse golems to pass each other. One can gaze down the length of the tunnel and see the light from outside. This is the stunning masterpiece.


Some of the iconic features noted in the text had small sketches to go with them. More noticeably were the frequent crossing out of words, and revisions in red ink. It was clear that it was done in a different hand and if the ink was inspected auristically, it would also be clear that it was much more recent.

As Clyde reached the end of the chapter, the doors to the Great Library opened and a tall slender nuit walked in wearing a young woman’s body. Her strides were purposeful, not quite the usual lethargic nature of nuits, and she soon crossed the library to where one of the catalogue golems was stationed. In the ancient tongue, she spoke plainly to the golem.

“There’s a book that was put on hold. I’m here to pick it up.”

[Clyde Sullins]

Skipping along through the book, Clyde skimmed but didn't focus much on the remainder of the chapter he'd lost interest in. The word Daek-nuit popped out at him, a ritual which he'd seen an Animator try and fail at seasons ago. It had involved a Animator killing a person, an apprentice, and attempting to transfer their soul into a fresh dead body. it had failed, but he'd understood the basics of the procedure and its attempt.

That being said, there also seemed to be some odd pictures with bodies and white material going from one to another. He knew ichor was white, so assumed it had something to do with nuit, though he wasn't sure why it appeared as a gas nor what the illustration intended. It called it the transfer ritual, which stirred some connections in his mind. Perhaps, he thought to himself, how a nuit moved from one body to another instead of how a new nuit was made?

Not overly concerned on how nuit switched bodies Clyde progressed onward quickly, coming to the next chapter about the main features of the building. However as he read he noted newer read ink added in here and there. From the words and apparent argumentative nature it seemed someone disagreeing with the author, though afterwards in time.

From it he garnered the fact that, the new writer being wrong or right, the original designer had a clear infatuation and obsession with the use of certain features. Even, perhaps, to the detriment of the overall structural integrity and validity of the structure. Such a thing seemed silly to Clyde's mind, putting appearances and aesthetics over function.

Vaults, high ceilings, and things in excess which required additional supports and things to hold it up. If he learned one thing from his reading, it was that such high ceilings and rises could be problematic, and only served appearances sake and required additional features to compensate for them, such as the arches mentioned and later noted as poorly designed and there to support the roof.

While he'd seen the building in the vague past of his life, he didn't fully recall all the things mentioned, nor did he recall how they interacted.

From reading the notes it was clear the new note taker preferred minimalistic design, foregoing aesthetics and doing the simplest and cleanest thing that served the needed end result. A style that Clyde could appreciate as he felt should he design something he would fall into the same category.

While the book in general tasted of age, cobwebs and dust in the way ghosts tasted of molded bread, the new revisions and notes were fresher by comparison with a younger taste.

As he pondered the words newly written along with the original text, Clyde heard a noise as someone charged into the library. Speaking in the ancient tongue the nuit stated they were there to pick up a book, one they'd placed on hold.

While Clyde didn't look mundanely, he stretched out another tendril of aura sight, latching it onto the nuit. From the actions of the golem tied with their words, Clyde assumed the book in question was the one he was reading. Which, Clyde assumed, was why the golem had been trying to take it from him. Of course due to his particular level of skill, his aura touch was as gentle as a bare wisp of wind and likely wouldn't be noticed by anything less than another master aurist.

As he'd not taken the book from a golem or stored place, but instead from a bookshelf itself, he assumed he wasn't in the wrong for having taken and read the book. The bookshelves after all were for anyone to take from, though normally golems would be sent by nuit to do so. But as it hadn't been marked in any way Clyde had taken it, and rightly so.

With that in mind Clyde continued on with his reading, turning to the next chapter having finished the prior one, to see what else he could read before he was inevitably interrupted by the nuit.

[Sayana]

The blonde female nuit and the golem ‘conversed’. Or as best as one could, given the one-sided nature of the conversation. Despite the catalogue golem’s ability to assist with finding books and the ability to file them away again, it didn’t lend itself well to more complicated activities. Particularly ones that hadn’t been considered during its original animation.

