TEXT: An e23 Sourcebook for GURPS
  ®
  STEVE JACKSON GAMES
  Stock #37-1415
  Version 1.0 – October 2013
  ®
  Written by MICHELE ARMELLINI
  Edited by NIKOLA VRTIS
  Cartography by MICHELE ARMELLINI
  Illustrated by MICHAEL HARMON and ERIC HOTZ
  Locations:
  St. George’s
  Cathedral
  TM
  GURPS System Design T STEVE JACKSON
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  INTRODUCTION. . . . . . . . . . . . . . . . . . . . . . 4
  Campaign Uses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
  About the Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
  Glossary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
  1. OVERVIEW. . . . . . . . . . . . . . . . . . . . . . . 5
  A MONUMENT TO GOD AND MAN . . . . . . . . . . . . . . . . . . 5
  The Eternal Building Yard . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
  THE CATHEDRAL AND THE CITY. . . . . . . . . . . . . . . . . . . . 6
  Who’s in Charge. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
  The Power Brokers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
  The Showcase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
  MAP OF THE CATHEDRAL ENVIRONS . . . . . . . . . . . . . . . . . . . . . 7
  2. THE BUILDING . . . . . . . . . . . . . . . . . . . 8
  GROUND FLOOR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
  The Parvis and Porches. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
  The Healer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
  The Nave and Aisles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
  The Chancel, Choir, and Apse . . . . . . . . . . . . . . . . . . . . . . . 9
  Breaking and Entering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
  The Transept . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
  Artworks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
  The Chapels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
  The Vestry and Winter Choir . . . . . . . . . . . . . . . . . . . . . . . 11
  The Scriptures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
  THE CRYPT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
  The Old Church . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
  The Secret Room . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
  The Ossuary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
  Relics and Treasure. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
  THE UPPER LEVELS. . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
  The Gallery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
  The Façade Balcony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
  The Garrets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
  The Towers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
  The Belfry. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
  The Attic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
  The Roof. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
  FRONT CROSS-SECTION OF THE CATHEDRAL . . . . . . . . . . . . . . 14
  MAP OF THE GROUND FLOOR . . . . . . . . . . . . . . . . . . . . . . . . . 15
  MAP OF THE CRYPT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
  MAP OF THE GALLERY, THE FAÇADE BALCONY,
  AND THE GARRETS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
  MAP OF THE TOWER LANDINGS AND AISLE ROOFS . . . . . . . . . 18
  MAP OF THE NAVE ATTIC AND THE BELFRIES . . . . . . . . . . . . . 19
  MAP OF THE SOUTH BELFRY. . . . . . . . . . . . . . . . . . . . . . . . . . 19
  3. NOTABLE PEOPLE . . . . . . . . . . . . . . . . 20
  Father Thibault d’Auvers, the Dean. . . . . . . . . . . . . . . . . . 20
  The Preacher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
  Father Aloysius . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
  Father Julien . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
  Vincent the Deacon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
  Luc the Choirboy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
  CONTENTS
  2
  CONTENTS
  
  Renier Sacreste . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
  Jehanne. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
  Gautier the Stone Carver . . . . . . . . . . . . . . . . . . . . . . . . . . 21
  Hervé the Bishop’s Guardsman . . . . . . . . . . . . . . . . . . . . . 21
  Everybody Goes to Church. . . . . . . . . . . . . . . . . . . . . . . . . . 21
  Perrette Benison . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
  Monsignor Giovanni Dandolo, the Archdeacon . . . . . . . . 21
  Godefroy, Viscount de Saint-Jules. . . . . . . . . . . . . . . . . . . 21
  4. ADVENTURES. . . . . . . . . . . . . . . . . . . . 22
  MEDIEVAL AND FANTASY IDEAS . . . . . . . . . . . . . . . . . . . 22
  Rites and Celebrations . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
  Ludus Draconis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
  In Times of Turmoil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
  Wealth Calls Thieves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
  God’s Creatures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
  Politics, Religion, Magic . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
  The Truth of a Matter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
  Sainthood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
  Martyrdom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
  Sanctuary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
  Stone Predators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
  The Bishop’s Home! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
  A Time for Prayer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
  MODERN IDEAS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
  Public Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
  An X Marks the Spot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
  St. George’s Hunters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
  Negotiations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
  Corruption . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
  Black Is Back . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
  LENSES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
  A Mundane Building . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
  When Magic Works. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
  A Place of Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
  Maps for Players . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
  Here Be Dragons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
  Today . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
  Despoiled . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
  Repurposed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
  MAPS FOR PLAYERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
  APPENDIX:
  INSPIRATIONAL RESOURCES. . . . . . . . . 30
  INDEX . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
  CONTENTS
  3
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  About GURPS
  Human creation,
  powerful and fecund
  as the divine creation
  of which it seems to
  have stolen the double
  character – variety,
  eternity.
