# Entering the painting and the clay

This pass moves through the full company after the painting is uncovered, continues the cinematic pottery direction while keeping both girls walking the original trail, and gives the first Athena illustration its own complete movement.

## The painting

`painting-world.html` is a 142-second, reversible camera score across the unchanged Warsaw reproduction. Ten resting views introduce Aglauros, Herse, the nurse, Erichthonius, the portico’s parent references, garden, Pandrosos and her surviving hand. The source comparison opens the actual Oberlin fragment and enlarges its surviving fingers.

The composition and attributions follow Marjorie E. Wieseman’s Oberlin catalogue and current museum record. See `painting-world-notes.md` for the source distinctions. The camera uses actual reproduction pixels. No new spatial full-painting film exists: the built-in image tool rejected the requested viewpoint at its output stage under its sexual-content filter (request f43cb718-816a-4ff8-9a2a-16d33cc86927). This was not retried through another model or provider. Displaying and studying the source reproduction continues.

## The clay

`pottery-world.html` places three movements on one reversible 142-second score:

- Athena lowers the lid over the serpent-child as the camera approaches. The original plate remains the first view; the original code animation in the main theatre is preserved.
- The empty original landscape opens into black-clay relief. Two original carrier sprites, with the original three walking poses, traverse the entire original route. Adjacent-frame optical flow registers that route to the filmed drawing. The direction reverses for the ascent. The hidden connector and covered exchange retain the original staging.
- At the ledge, both carriers stop while the view withdraws to show the whole landscape on an imagined vessel. The view returns to the exact ledge, and their journey resumes. The drawing and the same two original sprites become one texture for a continuous curved surface projection over an undecorated generated vessel. The mapping keeps the girls attached to the same painted ledge throughout.

Both vessel films were rejected during visual review. The first briefly doubled the women; the empty replacement dissolved between incompatible landscape layouts. Both remain in the media ledger but are not selected. The chosen vessel movement is a deterministic surface projection in the browser, using one unchanged terrain reproduction and two original sprites. A new plain-vessel image supplies the underlying clay. The framing and curvature are authored; they are not measured geometry.

The two original close carrier illustrations sit beside the reading, outside the moving image; they can be enlarged. All controls share the same position, including play/pause, scene selection, keyboard and reverse scrubbing. Reduced motion selects held compositions. Loading failures use available original stills. Only a bounded set of decoded viewing frames is kept in memory. MP4 masters and extracted JPEG viewing frames remain local.

## Evidence and invention

[Apollodorus 3.14.6](https://www.theoi.com/Text/Apollodorus3.html) gives the earth-born child, Athena’s secret fostering and the entrusted vessel. [Pausanias 1.27.2–3](https://www.theoi.com/Text/Pausanias1B.html) places Pandrosos’s sanctuary immediately before the account of the girls and their unknown burdens. He does not identify a child in those burdens or explicitly explain the rite as reenactment.

The enclosure of child, basket, bodies, earth and painted vessel is this theatre’s poetic construction. The vessel is not an ancient artifact. No camera viewpoint is recovered archaeological geometry. The quoted “The form holds the content” and the words about the returning girls come from *The Chronotope of the Virtual*, transcribed in `author-passages.html#passage`.

## Media ledger

All image edits used the built-in image tool; the videos used WAN 3 through Runway. The selected Athena and terrain films play through extracted frames. The vessel projection is code animation, not a selected Runway film. Exact prompts, first/last inputs and task outcomes are in `assets/entering-worlds/`.

| Take | Outcome | Task | Quoted credits |
| --- | --- | --- | --- |
| terrain-v1 | Selected; empty relief landscape | f2c05a53-3354-4705-ae28-6747040f2fa4 | 60 |
| athena-v1 | Selected; lid closure and approach | 5ea0fbdf-68d3-4898-9868-cb5156b0d59a | 80 |
| vessel-v1 | Rejected visually; momentarily duplicated figures | c0014412-5885-4f21-b715-8e612448a269 | 80 |
| vessel-clean-v1 | Rejected visually; ghosted landscape layouts | b1e33897-5984-4346-84b0-71bcba64d6fc | 80 |

The four distinct takes quoted 300 credits in total. No credit purchase, publishing, source-image overwrite or change to the previously approved aerial/pottery takes occurred. The selected vessel plate is `assets/entering-worlds/vessel-blank.png`; the exact built-in edit prompt is `vessel-blank-image.prompt.txt`. Its drawing comes from the existing terrain film and original carrier sprites, not from either rejected vessel take.

## Verification

The painting score and browser checks cover all characters, return to original source coordinates, native controls, source comparisons, three viewports and real file loading. The pottery score checks both independent carriers, every original route vertex, planted rest, hidden exchange and exact reversal. Browser checks cover real frames, native controls, source dialogs, reduced motion, three sizes, missing-frame fallback and a bounded cache. A separate short-landscape check keeps the image and primary controls visible together at 740×360 and 568×320. Main-theatre integration adds links at the cut, Athena and walking passage and tests their actual destinations.

The vessel surface is also checked for inversions throughout its entire curvature range, and fallback feet are checked against the original still’s ledge. An actual 28-second browser recording follows the ledge withdrawal, held vessel and return, completing 28.15 seconds of the score in 28.32 seconds with exactly two carriers and five cached images. Proof: `studies/proofs/entering-worlds-vessel.webm`. Independent review found a short-landscape transport issue and a source/registration mismatch in fallback; both were fixed and covered by direct checks. A final focus trace also reproduced a delayed dialog-close event stealing focus back from the timeline. The handler now respects a control already chosen by the visitor, with a deterministic regression check.

Higgsfield was subsequently installed, with an approved brief for a new session. Its tools were absent from this task’s exposed tools. `HIGGSFIELD-HANDOFF.md` specifies one new Athena orbit study using eligible existing illustration assets and comparison against the current take. No Higgsfield request has been made.

The overall theatre still awaits visual acceptance. These changes do not retroactively approve its earlier rejected design.