There was some pointing, some wheeling and some frustrated conversation in Nader Canoch. It all bought time for Clyde to start reading the next chapter quickly before the nuit discovered where her book had gone.


In-Depth Study of the Building Design and Construction

The Palsa Hydrasa is arranged in a semi-circle around the high barreled arches of the office. The smaller utility rooms are located at the sides and in the back. This enables the embalming pool to be displayed as an expansive feature in the great hall, while at the same time giving sloping rooftops from the heights of the domed office roof. The floorplan and layout are shown in Figure 3.

The square columns are laid out within the great hall with sufficient numbers to support the weight of the beams and roof. The columns are braced against the walls of the structure to reduce the likelihood of buckling. Buckling is a phenomenon in which a slender column will bend or curve as a result to high pressure being applied at both ends. Bracing a column constrains this potential bending and results in a more secure structure. Figure 4 shows the effect of bracing and how buckling can occur without appropriate bracing.Buckling depends mostly on the width to length ratio of the column. Not just being braced.

The Palsa Hydrasa has large thick walls built of stone to support its glorious features. The walls are sturdy enough to not only support the roof, but to house large windows to let the light in. These effective gaps in the walls are testament to the building’s overall strength. The^perfect circular^arches offer more than just light but an elegant beauty to those looking at them. The stones of the arch distribute the weight from above by channeling it to the pillars on either side. Figure 5 depicts the distribution of weight in a stone arch.Each stone is in perfect compression and the curvature enables the vertical pressure in the center to be applied both vertically and horizontally on each stone of the arch until the columns are reached. The keystone, at the center of the arch, is the most important of all.

The corner arches effectively distribute and channel the weight of the beams and roof, much like the stone arches. The tiered design allows for increasing surface area at each tier, thus minimizing the likelihood of ‘punching’ into the beam or slab above.^Carved capitals are just as effective and twice as beautiful^Figure 6 depicts the transfer of weight from the beams to the piers.

To create the large open spaces of the Palsa Hydrasa, long wooden^should have been stone^beams^arches^were used in its design. The two main benefits of timber beams are the relative lightness and the ability to accommodate sag. Stone is particularly susceptible to cracking on the underside when spanning large distances without support. The design of the beams themselves uses a greater depth to width ratio. The increased depth of the beam reduces the potential for sag and allows for greater spans to be achieved. See Figure 7 for dimensioning of various timber beams and subsequent strengths.But stone doesn’t rot, have ants or burn if there’s a fire.

The grand office in the Palsa Hydrasa has barreled stone vaults which act like a series of stone arches.^a proper design^…


The book in front of Clyde slammed shut, seemingly on its own accord. Standing across the table from him was the blonde nuit, hands on her hips.

“That book. It was placed temporarily in the library for safe keeping during one of my master’s… escapades. I’d like it back. He’d like it back. He hasn’t finished much needed… revisions.”

[Clyde Sullins]

As Clyde read further into the book, it seemed he was having more and more trouble understanding it. Clearly the writer, and perhaps whomever had edited it, had a much better understand of architecture and its terminology and workings.

Many of the terms Clyde recalled once read, but didn't fully understand, particularly due to his not fully formed mastery of the language it was written in. The ancient tongue by its nature led to openness in meaning, a simple language, and some things he just didn't quite understand when turned into common. He imagined this was due to a gap in knowledge related to his infancy in building knowledge, rather than the book itself.

Clearly though whomever had designed the Palsa had a hard on for arches, domes, and other such fancy building elements.

He understood some of the concepts, needing beams, columumns, and other supports when the roof/upper areas were heavy. One couldn't have arches and fancy elements without properly supporting it. And big open spaces similarly needed supporting to span any distance.

This also, apparently, involved/required bracing things, so they didn't slide or move under the pressure. Or so he took from his readings. A column wasn't enough if it wouldn't stay put. Though why it would move horizontally when the pressure was downward, he didn't fully understand. Apparently, he assumed, some other element was at play beyond the obvious.

Clyde began to mutter quietly under his breath as he worked out some of the things.