  – Victor Hugo,
  The Hunchback
  of Notre Dame
  
  INTRODUCTION
  4
  A bishop’s church. A prayer in stone. A forest of pillars,
  drawing your eyes and soul upward. Heaven, Hell, the Scrip-
  tures frozen into garishly painted statues. The tallest manmade
  thing ever seen. The pride of the city. A show of power. An
  extravagant project.
  GURPS Locations: St. George’s Cathedral describes a
  church that is all of that, and more, to a medieval society.
  This supplement describes all parts of the building, its role
  in the city’s life, sketches of the people commonly encountered
  there, and adventure ideas for various settings. The cathedral
  can be customized through the Lenses (see pp. 25-26), so that
  it can be used in a fantasy world, in a (somewhat cinematic)
  historical medieval campaign, or even in modern times.
  This building never existed in reality, and some of the items
  and rooms are fictional. Most of it, however, is inspired by vari-
  ous parts of several historical cathedrals, as listed in the bibliog-
  raphy, and most of the details are factually accurate. No part of
  the description is mandatory; the GM can always leave some-
  thing out, especially in a straight, realistic medieval campaign.
  CAMPAIGN USES
  St. George’s Cathedral fits in with most historical campaigns
  and fantasy settings, especially GURPS Banestorm. In Ytarria,
  it would be suitable for any Megalan city smaller than the capi-
  tal. It would be particularly interesting if it happens to be in
  Ekhans (GURPS Banestorm, p. 97), considering the dragon
  threat there. Any of the northern provinces may be appropriate,
  given that dragons notoriously infest the Whitehood Mountains.
  A Gothic cathedral may still be around for a modern cam-
  paign. Not only would it be priceless for its art and history,
  but it might also have had a congregation using it as their
  place of worship for the centuries, making it highly sancti-
  fied ground.
  ABOUT THE AUTHOR
  Michele Armellini makes a living out of foreign languages,
  and he would be more comfortable with quill and parchment
  than with incense and thurible. He has visited more medieval
  cathedrals than his wife cares to recall. He has contributed reg-
  ularly to Pyramid magazine and authored or co-authored sev-
  eral e23 products, including GURPS WWII: Their Finest
  Hour, GURPS WWII: Doomed White Eagle, and GURPS
  WWII: Michael’s Army.
  INTRODUCTION
  aisle: A lower passageway to the sides of the nave.
  ambo (plural ambones): A fixed lectern.
  apse: The end part of a church, behind the main altar.
  archdeacon: An ecclesiastic to whom the bishop delegates
  select duties.
  ashlar: Accurately cut stone used for masonry.
  aumbry: A recessed wall cabinet for sacred vessels.
  bailiff: The representative of the king’s authority; the sheriff.
  balustrade: A low partition, handrail, or parapet made
  by individual vertical shafts supporting a horizontal
  element.
  canon: A priest who is member of the chapter.
  capital: The top end of a column.
  cathedra: The bishop’s seat in his church, which is called
  a cathedral because of this.
  chancel: The area containing the main altar and choir, set
  apart by an enclosure.
  chapter: The body of priests attached to the cathedral.
  choir: The area where the priests carry out the services.
