2026-03-24 21:08 - 22:48 PST
Jasper visited Francesca Pisanob. Much like his earlier meeting with his aunt Fiora1, they simply talked about the future of the Giovanni. He offered a gift, and left.
Jasper steps aside and makes way for his driver, the Dunsirn Ghoul, to bring in a painted canvas.
“Perhaps it is but a shallow offering, but I had hoped to add to your gallery, cousin.”
The oil painting the driver presents is one of Jasper’s own creation. It depicts what is an artistic rendition of what Franscesco could broadly recognize as the Quetzalcoatl’s descent into Mictlán, the Land of the Dead. The Plumed Serpent takes up the majority of the upper right hand side of the painting rendered with vibrant color that opposes the grim macabre of the rest of the painting’s scene. Jasper Ernesto Rosellini-Milliner had a talent for painting feathers which came across in Quetzalcoatl’s plumage. Across from the serpent in the bottom left portion of the canvas was an artistic interpretation of Miclantecuhtli lording over a field of human bones and skulls. This part of the painting is rendered in ghastly detail as the macabre of picked clean flesh and the sight of death is expertly rendered by the oil paints. For one who presents as pleasant and sheltered as Jasper does, there was an undeniable affinity for scenes of rot and decay presented in this piece. The preferences of Clan Giovanni bleeding through.
A detail that the most attuned Kindred would pick up upon was the addition of blood to the paints used to construct the piece. Particularly in the bright red of Quetzalcoatl’s plumage but also in the darker red backgrounds that were shadowed or hidden beneath painted bone. There is no thaumaturgical or necromantic purpose to this use of blood. It was instead a marker of status. Blood used in the medium simply because the Giovanni were wealthy enough to spend blood on such frivalties.