“Why do columns need braces, to stop them from bending or buckling? They brace them against the walls, but their there to support the roof... Buckling though, horizontally, that seems counter-intuitive... Ah, no the buckling is a vertical threat, but the braces stop it from buckling... By adding the horizontal element? But the threat of buckling, that is still a vertical threat... Ah...”

However as he read further the editor seemed to disagree with the original writer and Clyde small bit of understanding, stating that how wide the column was as compared to its height/length was more important than buckling... So weight was one element, but size was another, and if one made the supporting columns wider, this became less of an issue. Made the column stronger? More sturdy? Divided the pressure across a wider area? Clyde wasn't sure if one or any of those was the answer, but clearly the width of the columns was an element at play, and the wider the better to support more weight...

A window was also referred to as an arch, which from the prior words seemed to almost make sense, except that it was a circle... An arch upon another arch but upside down?

Surface area, distribution of weight, arches, beams, spanning, all kept popping up, but Clyde understanding of many beyond the basic were... Basic.

Clyde was finishing up another page when he felt/saw a flare of djed within the aura of the nuit he'd silently been inspecting and keeping aware of. The nuit had neared when he'd not been paying attention, and now stood nearby with her djed aflame. Before he had time to react a piece of her aura broke off, an odd image that he didn't fully understand.

The bit of aura, blazing differently but almost as strongly as the nuit though in a different way, stretched out and slammed the book shut. As it did he made out a hand within the broken off bit of aura, a ghostly limb closing the book independent of the nuit.

However he could tell that while independent it was connected and of her. Looking at the nuit now with his mundane eyes, as the book was closed, Clyde frowned as he dug through his memory for a fitting answer. After a moment he recalled the projectionist he'd met before. It seemed the same skill and magic was at play here as a flashy means of intimidation and shutting the book at the same time. Something that might work on a lesser wizard, but not Clyde. Still, he'd learned something new, how a projectionists aura looked when a bit of their astral body was separated. When he'd last met one he'd only inspected her aura after, not during, and so hadn't seen the signs and aura images.

“And who, pray tell, are you? Or your master? I'm assuming the revisionist, who's been making so many changes to this book... I imagine there are those who wouldn't like to hear someone has been making changes to texts in the library, might even call it vandalizing or destroying...”

Still meeting her gaze, Clyde gave an intimidating stare right back as he let his words hang in the air in silence for a few ticks. A stare to turn her ichor to ice as easily as her showy use of magic.

“Now, misses no name with no manners, I took this book off a shelf to read it. It wasn't restricted, wasn't reserved, but upon a normal shelf. By my taking it to read, I therefore took possession of it till I'm done. I'm sure then you'd understand why I'd be less than inclined to hand it over till I'm done. Especially since its unclear when I'd get to finish if more... Revisions... Are planned. Whomever your master is can have it once I'm done.”

“I am Clyde by the way. Clyde Sullins. Wizard by rank, among other things.”

“And the next time you touch myself, my person, or my possessions, without permission, I will be rather displeased. So keep your hands, both mundane and astral, off my stuff until I say otherwise. Its rude if nothing else, to touch others without asking.”

Holding Cha out, Clyde left the staff across the book, blocking it as he eyed the nuit.

[Sayana]

The nuit brought her arms from her hips to cross over her chest. Her posture was almost righteous, as if it was her duty and responsibility to restore the book to how it ought to be. Hence she didn’t flinch when Clyde accused her of potential vandalism. But with his intimidating glare, she couldn’t help but take half a step back.

“Do you even know who wrote this? His knowledge and skill, or lack thereof, pales in the face of my master. Some nobody who worked on the Palsa at its creation and did nothing more ever since. Do you really trust the word of this--” She glanced down at the book and the author’s name printed on the front. “This Elliot Rubin? Compared to the centuries of experience of my master, Milton Draunbrach? You should be thanking me that I’m here to relieve you of this book before you take in anymore worthless information.”

When Clyde introduced himself and his rank, the nuit laughed aloud.