  clerestory: The part of the nave above the aisle roofs, with
  the largest windows.
  confraternity: A laymen’s association dedicated to a spe-
  cific religious service.
  deacon: A member of minor clerical orders.
  dean: The head of the chapter.
  flying buttress: A load-bearing partial arch built outside
  the wall it supports.
  hagiography: A saint’s biography, focusing on his miracles
  and teachings.
  nave: The main, highest part of a church, between the
  aisles.
  order: A specialized religious organization or a class of
  vows and, therefore, a degree of clerical investment.
  ossuary: A room for the burial of bones.
  parvis: The paved, open area in front of a church.
  prebendary: A priest entitled to an income from specific
  assets (such as lands owned by the chapter).
  relic: Bones or belongings of a saint, usually kept in a valu-
  able container, the reliquary.
  reredos: A decorated screen behind an altar.
  sexton: A layman carrying out menial work to maintain
  the church building; a sacristan.
  thurible: A censer; a burner for incense.
  tithe: A tenth of a person’s income, given to support the
  church, the clergy, and their works.
  transept: The transverse section of the church, crossing
  the main body of the building at right angles.
  vault: A ceiling formed by an arched structure.
  Glossary
  A bishop’s church. A prayer in stone.
  
  OVERVIEW
  5
  Jean sat inconspicuously in the shadows, watching the square
  in front of the great church. The spire seemed impossibly tall, too
  much for him to crane his neck back enough to view it all. But, he
  wasn’t there to admire the tallest building he’d ever seen – he was
  there to observe the comings and goings through the mighty gates.
  The square was bustling with cityfolk, peddlers, priests, and beg-
  gars. Two men wearing the bishop’s colors looked bored as they
  strolled from the gate of the bishop’s palace to the cathedral’s porch.
  A man ran to the church, and was stopped by the guardsmen.
  His tunic was bloodstained. A crowd gathered around the man,
  who was looking for protection. One of the guardsmen rushed
  inside, and came back with an old priest, followed by women and
  a burly man, probably the sexton. It occurred to Jean that had
  anything unusual happened inside, right then, nobody would
  have paid any attention. A plan began to form in his mind.
  CHAPTER ONE
  OVERVIEW
  About 150 years ago, the main church of a growing city was
  destroyed in a fire. It had been a squat, Romanesque building,
  and the bishop decided he wanted a more fashionable, taller,
  brighter cathedral. The old church had been dedicated to St.
  Guy of Cousnay, a modest hermit, but St. George had always
  been more popular with the local nobility. St. Guy faded into
  obscurity when the new cathedral was dedicated to St. George.
  The bishop made an initial appropriation, and over the
  decades, the diocese contributed to the construction. The
  main funding, however, came from the townsfolk. Although
  their genuine desire to please God played a role, the citizenry
  also wanted their town to develop. The bishop had temporar-
  ily moved to another town, citing the lack of a church large
  enough, and the townspeople wanted to
  make sure he wouldn’t change the diocese’s
  seat. They knew a cathedral would be good
  for business.
  The first parts to be built, over the older
  church’s crypt, were the apse and choir; they
  became usable for services a century ago. The
  work stopped some 40 years ago, with the cathe-
  dral nearly completed, because of a dispute
  between the then Bishop Pierre de Tours and
  the city. The townsfolk petitioned the Crown to
  become a free city, removing them from the
  bishop’s own feudal domain. The king was inter-
  ested – this would boost his own revenues,
  as market cities were becoming immensely
  profitable, and it would weaken a feudal lord.
  Bribery,
  litigation,
  intrigue,
  and
  violence
  ensued, and the bishop lost. The metropolis is
  now a free city. While the bishop still has plenty
  of feudal domains, those are rural.
  A renewed construction drive began. Laymen had an essen-
  tial role in it, now. A Confraternity for the Fabric was estab-
  lished, and it answered to the cathedral’s chapter (see Who’s in
  Charge, p. 6). They appointed a famous master builder. How-
  ever, recurring wars and bad harvests made funding problem-
  atic, and the construction was completed two decades ago,
  with great difficulty.
