Pannonia

Born to parents who were labourers and farmers, Pannonia's origins were humble, so her father said. His grandfather owned a modest field a few hours from Praxedes by carriage. Her family maintained a humble vineyard and a small botanical garden overgrown with fennel, hyssop, and angelica. Before they were farmers, her parents were artists and musicians—until there came a time when humans stopped looking at his work, or listening to her songs. 

Yet the passion for their craft did not die, and they passed what they loved on to their child. There, in her grandparents' home, Pannonia would spend her summers, making studies and copies of her father and grandmother's paintings. They were magnificently old, yellowed with varnish, cracked and flaking—though she could see the beauty behind the decay. Panne wondered if one day, they would crumble, fade, and become lost to time. 

The chapel near their farm had people come in to work on the frescos and maintain the stained glass. Determined, Panne sought to become an apprentice in art conservation. These people worked in the city proper of Praxedes. There, Pannonia began her journey in art conservation. Half a decade of training later, she developed a keen enough hand to give life back to her grandfather and father's work, and found employment in Atelier Vaucelles. From her employer, Gabriel Vaucelles, she learned much of the Freysian Creed; of the Goddess that both frightened and intrigued her. After all, the majority of artworks in Athefast are religious in nature. She needed to understand the deity her clientele worshipped. 

Over time, she was a constant figure in the Atelier. As Gabriel aged, Panne never aged from when she was first employed there, though her accumulated knowledge rivalled Gabriel himself. She knew what he liked best, his methods, other disciplines of art, and what he thought of the younger generation of people. When his arthritic hands finally refused to work, Panne's hands became his. Though she never asked for a higher station, everyone knew she was the oldest and most trusted conservator in the atelier.
(He always treated me so kindly. So why…)
When Gabriel passed away, his son was to inherit the atelier. Pannonia only met his son, Berno, as an infant, and perhaps when he was a boy. In front of her was a fully grown man that she could barely recognise, nor did he remember her; essentially strangers to each other. 
(… Why was he so unlike his father?)
Berno had no passion or reverence for art, his mind enticed by industry and efficiency.  At first, Berno was kind to her, with gentle smiles and laughter, yet Panne would remain distant to his generosity in letting her stay at the Atelier as part of the old guard that worked alongside his father. Later on, his warm advances became more frequent, though Panne still spurned his warm affectations. 
(My body is not my own my body is not my own my body)
There was a church in Yarhurst that needed a triptych restored, and the work was too delicate to be removed from site. An invitation was extended to the Atelier to work on site. There, Berno went missing. It was possible he might have fell down the mountain pass. The Inquisitors had asked for more information from any eyewitnesses, though the only lead was perhaps Berno had too much to drink at the brewhouse, and stumbled outside when returning to the chalet where he stayed. 
(You don’t need to apply a ton of pressure.)
With the future of the Atelier uncertain, and Berno having no next of kin, Panne acted as the head of Atelier Vaucelles in the interim. Months later, when the snow melted in Yarhurst, someone unearthed segments of a man's limbs, though there were no features to confirm his identity with. With reports of a Corrupted in the area that the Slayers were hunting, such a gruesome death could very well have been caused by such a fiend. 
(I couldn't carry the full weight of a man, so I had to...)
As the oldest and most knowledgeable conservator, Panne took over Atelier Vaucelles, taking pride in her work and tradition. For now, she enjoys this small respite of peace, until the fate of Atelier Vaucelles is decided.The Commission may decide to have the Atelier overseen by a curator of the Inquisition, unless they deem Pannonia fit to inherit the humble workshop. 

Her clientele has broadened slightly with this new change—she would accept requests from demihumans who wished to restore objects they held onto that belonged to someone dear to them. If an Inquisitor's eyes happened to glance upon this interaction, it was meaningless and idle sentimentality. Old, worthless trinkets would not sow the seeds of a rebellion. Though to Panne, if it meant restoring a shred of hope, it would not have been worthless to give life back to it—and so she continues her work in quiet defiance.