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| | <center>[[image:ArgentBanner.jpg|800px]]</center>
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| | width="25%" style="background-color:#FFFFFF; color:#FFFFFF; text-align:left; vertical-align:top; font-size:12pt; font-family:Cinzel Decorative; -webkit-border-radius: 20px; -moz-border-radius: 20px; border-radius: 20px; border:2px solid #000000; padding:10px" |
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| <div style="border-bottom:2px solid #c2c2c2; text-align:center"><font style="color:#000000; font-family:Cinzel Decorative; font-variant:small-caps; font-size:16pt">'''Argent'''</font></div><br>
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| | <center>[[Image: Argent5.webp|200px]]</center>
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| | style="background-color:#c2c2c2; text-align:center; font-family:Times New Roman; font-size:16px" | '''Fullname:'''
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| | style="color:#c2c2c2; font-variant:small-caps; text-align:center"| Argent Demoncouer
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| |style="background-color:#c2c2c2; text-align:center; font-family:Times New Roman; font-size:16px" | '''Apparent Age:'''
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| | style="color:#c2c2c2; text-align:center" | Mid-Twenties
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| | style="background-color:#c2c2c2; text-align:center" | '''Height:'''
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| | style="color:#c2c2c2; text-align:center" | 5’8”
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| | style="background-color:#c2c2c2; text-align:center" | '''Build:'''
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| | style="color:#c2c2c2; text-align:center" | Lithe
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| | style="background-color:#c2c2c2; text-align:center" | '''Hair:'''
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| | style="color:#c2c2c2; text-align:center" | White
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| | style="background-color:#c2c2c2; text-align:center" | '''Eyes:'''
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| | style="color:#c2c2c2; text-align:center" | Silver
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| | style="background-color:#c2c2c2; text-align:center" | '''Heritage:'''
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| | style="color:#c2c2c2; text-align:center" | French
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| | style="background-color:#c2c2c2; text-align:center" | '''Playlist:'''
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| | style="color:#c2c2c2; text-align:left" |
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| * [https://www.youtube.com/watch?v=R9cC00GEXN8 Le Blanche Biche] – Le Poème Harmonique
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| * [https://www.youtube.com/watch?v=g2dHmNuCNRg Plaisir d’amour] – Le Poème Harmonique
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| * [https://www.youtube.com/watch?v=a1SespHTaTs Les tendres souhaits] - Le Poème Harmonique
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| * [https://www.youtube.com/watch?v=QRjllL-MP0U Rêverie] - Debussy
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| * [https://www.youtube.com/watch?v=y7kvGqiJC4g Gnossiennes 1-6] - Erik Satie
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| |}
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| <div style="border-bottom:2px solid #c2c2c2; text-align:center"><font style="color:#000000; font-family:Cinzel Decorative; font-variant:small-caps; font-size:12pt">'''Roleplay Hooks'''</font></div><br>
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| * <font style="color:#000000; font-family:Times New Roman; font-variant:small-caps">'''Photographer'''</font> - Text Text Text
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| * <font style="color:#000000; font-family:Times New Roman; font-variant:small-caps">'''Fetishwear Designer'''</font> - Text Text Text
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| * <font style="color:#000000; font-family:Times New Roman; font-variant:small-caps">'''Band Manager'''</font> - Text Text Text
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| * <font style="color:#000000; font-family:Times New Roman; font-variant:small-caps">'''Dog Mom'''</font> - Text Text Text
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| * <font style="color:#000000; font-family:Times New Roman; font-variant:small-caps">'''Gourmand'''</font> - Text Text Text
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| * <font style="color:#000000; font-family:Times New Roman; font-variant:small-caps">'''Occultist'''</font> - Text Text Text<br>
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| <br>
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| <div style="border-bottom:2px #c2c2c2; text-align:center"><font style="color:#000000; font-family:Cinzel Decorative; font-variant:small-caps; font-size:14pt">'''Peek Behind The Curtain'''</font></div><br>
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| * <font color=#000000><i>Leave closed if you would rather discover these things IC.</i>
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| <div class="mw-collapsible mw-collapsed">
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| <font color=#000000>
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| <u>Clan</u>:</br>
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| *Toreador
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| <br>
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| <u>Ghoul</u>:</br>