  Then lightning struck. During a stormy night, the spire of
  the north tower collapsed, damaging that part of the building.
  Repair work was begun about five years ago, and immedi-
  ately halted, because of a lack of funds and over a disagree-
  ment between the chapter and the confraternity. The latter
  was dissolved.
  A MONUMENT TO GOD
  . . . AND MAN
  The Eternal Building Yard
  The construction of cathedrals lasted decades, sometimes centuries.
  The building yard was a landscape fixture, with its incomplete walls,
  lone pillars, and extensive scaffolding. On summer days, it might be
  teeming with workers. In winter, construction was suspended, and a
  reduced crew of masons and stone carvers worked in lean-to huts,
  called lodges.
  The tools kept in these huts could serve as improvised or outright
  weapons, and they may have been worth stealing. However, most
  masons never left their best equipment around.
  It could be an unsafe place to visit. Accidents with those tools and
  falls from the scaffolding were common hazards. Quicklime, used as
  building mortar, is also dangerous (see GURPS Low-Tech, p. 130).
  Among the piles of rubble, rioting crowds could find here plenty of
  stones to throw. It also made a risky setting for chases.
  
  OVERVIEW
  6
  Bad feelings linger between the citizenry and the bishop, from
  when he lost them as feudal subjects. Nevertheless, this is a city,
  and not a backwater town, because it grew as the seat of the dio-
  cese. It could be said that the city exists because of its cathedral.
  The area around the cathedral is the very core of this city. The
  city hall is to the west of its tall façade. A well-proportioned civil
  Gothic building, its main entrance is not on the parvis. The city,
  indeed, created a new market square, in competition with the
  parvis, and had the hall “turn its back” on the cathedral, at the
  time of the conflict with the old bishop.
  The grand palace of the bishop is to the north of St.
  George’s. A sprawling complex, the most recent part is the
  largest one. The archdeacon lives and schemes here. The
  palace includes a stout gate, an old circular tower (now part of
  the guards’ and servants’ quarters), a courtyard, stables, out-
  buildings, and a walled orchard.
  The canons of St. George’s live in a group of buildings very
  close to the north porch of the church, known as the canons’
  houses. Their formal meetings are held in a recently built octag-
  onal chapter house adjoining their homes.
  The townhouse belonging to the Viscount de Saint-Jules is
  just behind the cathedral apse. The best inn in town is just to the
  south of the parvis, with its own small courtyard and stable. The
  rest of the neighborhood is made up by typical medieval build-
  ings, crowded together along narrow, winding streets.
  WHO’S IN CHARGE
  An assembly of priests, called the cathedral’s chapter, runs St.
  George’s Cathedral. Their head is the dean, Father Thibault
  d’Auvers (p. 20). The chapter’s eight members are called canons.
  They have several distinctions and functions, some of which are
  merely ceremonial, while others are more important than they
  sound. Father Aloysius (p. 20), for instance, is the choirmaster.
  This actually means he’s second-in-command to Father
  Thibault. He oversees the cathedral’s daily routine.
  A particularly significant appointment is that of treasurer.
  However, when the old one died years ago, Father Thibault
  undertook that task himself.
  Below the canons are the deacons. They belong to minor
  orders, but will eventually become priests themselves. Impor-
  tant celebrations muster dozens of altar and choirboys.
  The role of laymen in the cathedral has been downsized
  with the disappearance of the Confraternity of the Fabric, but
  keeping the building in working order is the sexton’s job.
  Renier Sacreste (p. 21) is that man, and his entire family works
  at cleaning this massive structure. Additional volunteers are
  always welcome.
  Normally, just two of the bishop’s guardsmen are on duty
  outside the gates, but the detail numbers eight men. At least
  a couple more can be quickly summoned from the nearby
  bishop’s palace.
  THE POWER BROKERS
  The cathedral is the focus of a web of rivalries between dif-
  ferent Church bodies, religious and lay powers, nobles and
  commoners.