“So we’ve adopted another wizard pulser? How long have you been on the island? Two years? Five? No wonder I don’t recognize your name. Remind me again in half a century and then I might remember who you are. My name is Loretta Rothdel. I’ve been here more than four times your lifetime. And my master? More than four times the length I’ve been here. You’ve probably never set foot in the caves and caverns deep below the citadel. Yet Master Draunbrach, he could invent glyphs with all the passageways and corridors embedded within them. He designs, redesigns, and not once has the citadel ever crumbled upon its foundations. Milton Draunbrach is a real architect. Not this novice and coward who fled the island several years ago.”

“And so, Mr. Sullins of Wizard rank. I will make my request again. Please return that book to me, so that my master and I can finish the required revisions.”

Her voice was snappy, clearly thinking little of the pulser before her. Age, experience and status on the island of Sahova were far more important to her.

[Clyde Sullins]

Clyde kept a smile from his lips as the nuit flinched in response to his stare. It was a look he'd nearly perfected over time, one not untruthfully intimating possible violence.

He did though let a small smile come to his lips as the nuit began to speak, simply listening and letting her say her piece before responding. Such was his way. Everything was a battle, even conversation, and it often served ones purposes to let the other tire themselves or to dig their own grave so to speak.

“Ah, but how can I go on to understand what your master has written, without first understanding the subject at hand? Better to read, perhaps going back later once edits have been made, than to not read at all. Who knows when I'll next get a chance? Especially with your masters apparent regular revisions.”

Clyde rose as he spoke, facing the nuit, appearing to grow momentum and energy as he spoke as if he might at any moment trample the nuit in a forward charge.

He noted the man who'd made the revisions, a name he didn't know but apparently to this nuit was of import. Milton...

“As for length of stay, and importance, tell me then if only years matter why I've not heard of you or your master or your deeds? I've done and expanded quit a bit in my short stay, as it where. I am well known, by those in the know. Which perhaps says something, that I am not known to you...”

Once more Clyde smiled, showing no sign of tiring in his speech, or an end to it.

“As for your master... I've patrons of my own, one even I'm sure you would have heard of. But unlike you I don't feel the need to wave their name around like a club. After all, names of real weight don't need to be waved about, and mages of real power can stand on their own without their patrons name at their back.”

Clyde's patron was a member of the Council of Five, a group everyone on Sahova would know of... Whereas this nuit served some random master Clyde had never heard of. He knew his own position of strength, and it gave power to his words beyond any imagined status the nuit felt was their due.

“Now, if your master is so inclined, I wouldn't mind learning from him. But as you've said, I'm a pulser. Time for me is much more precious, and I can't afford to waste any. By your own admission.”

“Whereas you, after noting my brief time, my existence, would begrudge me another bell or two to finish my reading? What is another bell or two to your master? Nothing but an infinitesimal grain of time. But you would begrudge me a bell or two, for one to whom such time is of meaning.”

The word Glyphing had poked out at Clyde, though from the way it was settled into the sentence he didn't fully grasp how this architect used it. He did note however how the nuit was quick to call her master great by the nature of nothing happening.

Clyde knew this trick to negotiating, making great claims by showing the proof of nothing happening. Evidence, by lack of evidence. However Clyde knew that if such things were true there'd never be a chance to prove it. Otherwise should it be false, they'd be claiming greatness by doing nothing. How then was it great for him, by his actions, that the island hadn't collapsed upon itself? He almost shook his head at the nuit for her not so subtle attempt at convince Clyde of her masters grandness and power.

“How about this, you give me another bell, a tiny portion of time to you, and an infinitely smaller one to your master, so I can finish reading, and then we both go on out way.”

[Sayana]

For the first chime or two, she seemed to waver slightly at Clyde’s supposed influence on the island. When he stood, it was clear that she had chosen a tall female body to wear, yet even still the human wizard surpassed her height by a couple of inches. Nevertheless, she kept her gaze hard, and she eventually found the slip in his rationale.

“Out of sight, out of mind. I can give Milton the credit where it is due because he is good at what he does, but equally, he has no desire for his caverns to be overrun neither the living nor the undead.”

