AFewDozenToothpicks

Item #: SCP-XXXX

Object Class: Safe

Special Containment Procedures: All instances of SCP-XXXX are to be stored at Site ██ in a well ventilated circular room. A tetradecagonal, or fourteen (14) sided column measuring 10m in diameter must be placed in the center. One (1) instance only is to be placed on each face of the interior column so that subjects in SCP-XXXX instances cannot make eye contact with one another. Instances are to be checked for any inconsistencies twice a day. If any alterations are discovered, the source instance of the alteration must be found immediately and the change noted. SCP-XXXX-13 is to remain in its original containment with the addition of a ventilation system.

Description: SCP-XXXX consists of six (6) individual framed oil paintings of varying style, size and subject matter. A unique fraction is written on the back of each frame with the denominator always being fourteen (14), implying SCP-XXXX consists of a total of fourteen (14) paintings. Each instance is given the -X designation corresponding to the fraction’s numerator. The Foundation is currently in possession of SCP-XXXX-1, -3, -7, -12, -13 and -14. Whereabouts of the remaining instances are currently unknown. SCP-XXXX instances cannot be removed from their frames, which are impervious to any damage from conventional means. Tools created using [DATA REDACTED] are able to scrape through a frame's protective varnish but are unable to damage the wood itself.

Human subjects depicted in each instance are sentient, though the intelligence of each subject is unknown. When observed either remotely or physically, subjects depicted in SCP-XXXX instances blink at the rate of an average human but do not move in any other way. When not observed, instances of SCP-XXXX can transfer items between paintings. These items retain the same artistic style as from their original paintings1. When initially transferred the paint of both the item and the area where the item originally used to be is thoroughly wet, as it would be if freshly painted. This paint dries abnormally fast, often becoming completely dry within an hour. Chemical analysis has shown no abnormalities, and thus is indistinguishable from any commercial oil paint. Attempts to paint over the top of any SCP-XXXX instances result in added paint being unable to dry, potentially remaining wet indefinitely.

When two or more instances of SCP-XXXX are placed within ‘eye contact’ of one another, subjects may pass between these paintings in much the same way as other items. Any instance's field of view is judged to be approximately 160 degrees directly in front of any particular painting. The only noticeable difference in eye-contact transferal is subjects and items do not leave wet patches of paint on their original paintings, nor their new ones when they move. They do however still retain their original artistic style.

If a subject in an SCP-XXXX instance shows negative emotion or distress, both the painting and frame exude turpentine vapour. The amount exuded increases in relation to the severity of the depicted distress. Negative emotions also correlate with an increase in the transfer of items between instances.

  • SCP-XXXX-1 is a portrait painted in the Neue Sachlichkeit, or New Objectivity style. The artist is unknown. Subject in the painting is a Caucasian male somewhere between ██ and ██ years of age wearing a ██████ WWII officer's uniform. This uniform does not fit, being slightly too large around the wrists, stomach and collar.
  • SCP-XXXX-3 is a portrait painted in the Neoclassicist style. The artist is unknown. Subject in the painting is believed to be the Greek hero Odysseus from Homer's Odyssey and Iliad, shown weeping over the body of Dionysus2. Dionysus lies unconscious on a chaise lounge which is soaked in red wine. Odysseus wears a black top hat, presumably from SCP-XXXX-12. SCP-XXXX-3 constantly exudes large amounts of turpentine vapour and should only be directly approached for short periods of time never exceeding 180 seconds.
  • SCP-XXXX-7 is an empty painting showing a chair and a blank wall. The artist is unknown. The subject of SCP-XXXX-7 transferred to SCP-XXXX-12 during the initial transit of SCP-XXXX-1, -3, -7 and -12, which were found together in a small gallery in ██████. Attempts to allow the subject of SCP-XXXX-7 to return to their original painting have so far yielded no results.
  • SCP-XXXX-12
  • SCP-XXXX-13 is [DATA REDACTED], which was observed to gain properties matching other instances of SCP-XXXX on ██-██-████. How SCP-XXXX-13 managed to gain additional anomalous properties while already in Foundation custody is unknown. As SCP-XXXX-13 had already been classified SCP-████ at the time it's relation to SCP-XXXX was discovered, it's original designation will be referred to in all documents not relating to SCP-XXXX.
  • SCP-XXXX-14 is the original copy of the ████ ████, in the Renaissance style. The artist is ████████ ██ █████. Subject in the painting is a woman sitting in a chair with a slight smile on her face, her right arm resting on her left. SCP-XXXX-14's anomalous attributes were only discovered in ████, when [DATA REDACTED] appeared in her right hand. It was taken into Foundation custody under the guise of it being stolen from the ██████ Museum. The piece was then copied, with the duplicate being returned to the Museum where it is still exhibited.

Addendum-01: Taking into account the relation SCP-████ apparently now has with SCP-XXXX, I doubt that Dionysus is unconscious and I very much doubt that that chaise lounge in -3 is soaked in 'red wine'. - Dr Heath.

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Footnotes