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| *Marchosias
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| <br>
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| <u>Merits</u>:</br>
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| *Blush of Health
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| *Eat Food
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| *Inoffensive to Animals
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|
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| <u>Background</u>:</br>
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| Argent was born in 1970 in the department of Lozere (formerly the county known as Gevaudan), and more specifically still in the village near to the city of Saint-Chely-d'Apcher. Located along the “empty diagonal”, a region of France with steady population decline since the 1880s, young people tended to leave the rural area to find education and work opportunity in more urban areas. Which meant that Argent’s youth was spent mostly alone, wandering the beautiful forests and limestone plateaus and gorges. One of the few tourist draws in the mid-80s was a hunting lodge, where guests could rent out horses, packs of hounds, weapons, and guides to bag local game (roe deer, wild boar, etc). Argent began working in the stable to earn money around the age of 14, and over time showed great talent in mending and maintaining tack and fittings for the horses for saddles, bridles, carriages, and the like. Equally, she had a rapport with the horses and hounds themselves, and being local and available year round, soon learned the ins and outs of running the stable, maintaining a lodge, and even the more indelicate labors of field dressing kills, whelping dogs, and foaling horses.
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| Due to the area being so unpopulated, wild, and private, a wandering Toreador had taken up residence in one of the old and abandoned chateaus some miles away, renovating it and generally keeping to himself. He would, however, take interest in the hunting lodge, attending nighttime events to network and arrange for the delivery of supplies to his location. By chance he and Argent met and hit it off, for although she was a girl from a small village working as a stable-hand, she was enamored with local lore and legends, was a voracious reader, and had a growing dissatisfaction with the Catholic church and a growing, secret devotion to the occult. Her new mentor fully understood her point of view, having lived his mortal life in similar circumstances, and she was sired in 1992. She bid farewell to her former place of employment and family (who was glad to see her go, being so undevout and unladylike), and she and her sire travelled about Europe for several years. Their destinations were not only other enclaves of Toreadors, so that she might learn the traditions and how to fit in properly and safely within the Camarilla and maintain the masquerade, but they also visited several current antiquarians, collectors, and practitioners of Satanic rituals and black masses, both entranced with the simple message of “worship thyself”. In 1995 they came across another young potential mortal in Germany, and in discussion Argent and her sire parted ways that he might take on a new fledgling, and so that Argent herself might seek her own path. During that period, she remained in the area, practicing how to interact, how to safely feed, how to network, and fell into the delight of photography and the bacchanal of music festivals, particularly heavy metal ones with occult persuasions. There she met Asenath, the two immediately became friends, and then lovers. In 1996, Argent sired her lover, vowing to show her every joy and delight unlife has to offer.
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| </div>
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| <br>
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| <div style="border-bottom:2px #c2c2c2; text-align:center"><font style="color:#000000; font-family:Cinzel Decorative; font-variant:small-caps; font-size:14pt">'''Grimoires'''</font></div><br>
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| * <font color=#000000><i>Clavicule de Salomon</i>
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| <div class="mw-collapsible mw-collapsed">
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| <font color=#000000>
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| <u>Link</u>:</br>
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| [https://booksofmagick.com/science-cabalistique/ View Here]
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|
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| <u>Synopsis</u>:</br>
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| The present manuscript, Clavicule de Salomon, ou la Clef mistérieuse de la Science cabalistique, is a Pseudo-Solomonic grimoire preserved at the Wellcome Library in London. It is one of the lesser know French variations of the Key of Solomon dated 1639 but written closer to 1725. Stephen Skinner classifies it in the ‘Clavicule Magique et Cabalistique’ family of texts. Its prologue states that it was translated from Hebrew into Latin by Henry Cornelius Agrippa, and subsequently into French from the Latin by Rabi Nazar. This is most likely a variation of Rabbi Abognazar who supposedly translated the Les Veritable Clavicles of Solomon text family (i.e. Lansdowne MS. 1203, BN MS 25314). In his Mysteries and Secrets of Magic, C.J.S, Thompson suggests that ‘Abognazar’ may have been a corruption of of Aben Ezra or Abraham Ben Meir ibn Ezra (1092-1167). The material is typically divided into 17 chapters although this particular manuscript specifies only 16 chapters.