She gave a laugh when Clyde suggested that Milton might share his knowledge. Nothing more needed to be said, since the human summed it up perfectly well by restating he was a pulser.

Loretta was pensive as the human wizard tried to bargain his way out, using reasoning and logic. She was thoughtful but her eyes were narrowed in suspicion. It was certainly not her first choice as to how this would go.

“A bell…” She repeated slowly. Her master wanted the book back quickly, so he could continue his work on it, but Clyde was right in the fact that time was more fluid on the island. At least to those who had endless quantities of it. Her eyes suddenly brightened with an idea as they glanced down at the blue wooden stick laid across the book.

“A bell is a small amount of time for a nuit like myself. It is also a small amount of time in comparison to the years in which you have surely possessed your magical staff. Give me a bell with your staff, and you shall have a bell with this book. I would like to examine it magically. Call it… collateral.”

Despite living on the island of wizards, not everyone had easy access to a magic staff. Nor did they necessarily have a good chance to examine another’s. She knew they were expensive and it was verging on an insult to suggest that the staff might be used as collateral for an old book. Yet she still seemed to see Clyde as a mere pulser and not worthy of proper respect.

[Clyde Sullins]

So far in their dealings Clyde had been nice. At least, nice by his normal standards. Nice. Friendly. Conversational, like a learned man trying to convince a colleague the error of their ways. While he might doggedly pursue his goal, he did so with no malice or ill intent in his voice or ways.

Before Clyde had been laying Cha across the book, standing, but keeping Cha as she was across it in a clear indicator he didn't want her snatching the book away. Of course he still kept his grip on the staff, but at the moment was more focused on their interactions. Sort of one not paying much attention to their hands while speaking.

However at the mention of the nuit taking Cha, it became clear in Clyde's opinion she'd crossed a threshold. A dark visage fell across Clyde's face. Anger, bloody intent, restrained violence, as if he was liable at a moments notice to lean forward and rip out her throat with his teeth. Where before he'd been talkable, now he was quite clearly in no such mood and was deeply offended.

Cha whipped up fully into his grip in front of him, like drawing a sword, and Clyde took a quarter step forward which seemed to almost appear like he was charging at her due to the sudden motion- despite still being far from her. As he began to speak with a huff of air from his nose, a tiny misting of silvery res exited each nostril- floating back in and being reabsorbed as he next inhaled only to float back out on his next words. In truth it wasn't intentional, not fully, but his res' reaction to his intent and desire. His barely restrained intent.

“Do not try my patience. I tried being nice. But I will not take such unprovoked offense without satisfaction. I made Cha. Imbued her myself. She is mine, and not for your... Perusal.”

“Now, you can leave, and leave me my bell of reading in recompense, and I will forget your slight. Or you can stay, and refuse my humble request of a bell, and I can find it in another form. Its your choice.”

It was clear from Clyde's words and reaction he knew just how valuable Cha was, and also knew what she'd said. It was also clear he had no plans to further be persuaded or to persuade or show niceties. He'd left her an ultimatum, and if his words didn't make it clear, his glare and posture certainly did.

[Sayana]

“Fine.”

Her voice was clipped and cut short. Had she been braver or of higher status, she might have continued to pursue the insignificant point, but she had most certainly taken a step back when his nostrils flared res.

“Bury your nose in an old book written by a subpar architect while I go learn from a master. If you were actually interested in the topic, you’d be asking why certain clauses presented as fact are so terribly wrong.”

She turned as if to go but couldn’t help but glance back with one final retort.

“I may not know you, Mr. Sullins, but if you really are a Sahovan wizard you better keep up your research. Wizards who don’t produce, who don’t make new advances or gain new insights to magic won’t maintain their rank indefinitely.” She of all nuit would know.

Before leaving the Great Library completely, Loretta pulled out a small selection of tomes from the shelves. Each were on the topic of either reimancy or architecture as she effectively sucked the library dry of similar reading material. She did not linger any further and walked briskly out the door.

