This sullen piece has a nearly monochromatic pallet - dark blues, greys and blacks, depicting an obviously well-used gallows in some village square. Standing on the gallows is a burly headsman and a victim with his head on the block. At a distance, the victim appears indistinct, blurry, as if someone has defaced or smudged the painting.
However, if one gets closer to the statue, the image will change and the headsman axe will come down, severing the head of the victim. At that point, the viewer will see their own visage upon the severed head and die from the shock*.
*Normal counter-magic game mechanics appy of course.
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This broad panoramic landscape of a great stone city is perhaps on of the largest of the works, nearly seven feet wide and three high. The name of the city is not given, even though its distinctive architecture should by all rights provide a clear clue. No-one can recognize this city, though it holds the echo of some distinct memory. In any case, it has the same aura of malice that mark all of Marcus's works.
Careful inspection of the piece can make out shadowy, indistinct inhabitants, which never appear to be the same on different viewings.
The painting's curse is a slow growing obsession with finding this city, that will eventually cause one to either seek it out, or spend ones fortune having the city located.
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