  Jacob d’Evreux is an absentee bishop. He spends his time
  between the capital and Rome; rumor has it that he’ll become
  a cardinal. Therefore, he has a vicar in town. This would nor-
  mally be the dean of the cathedral’s chapter. Instead, the
  bishop appointed an ambitious archdeacon, a clever Venetian
  schemer, Monsignor Giovanni Dandolo. The archdeacon often
  pushes the limits of his authority, making him unpopular. It’s
  difficult to appeal against his decisions, because that requires
  reaching the bishop. Conversely, if he doesn’t want to act, he
  claims that only d’Evreux can make a given decision.
  Additionally, the bishop decided that everything belonging
  to the diocese, from the smallest chapel to the largest estate, is
  run by the archdeacon – except St. George’s, the most impor-
  tant church in the whole region. The chapter administers that
  independently and defers only to the bishop.
  This makes the archdeacon’s power not entirely unfettered,
  which was perhaps the bishop’s intention. However, it’s a
  source of endless controversies. For instance, the parish priest
  of Villeneuve, one of the new neighborhoods, is “poaching” in
  the cathedral’s parish for donations for his new church. The
  dean can’t discipline him – only the archdeacon can. Since
  Villeneuve becoming a wealthier parish is in the archdeacon’s
  interests (because that parish is within his purview, unlike the
  cathedral), he won’t do anything . . . at least not without get-
  ting something in return.
  Beyond this internal strife within the Church, there is the
  city. As a market city, it now pays its taxes directly to the Crown,
  but rules itself. After the dispute with the bishop’s predecessor,
  the commoners remain wary of any attempt by the diocese to
  interfere with their rights. The power-hungry archdeacon is thus
  unpopular with them. It doesn’t help that the diocese remains
  the main landlord in town.
  The free men of the town elect members of the city council
  from among the citizenry. Many of the councilors are success-
  ful merchants. The city council, in turn, elects a mayor from
  among its members. The king’s approval is needed, but it’s a
  formality. The current mayor is Armand Leblanc, a shrewd
  master merchant known for valuing profit above all else.
  The cathedral’s dean, unlike the archdeacon, holds some
  sway over several councilors. Partly due to the members’ respect
  for the cathedral and the personal charisma of the current dean,
  it is also because of long-lasting amicable relations of the chap-
  ter with some of the guilds (such as the masons, the candlemak-
  ers, and the jewelers). In turn, local families sometimes try to
  make the dean more attentive to their interests, through gener-
  ous donations to the cathedral.
  Noblemen still have privileges within the city and in the
  cathedral itself (they have their own chapel), which they fiercely
  defend. The most important one among them, the stubborn
  Viscount de Saint-Jules, leads them. While the nobles’ role in the
  city is vestigial, what feeds the proud cityfolk comes from their
  fields, and what supports the flourishing market moves across
  their feudal domains (including the diocese’s). Nobody wants to
  kill the hen laying the golden eggs, but should the noblemen
  form a common front among themselves, with the archdeacon,
  they could make life more difficult for the city and the cathedral.
  For example, some of the best lands to the east belong
  to the cathedral chapter. (All the canons are prebendaries.)
  THE CATHEDRAL AND THE CITY
  
  The dean lets each priest deal with the income from those lands
  as he wishes, which means some of the chapter’s serfs are luck-
  ier than others. However, between the city and those lands is the
  river, and the viscount has a feudal right to exact tolls on the ford
  and the ferry. Thus, any toll war would directly affect St.
  George’s. The viscount opposes any attempt by the city to build
  its own bridge, which hasn’t made him more popular. The city
  council is currently trying to recruit the cathedral’s chapter for
  their campaign in favor of a bridge.
  The king has a representative in town, the bailiff. He col-
  lects taxes and carries out administrative tasks. Additionally,
  he presides over the higher court of justice. He has access to
  the Nobles’ Chapel, too. The current bailiff, Guillaume de la
  Motte, is an unknown newcomer from a minor family.