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| Chapter four (p. 40-81) contains the protective floor circles for each of the Aerial kings from Peter de Abano’s Heptameron. However this text explains how to prepare them as talismans. This approach is consistent with the ‘Rabbi Solomon’ and ‘Abognazar’ family of Key of Solomon texts. Whoever created the manuscript decided against drawing each figure by hand and instead pasted printed versions of the figures into each page, potentially as a way to save time (see figure 1 below). To my knowledge however there wasn’t a book containing all seven circles at the time the manuscript was compiled. The Heptameron has been in print since 1559 but the book depicts the circle for Varcan Rex only. This begs the question, where did the scribe procure these images? If there is a edition of the Key of Solomon containing these figures printed before 1725, it has yet to be identified.
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| The final chapter contains a peculiar collection of five pentacles (p. 231-235), four of which were apparently inspired by Paracelsus’ treatise on elemental beings that correspond to the four classical elements: nymphs (water), sylphs (air), pygmies (earth) and salamanders (fire). The pentacles have been drawn around printed Key of Solomon pentacles that have been pasted into the manuscript from a printed copy of Le Petit Albert (see Figure 2 below). The components of each pentacle is interesting as well. Below is a table that explains how the correspond.
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| </div>
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| * <font color=#000000><i>Le Veritable Grimoire</i>
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| <div class="mw-collapsible mw-collapsed">
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| <font color=#000000>
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| <u>Link</u>:</br>
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| [https://booksofmagick.com/veritable-grimoire/ View Here]
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|
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| <u>Synopsis</u>:</br>
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| Le secret des secrets, autrement la clavicule de Salomon, ou le veritable grimoire is finely executed Key of Solomon manuscript from the ‘Secret of Secrets’ Text-Group. It has two books, the first with ten chapters, the second with thirty-one chapters. Following the last chapter are seventy-two pentacles assigned to the angels of the shemhamphorash. In contrast, the pentacles in the ‘Toz Graecus’ manuscripts BnF Lat. 15127 and BnF Lat. 18510 do not include the names of the angels. This is followed by a table of the Planetary Hours and two diagram of the heavenly bodies, one with the Zodiac, the other showing the spirits that correspond with the first mobile, sky firmament, seven planets, and four elements.
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| This particular manuscript is preserved in the Russian State Library. Since it was penned, the text of this manuscript has been used to create numerous French print editions of the Key of Solomon.
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| </div>
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| * <font color=#000000><i>Clavicula Salomonis de secretis In nomine Adonay, Tetragrammaton</i>
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| <div class="mw-collapsible mw-collapsed">
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| <font color=#000000>
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| <u>Link</u>:</br>
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| [https://booksofmagick.com/clavicula-salomonis-de-secretis/ View Here]
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|
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| <u>Synopsis</u>:</br>
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| Clavicula Salomonis de secretis is an early prototype and ancestor to the Grimorium Verum. Like many other grimoires, its title includes Clavicula Salomonis but its content is largely independent of this treatise.
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| According to Joseph Peterson’s introduction to his 2018 translation of the text, Leonardo Longo and Francesco Viola were tried for witchcraft by the Venice Inquisition in 1636. Their grimoire by this name was confiscated and preserved in the Archivio di Stato di Venezia. It contains their secrets to commanding the most dangerous spirits that are intentionally hidden and scattered throughout the manuscript.
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| The text is clearly written to address both men and women which is uncommon for magic textbooks of the time. This effectually bridges the gap between medieval magic and wicca.
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| The text deals first with the ‘Chthonic Spirits’ which are said to be very dangerous, and can inflict great harm or death. The second class of spirits are the ‘Amalthea Spirits’ of which there are thirteen orders associated with the nine “movable spheres” (the 7 planets + Primum Mobile and the Starry Heavens). Third are the ‘Planetary Intelligences’ and the spirits under them. These are identical to those found in the Heptameron.