Should Clyde return to the page in which he had left off, the chapter would continue with a mix of black and red ink.


The grand office in the Palsa Hydrasa has barreled stone vaults which act like a series of stone arches.^a proper design^As explained above, each stone is shaped to fit and channels its weight towards the vertical walls. Since the vaulting is curved upwards rather than horizontal, there is no sag. The long metal poles that span the grand office provide extra stability to keep the heavy vaulting from collapsing inwards.^Utter nonsense. The weight of the stone pushes downwards and consequently outwards on the curved vaulting. The walls must then be braced against this outwards force upon the walls. The rooms next to the office provide some bracing but the metal ties are in tension and keep an airy feel while preventing outward bulging or bowing of the walls. This is also the most spectacular room in the whole building^.

The embalming pool and piping system was not an original feature to the Palsa Hydrasa, however it became an important asset both in its function and aesthetic. It is primarily finished with glossy tiles and a shield has been applied to prevent leaks of the embalming fluid. Round pipes connect to the pool and a raised tank can be used to add new fluid and slowly mix the existing pool.


Construction

The primary magics used for the construction of the Palsa Hydrasa were reimancy and animation. Earth reimancy was an obvious choice but air, ice, and careful doses of lava were used in the initial excavation. Res transmuted into air could fashion clean cuts in the rock, greatly assisting the decision to use the stone from the island rather than reimanced stone. For larger volumes which required excavation, res was imbued into cracks and transmuted to ice, causing a vigorous outwards force upon the crack. Reimancy using lava was strictly controlled amongst the mages due to its danger and was only used to crudely melt down sections of rock. As the island is mostly made of volcanic rock it ended up only adding more volcanic rock to the site.

Animation, through the use of simple golems, assisted to stockpile rocks to be used for the construction and to clear away debris. Once a sufficient space had been flattened and cleared, construction could begin on the foundations working upwards. Other golems were used to carve the stones into the perfect shapes required to lay on top of one another with reimanced mortar between the gaps.

As the construction of the Palsa Hydrasa reached higher levels, simple wooden scaffolding was built alongside it to hold certain elements in place and to provide platforms for mages and golems alike. Pulleys and ropes were used to haul rocks to the top. The immense barreled vaults of the grand office required enormous formwork to accurately place all the rocks. Astral projection had briefly been considered to perform the feat, however, it would have required far too many mages with perfect coordination to accomplish it.

[Clyde Sullins]

It was quickly clear Clyde had made his point as the wizard acceded.

He kept stiff faced and staring at the woman, keeping his eyes on her as she turned, spoke one final truth filled barb, and left. He waited until she had clearly left his person if not the library before letting his face settle, the expression melting back to passivity in a single exhale and inhale.

Once he was once more calmed he settled back down, taking up the book and placing Cha propped against him to dive into its words.

As he read on the red added ink faded in and out, with a few words in some places and many in others.

The author seemed to feel the weight settled downward, with some elements keeping it from going inward. The editor it seemed felt that it moved downward and outward, bracing it by other rooms and some metal parts to stop bulging. Many such series were lost of Clyde, with barely the barest idea and concept making sense let alone its full worth.

If he'd learned one thing from his reading, it was how little he truly knew of such things. That fact had been hammered in quite well. Perhaps, he surmised, he'd be better off finding a simpler primer or such to try to then go back and make sense of some of what he'd learned or read.

He better understood the physical actions and processes of making the place, particularly the specifics of the Reimancy and how it was utilized.

Various elements of Reimancy to cut out space, along with combinations used for less refined expansions and releases or breaks. This unlike the architecture and said concepts Clyde could visualize and see quite well, and understood how such might be done.

Pondering what he'd read, Clyde paused for a few moments, considering the titles of the chapters he'd read earlier. Making a decision he passed onward, skipping to the figures at the end. He wasn't sure if it would make any sense, but he'd do his best to at least understand what was being shown or explained, and then once done return the book and press onward to other tasks outside of the library.

The wizard would have the book back to edit as he desired, free of Clyde's examining hands. At least, once he'd finished the last bit of perusal.