  THE SHOWCASE
  The city’s balance of power is made visible in the cathedral
  itself, which has become a showcase of wealth, standing, and
  influence. Nobles have their own chapel (see p. 10), and a
  ruined nobleman loses his rights to attend mass there. The city
  council is currently exerting pressure for the mayor to be
  granted access. Likewise, being buried inside the cathedral is a
  sought-after honor, reserved for clergy and, occasionally, for
  wealthy noblemen.
  When a successful banker or guild makes a lavish donation,
  they do not want the money to disappear inconspicuously in
  the cathedral’s coffers. Instead, the offer comes in the form of
  valuable altar services or noticeable artworks, so that everyone
  can admire them – and the donor’s success.
  The damaged tower now tarnishes the impressive exterior
  of St. George’s. Since the cathedral’s administration is separate
  from the diocese’s, the archdeacon is adamant that the works
  are not under his responsibility. The dean, meanwhile, seems
  to lack the energy for serious fundraising from the city. Worse,
  having disbanded the Confraternity for the Fabric, he has
  made laymen less eager to get involved.
  OVERVIEW
  7
  MAP OF THE CATHEDRAL ENVIRONS
  Key
  1. St. George’s Cathedral
  1a. Parvis
  2. Bishop’s Palace
  2a. Courtyard
  2b. Orchard
  3. Canon’s Houses
  3a. Kitchen Garden
  4. Chapter House
  5. Viscount’s Townhouse
  6. Town Inn
  7. City Hall
  8. Market Square
  1
  2A
  2B
  2
  3
  4
  3A
  5
  7
  6
  1A
  8
  N
  0
  5
  yards
  
  “We won’t be disturbed here,” huffed Father Aloysius, usher-
  ing the bailiff into the winter choir room. He didn’t want the con-
  versation to be overheard, and you never knew in the open spaces
  of the nave or choir. The visitor stopped just inside, transfixed by
  an ancient bas-relief he had never seen. “Saint George and the
  dragon, naturally,” he commented, “But how strange. The dragon
  isn’t dying, and the saint’s face seems frightened!”
  “Well, it’s an old, crude piece – that’s why we moved it here.
  Now, as to that pressing concern,” replied the priest.
  The bailiff averted his gaze from the artwork. “Yes. The
  witches. Tell me about them.”
  THE BUILDING
  8
  Most of this area is open to anybody. Being a Gothic cathe-
  dral, it is exceptionally bright thanks to its huge windows. For
  a map of the ground floor, see p. 15.
  THE PARVIS AND PORCHES
  The parvis, in front of the façade, belongs to the chapter. A
  couple of vendors are here daily; more booths are added on mar-
  ket days. All pay rent to the chapter. The parvis is also where edi-
  fying “miracle” plays and other entertainment are staged (see
  Ludus Draconis, p. 22). The archdeacon would like the cathe-
  dral to pay for the bishop’s guards keeping the peace here. How-
  ever, the guards would then take orders from the dean, which
  Monsignor Dandolo doesn’t want.
  All along the walls, the protruding buttresses offer shelter
  from wind – as well as ambush positions for cutthroats. Gar-
  goyles on the sides of the building spit rainwater down at a dis-
  tance from the cathedral’s walls. On rainy days, anybody
  walking into a spot some three yards out of each buttress base
  will be drenched. In winter, the north alley’s ground is often
  frosted over (treat as bad footing, see p. B387).
  The main porch features a crowd of statues representing
  saints, virgins, and prophets welcoming the faithful to the
  house of God. The bishops used to mete out justice here when
  they were the town’s feudal lords. Both the bailiff’s court and
  the city’s magistrates request to hold hearings here if they
  expect a large attendance.
  The southern side and porch are well-liked by the citizenry.
  It’s a relatively open area, warm on sunny days. Beggars sleep-
  ing under the porch are unofficially tolerated (prostitutes
  sometimes work there, too, but they’re chased out if found).
  The imagery at the south gate represents God, angels, and
  saints welcoming souls in heaven.
  To the north of the cathedral is a gloomy alley. The north
  gate’s scary theme is Hell: reptilian figures inflicting torments
  on their victims, including kings, knights, and clergy.