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| Although many manuscripts containing parts of Clavicula Salomonis de secretis, I added only complete manuscripts of the text below, both in Latin from the mid 17th century.
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| </div>
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| * <font color=#000000><i>Livre des Esperitz</i>
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| <div class="mw-collapsible mw-collapsed">
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| <font color=#000000>
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| <u>Link</u>:</br>
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| [https://booksofmagick.com/livre-des-esperitz/ View Here]
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|
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| <u>Synopsis</u>:</br>
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| The Livre des Esperitz (or Book of Spirits) is a 15th or 16th century French grimoire that inspired later works including Johann Weyer’s Pseudomonarchia Daemonum and the Lesser Key of Solomon. It is the oldest treatise on demonic magic in French currently in existence. It contains elements dating back to at least the 13th century.
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| The first part, Livre des Esperitz, is a catalog of 46 demons. It provides detailed descriptions of each spirit’s appearance and function, and lists how many legions of demons serve under each. Many of these descriptions eventually found their way into later works, often unmodified.
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| After a short introduction explaining the origin of the Livre des Esperitz as it was revealed to King Solomon, the document draws up their nomenclature, then gives a detailed description of the three Archdemons named, Lucifer, Gay / Belzebuth and Satan. This is followed by the four kings who rule the four cardinal directions of the sky, Orient (Oriens), Poymon (Paymon), Amoymon (Amaymon) and Equi ( alias Egyn, which is later forgotten: there should therefore be 47 paragraphs and there a 47 demons and not 46), then, without a hierarchical order being followed in a continuous manner, seven other kings, eight princes, twelve dukes, ten marquis, two counts and a “great lord”.
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| The second part, Livre des conjuracions, includes the prayers and conjurations to summon and force the demons to obey a practitioner. According to Jean-Patrice Boudet, Livre des conjuracions is a translation-adaptation of a Liber consecrationum which further confirms its age.
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| In 1577, Johann Weyer published his Pseudomonarchia daemonum as an appendix to his De Praestigiis Daemonum, 1563. Weyer referred to his source manuscript as Liber officiorum spirituum, seu Liber dictus Empto. Salomonis, de principibus & regibus dæmoniorum (“Book of the offices of spirits, or the book called Empto. Salomonis concerning the princes and kings of the demons”). Based on their similarities, Weyer’s source manuscript and Livre des Esperitz are but two distinct versions of the same type of text.
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| </div>
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| * <font color=#000000><i>L’art Sublime du Grand Agrippa</i>
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| <div class="mw-collapsible mw-collapsed">
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| <font color=#000000>
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| <u>Link</u>:</br>
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| [https://booksofmagick.com/le-petit-grimoire/ View Here]
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|
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| <u>Synopsis</u>:</br>
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| Le Petit Grimoire is a condensed version of Le Grand Grimoire. It is extremely rare, and to my knowledge, no other copies are known to exist. There is only one mention of the book in a French bibliography from 1896 titled, Les Almanachs Français: Bibliographie-iconographie , which dates it 1782. The date seems quite reasonable based on the typography and the paper. The typography is inclusive of the long s (ſ) which is an archaic form of the lower case letter s. The long s disappeared from new typefaces rapidly in the mid-1790s and was replaced by the the short, terminal, or round s. Although not infallible, its a a common marker used to identify books printed before 1800. The book is also printed in handmade paper indictable of the 18th century. Based off of these qualities, I am inclined to accept the 1782 date which places Le Petit Grimoire‘s printing very close to the earliest known editions of Le Grand Grimoire (ca. 1750, 1775)
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| Le Petit Grimoire is a good example of a Bibliothèque bleue work. These editions, much like the English chapbook and the German Volksbuch, were cheap, widely distributed paperbacks that made literature accessible to all levels of society. They were prevalent across France from the seventeenth to the nineteenth century and came to be known as livres bleus, or “blue books” for their blue paper covers. This copy of Le Petit Grimoire however has “brown-colored, cardboard wrappers” which is more common for softcover grimoires of this time, especially the earliest copies of Le Grand Grimoire (ca. 1750 or 1775). In my opinion the name, “blue books” is misleading as these books came in many colors (i.e. red, pink, green, blue, black, brown). These editions are also known as Colportage as they commonly sold in urban bookshops and carted off into the countryside by itinerant colporteurs (peddlers).
