On the third floor of the Last Stand along the long corridors, the above painting can be found. Centered below the frame is a small plaque reading:

The Last Stand Senestia Avarscanti 2nd of Hammer, 153

The painting is instantly recognizable as the front entrance of the Last Stand Inn in Upper Sanctuary. The walls of the Stand appear clean and well maintained; the brickwork faultless. The sign beside the door is especially prominent as a great amount of detail was invested in it such that the lettering is still clear and legible when one stands quite a distance from the painting. The door, though closed in the painting, still appears inviting as there is a slight yellow glow to it. The lighting within the painting is actually brighter than in reality, creating the impression that the Stand is illuminated by moon and starlight instead of being within the dark caverns of the Underdark. Those who look closely at the painting will realize that the stoning cage, which should be viewable from this angle, was not included in the painting.

The above painting is found hung high on the wall of the Sanctuary Library. A nearby placard reads:

Scholar and Historian Adelia Tyrell Senestia Avarscanti 3rd of Hammer, 153

In this portrait, Adelia Tyrell is sitting with her back straight against her chair in a proud posture. Adelia appears young as the painted features of her face are clear and smooth. She has a slight smile on her lips as she looks outwards from the painting. The table on the left is covered in books and papers piled high but neatly ordered, reinforcing Adelia's relation to Oghma and adding a scholarly, academic, and refined atmosphere to Adelia's presence. The lighting in this portrait comes from the right, clearly shining upon Adelia and her covered desk, emphasizing them through illumination.

This painting is found within the Last Stand, along the corridors of the third floor. Centered below the frame is a plaque reading:

Seat of the People Senestia Avarscanti 6th of Hammer, 153

Light, shadow, and lines dominate this painting as each step leading up to the summit of the Town Hall platform is finely marked by the bright lights of the surrounding torches on their surface and shadows falling from their edges. With four of the brilliantly lit torches at the top of the platform, the zurkhwood podium is not touched by a single shadow. The area behind the platform is dark and shadowy, emitting the slightest hint of danger or turmoil. In front of the platform, the area the podium faces towards, the foreground of the painting, the metaphorical future and time ahead is incredibly lit, almost brighter than the platform itself, such that individual tiles on the ground can be identified by the naked eye.

A tired, exhausted, sleepless looking Senestia is seen hanging this portrait in the third floor corridors of the Last Stand. A plaque below the frame reads:

A Keeper of Beauty Senestia Avarscanti 15th of Hammer, 153

The well known Old Cleaning Woman is standing tall, back straight, proud. Her face is set in a determined expression. Her clothing, though plain and undecorated, is clean, pressed, and prim. A portion of the trash wheel barrow is visible in the lower portion of the painting, a reminder of the never ending, constant work the Old Woman is responsible for.

This small painting is found hung among the walls of the third floor corridors of the Last Stand. A plaque below the frame reads:

Invisible Bliss Senestia Avarscanti 22nd of Hammer, 153

And incredibly brightly lit painting. The Grotto organ in the centre is painted in great detail. With the multitude of candle and light sources within the painting, there is not a shadow in sight. Each brass pipe is shining gloriously, flickering in the candlelight. The keys are a row of lustrous zurkhwood. The checkered marble floor also gleams: the white marble appearing pure, the black obsidian polished. As light is amazingly represented in this painting, one gets the impression that it mimics the music that would come forth from the pipes of the organ: strong, vibrant, spirited.

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This canvas only, frame-less painting is found among the halls of the third floor of the Last Stand. A simple nearby placard reads:

Most Curious Senestia Avarscanti 28th of Hammer, 153

At first glance, it's difficult to determine exactly what the creature in the centre of the portrait is. One might think an old halfling or a nearly emaciated gnome but the orange-tinged skin and dark red eyes would lead most to think it is a goblin. Unlike all others of this kind, however, this goblin doesn't appear threatening in any way as it stands with a mild, neutral expression on its face. It's stooped posture indicates old age, along with its wrinkly skin. However, the near white bushy eyebrows and crows feet around the eyes gives the creature a sense of aged wisdom and sagefullness. The way the creature rests both of its three-fingered hands on its cane indicates patience. Flanked by rothes and surrounded by blue glowing mushrooms, the image creates an impression that is more grandfather-like than monstrous.

This painting is found in the hallways of the third floor of the Last Stand. A plaque beneath the frame reads:

Shrine Senestia Avarscanti 6th of Alturiak, 153

Statues depicting the Gods of the Triad and Lathander are represented in this painting. Ilmater, though broken and slumped, is still a tall and imposing sight, his face in an expression of sympathetic determination. Tyr stands rigid, back straight. Lacking his right hand, Tyr holds onto his longsword with his left, resting the blade in the crook of his right elbow. Torm is fitted in exquisite armour and holds a greatsword in both hands that leans against his left shoulder. In the background, Lathander is seen holding up a large, spherical golden globe over his head representing the sun. Overall, each of the statues are painted in detail, with a glowing halo of light surrounding all of them.

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This frame-less painting is hung on the third floor of the Last Stand. A nearby placard reads:

Merin Senestia Avarscanti 8th of Alturiak, 153

Fairly abstract, this painting depicts a beautiful Chultan woman in simple colour and tones. Stark white hair contrasts with dark brown skin as she stands in a seemingly relaxed but stretched pose with eyes peacefully closed. The woman stands in a bath of some dark, purple-red liquid which appears to be wine.

This painting is delivered to Ma and Pa Gilbert to be (hopefully) hanged in the walls of their humble but clean and tidy home. A letter enclosed reads:

Dear Gilberts,

A gift that I decided to send you on a whim. I know that the actual fountains are a short distance away from your home, but perhaps this painting will encourage those who board within your home and otherwise not take the time to visit them to do just that.

Best regards and a beautiful day to you, Senestia Avarscanti

A placard included reads:

Dancing Dolphins Senestia Avarscanti 17th of Alturiak, 153

This painting is instantly recognizable as that of the dolphin statues circling the pond in the Residential District. With a cheerful smile on their mouths and a glint in their eyes, the stone dolphins appear to be happily spewing forth jets of clean, water. A great amount of detail is invested into the dolphins, but even more is focused in the flowing water. So much so that even small, sparkling droplets can be seen by those with keen eyes.