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| One interesting quality of the text is its use of the Ring of Invisibility woodcut from Le Petit Albert to illustrate the magic circle. This leads me believe that the title is not only meant to describe the abbreviated nature but describe it as as hybrid of Le Petit Albert and Le Grand Grimoire. This would have been a great marketing ploy as these two texts were the most popular grimoires of the time.
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| </div>
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| * <font color=#000000><i>Polygraphie et universelle escriture cabalistique</i>
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| <div class="mw-collapsible mw-collapsed">
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| <font color=#000000>
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| <u>Link</u>:</br>
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| [https://booksofmagick.com/polygraphiae/ View Here]
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|
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| <u>Synopsis</u>:</br>
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| Trithimius’ Polygraphia, dedicated to the study of various forms of writing, was first written In Würzburg in 1508, but published only posthumously in Basel in 1518. It was the first published work dealing systematically with cryptography. Some scholars consider the book to be the second part of his notorious Steganographia, however It is more likely that his Polygraphia is a revision of his Steganographia. Steganographia, which was written in 1499 and circulated in manuscript until it was printed posthumously in 1606 (at which time it went straight onto the Index librorum prohibitorum), had caused a uproar over its use of spirits to communicate over long distances. Introductory passages in the Polygraphia, therefore, emphasize the work’s logical, mathematical bases as opposed to the mystical-magical, angelic-astrological reputation that preceded it in the Steganographia. The annotators of this volume went to great efforts to note the contrast between the present tome and Steganographia, emphasizing the orthodoxy and the sound ingenuity of the Polygraphia as well as being attentive to the bibliographical reputation of Trithemius.
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| Even so, Publication was delayed because of ecclesiastical disapproval. Although written to be less controversial, Trithemius’ cryptic applications still utilize ancient hermetic, Pythagorean, and kabbalistic principles as a theoretical platform.
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| </div>
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| * <font color=#000000><i>Trésor du vieillard des Pyramides</i>
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| <div class="mw-collapsible mw-collapsed">
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| <font color=#000000>
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| <u>Link</u>:</br>
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| [https://booksofmagick.com/tresor-du-vieillard-des-pyramides/ View Here]
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|
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| <u>Synopsis</u>:</br>
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| résor du vieillard des Pyramides (Treasure of the Old Man of the Pyramids) is a grimoire which presents a series of talismans attributed to an “Old Man of the Pyramids.” Typically the grimoire is said to be of great antiquity, having been originally discovered in the “Great Mosque of Cairo” and to have gone through various hands in manuscript form before finally achieving publication.
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| This text is an actually a later variation of the La Poule Noire (The Black Pullet) with only slight changes. The Back Pullet was first published in 1820 under the imprint De Brasseur. The first edition of The Old Man of the Pyramids was printed ca. 1840 and then again a decade later to include illustrations of the talismans. These talismans were however different than those of The Black Pullet. Most likely The Old Man of the Pyramids is the work of French grimoire publisher, Simon Blocquel, in an attempt to capitalize on The Black Pullet. We see evidence of this in the artwork as some of it is unique to only Blocquel’s grimoires.
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| Both grimoires claim to possess the science of ancient magic. It contains information regarding the creation of certain magical properties, such as talismanic rings, amulets and the Black Pullet itself. The book also teaches the reader how to master the extraordinary powers from these magical properties and how to conjure the jinn! Perhaps the most interesting magical property claimed in the book is the power to produce the Black Pullet, otherwise known as the Hen that lays Golden Eggs. The grimoire claims that the person who understands and attains the power to instruct the Black Pullet will gain unlimited wealth. One of the magical teachings from ancient manuscripts that escaped the “burning of Ptolemy’s library”.
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| </div>
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| * <font color=#000000><i>Le Véritable Dragon Rouge</i>
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| <div class="mw-collapsible mw-collapsed">
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| <font color=#000000>
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| <u>Link</u>:</br>
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| [https://booksofmagick.com/le-veritable-dragon-rouge/ View Here]
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|
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| <u>Synopsis</u>:</br>
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| e Véritable Dragon Rouge, or as it is more commonly known, Le Dragon Rouge (The Red Dragon) is one of the most notorious grimoires of black magic. The text of Le Véritable Dragon Rouge (The True Red Dragon) is however not the same text a variation of Le Dragon Rouge. Both texts, published around 1800, were merely re-marked versions of Le Grand Grimoire which was first published 50 years before, around 1750. Its anonymous author claims that the work is derived from the wisdom of the legendary King Solomon, and then sets down instructions for the creation of a number of magical implements: blasting rod (wand), talisman and magic circle, that are to be used to summon the demon “Lucifugé Rofocale,” who is then bound over to serve the sorcerer. In the process a great many sub-demons are named, and their attributes listed. This is followed by a series of magic spells or recipes which vary depending on the edition. They range from making oneself invisible, to winning the affections of another, to the cure of various common ailments. The hallmark of the Le Véritable Dragon Rouge is a section called Secret de La Poule Noire (Secret of the Black Pullet). Contrary to the what the title suggests, the content is different from that of the grimoire by the same name.
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| </div>
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| * <font color=#000000><i>Le Grand Grimoire</i>
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| <div class="mw-collapsible mw-collapsed">
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| <font color=#000000>
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| <u>Link</u>:</br>
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| [https://booksofmagick.com/le-grand-grimoire/ View Here]
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| <u>Synopsis</u>:</br>
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| Le Grand Grimoire was the first explicitly diabolic mass market grimoire. Different editions date the book to 1521, 1522 or 1421, but it was probably written in the early 19th century. Owen Davies suggests 1702 is when the first edition may have created and a Bibliothèque bleue version of the text may have been published in 1750.
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| The introductory chapter was authored by someone named Antonio Venitiana del Rabina who supposedly gathered this information from original writings of King Solomon. Much of material in this grimoire derives from the Clavicules du Roi Salomon, Par Armadel. Livre Troisieme. It contains explicit instructions on how to call up and make a pact with the Lucifer’s Prime Minister in Hell, Lucifuge Rofocale. For this reason, it was considered both sensational and dangerous. The mere possession of it came to be seen as an act of pact making and therefore a criminal act.
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| The name “Lucifugus” comes from two Latin words: lux (“light”; genitive lucis), and fugio (“to flee”), which means “[he who] flees the light”. “Rofocal” may be an anagram of “Focalar”, the name of another important demon who is possibly in Rofocale’s servitude. Another possibility for the origin of “Rofocal” is intimately connected to the very nature of Lucifuge. As Lucifuge is the reverse of Lucifer (Latin for “light bearer”), so is the name “Rofocal” derived from “Lucifer” reversed – that is, “Reficul”.
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| The work is divided into two books. The first book contains instructions for summoning a demon and for the construction of tools with which to force the demon to do one’s bidding. The second book is further divided into two parts: the Sanctum Regnum and Secrets, de L’Art Magique du Grand Grimoire (“Secrets, of the magic art of the Grand Grimoire”). The Sanctum Regnum contain instructions for making a pact with the demon, allowing one to command the spirit without the tools required in book one, but at greater risk. Secrets contains simpler spells and rituals one can employ after having performed the ritual in the first book. Some editions contain a short text between these two parts, Le Secret Magique, où le Grand Art de pouvoir parler aux Morts (The Magic Secret, or the Grand Art of being able to speaking with the dead), dealing with necromancy.
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| </div>
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| * <font color=#000000><i>Grimorium Verum</i>
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| <div class="mw-collapsible mw-collapsed">
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| <font color=#000000>
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| <u>Link</u>:</br>
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| [https://booksofmagick.com/grimorium-verum/ View Here]
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| <u>Synopsis</u>:</br>
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| The Grimorium Verum (Latin for True Grimoire) (Alt. French title, Les Veritables Clavicules de Solomon) (Italian: La Vera Clavicola del Re Salomone, 1863) is an 18th-century grimoire attributed to one “Alibeck the Egyptian” of Memphis, who purportedly wrote in 1517. Like many grimoires, it claims a tradition originating with King Solomon.
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| The grimoire is not a translation of an earlier work as purported, its original appearing in French in the mid-18th century, as Les Veritables Clavicules de Solomon as noted already by A. E. Waite who discussed the work in his The Book of Ceremonial Magic (1911), stating:
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| The date specified in the title of the Grimorium Verum is undeniably fraudulent; the work belongs to the middle of the eighteenth century, and Memphis is Rome.
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| Much of this grimoire is also found in the the Armadel Text-group of the Key of Solomon. The manuscripts usually bear the title, Les vraies Clavicules du. Roi Salomon. Par Armadel which happens to be one of the French manuscripts S. L. MacGregor Mathers incorporated in his version of the Key of Solomon: Clavicula Salomonis, but it was omitted from the text with the following explanation:
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| At the end there are some short extracts from the Grimorium Verum with the Seals of evil spirits, which, as they do not belong to the Key of Solomon proper, I have not given. For the evident classification of the Key is in two books and no more.
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| </div>
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| <div style="border-bottom:2px solid #000000; text-align:center"><font style="color:#000000; font-family: Cinzel Decorative; font-variant:small-caps; font-size:14pt">'''Gallery'''</font></div>
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| <center><gallery perrow=4 mode=nolines heights=200px>
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| Argent2.jpg
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| Argent3.jpg
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| Argent4.jpg
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| Marchosias.jpg
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| </gallery></center>
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| | width="25%" style="background-color:#FFFFFF; color:#FFFFFF; text-align:left; vertical-align:top; font-size:12pt; font-family:Times New Roman; -webkit-border-radius: 20px; -moz-border-radius: 20px; border-radius: 20px; border:2px solid #000000; padding:10px" |
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| <div style="border-bottom:2px #c2c2c2; text-align:center"><font style="color:#000000; font-family: Cinzel Decorative; font-variant:small-caps; font-size:14pt">''' Affectionately Malevolent '''</font></div><br>
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| {| width="100%" cellpadding="2" cellspacing="2"
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| | <center>[[Image:Argent6.jpg|200px]]</center><br>
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| | style="background-color:#c2c2c2; text-align:center" | '''Household:'''
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| | style="color:#c2c2c2; text-align:center" | [[Asenath]] - Argent’s wife
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| | style="color:#c2c2c2; text-align:center" | Machosias - Argent’s dog (NPC)
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| | style="color:#c2c2c2; text-align:center" | Dominik - Asenath’s personal assistant (NPC)
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| | style="background-color:#c2c2c2; text-align:center" | '''Profession:'''
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| | style="color:#c2c2c2; text-align:center" | Photographer, Band Manager
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| | style="background-color:#c2c2c2; text-align:center" | '''Art:'''
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| | style="color:#c2c2c2; text-align:center" | Leatherworking
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| ||<div style="background-color:#c2c2c2; text-align:center"; font-family:Copperplate Gothic Bold; font-variant:small-caps; font-size:14pt">'''Alts'''</font></div><br>
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| <div class="mw-collapsible mw-collapsed">
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| <font color=#000000>
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| '''[[Basil]]'''
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| </div>
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| <br>
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| |-
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| |}
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| <div style="border-bottom:2px solid #c2c2c2; text-align:center"><font style="color:#000000; font-family:Cinzel Decorative; font-variant:small-caps; font-size:16pt">'''Contacts'''</font></div><br>
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| {| width="100%" cellpadding="2" cellspacing="2"
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| | style="color:#c2c2c2; font-variant:small-caps; text-align:left" |
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| * [[Philomena]]
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| * [[Asenath]]
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| |-
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| |}
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| |}
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| |}
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| [[Category:Characters]]
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