  A fence, made of 7’-tall rotting planks (DR 1, HP 10), sur-
  rounds the base of the north tower. Standard locks (p. 9) close
  the fence and the wooden lodge. The building yard (p. 5) looks
  abandoned; the lodge is empty. An effort had been started to
  sort out reusable stones and to clear the gate, but rubble lies in
  piles scattered throughout the area.
  THE NAVE AND AISLES
  The nave vaults are among the tallest in the world, reaching
  36 yards in height. The nave is 16 yards wide. Each aisle is half
  that height and width. From the main gate to the apse’s wall, the
  church is 120 yards long. Everybody feels insignificant when
  entering this enormous space for the first time; the effect is
  deliberate. The vertical lines, the clustered pillars, and the
  pointed arches all draw the eyes toward the vaults and, hope-
  fully, the thoughts toward heaven. The cathedral is so large
  that it’s half-empty on ordinary Sundays. The impression of
  spaciousness in this area is enhanced both by the immense
  stained-glass windows and by the nave’s emptiness. It teems
  with visitors during important festivities.
  However, the populace is used to this place, and hushed
  respect isn’t the norm. During mass – a long, largely incom-
  prehensible rite – people chat, attend to business, and move
  about freely. Snack peddlers and entertainers trickle in
  (though the priests disapprove). The lower nave, where the
  commoners are packed, is where pickpockets work and
  fleas change host.
  GROUND FLOOR
  CHAPTER TWO
  THE BUILDING
  The Healer
  During the day, the south porch is the workplace of
  Ermenjart L’Erbiere, the herbalist. This old woman offers
  natural remedies, but she is careful to point out that while
  the plants help, what really save lives are the prayers she says
  with the patient’s family. Working within the Church’s teach-
  ings has saved her, so far, from allegations of witchcraft.
  L’Erbiere might be just an herbal healer, or that might
  be a cunning front. She might be willing to prepare other
  kinds of concoctions: “love” potions, contraception and
  abortion drugs, or poisons.
  
  Close to every door are stone stoups (DR 24, HP 32), fix-
  tures in the walls or floor containing holy water. In certain set-
  tings, this water is an actual weapon against evil beings;
  carrying it away might raise eyebrows. More prosaically, peo-
  ple dip their fingers in before it making the sign
  of the cross. This would be a devilish device to
  use for spreading infectious agents.
  Most people attend mass standing, although
  a long stone bench once lined each aisle wall.
  These have been reduced by the ongoing intro-
  duction of side altars. The elderly use the few
  remaining benches. People sitting elsewhere
  may bring something from home: folding
  chairs carried by a servant, a rug, or a bunch of
  straw (for pews, see Today, p. 26).
  In the lower nave, the paving stones are laid
  out to form a labyrinth. People say that walking
  down its snaking paths to its center an inordi-
  nate number of times equates to a pilgrimage
  to Jerusalem. Sinners sometimes traverse the
  route on their knees as penance. A devout old
  man, Alain, has practiced for so long that he
  can walk this path unerringly, with his eyes
  shut. They say that while he does that, he can
  be asked about God’s will on a given subject,
  and he’ll give the right answer. The canons
  have forbidden this practice, but it is just pos-
  sible that this is a form of Meditation trance
  (see p. B207).
  In the second bay is the baptismal font,
  resembling an oversized bathtub. It’s set 3’ into
  the floor, with a low stone curb.
  THE CHANCEL,
  CHOIR, AND APSE
  The part of the building beyond the transept
  is three steps higher. Not only is it over the
  crypt, it is also the most sacred part of the
  church. Somebody standing here will be visible
  even when the nave is crowded.
  The chancel is set apart by a 3’-tall wooden
  balustrade. A priest must invite a layman if the
  latter wants to enter this area. The balustrade is
  made by individual shafts (each having DR 4,
  HP 23), so it’s not a hiding place. However, two
  ambones are in its corners. These include a
  platform and a solid front (DR 3, HP 33); a
  standing reader’s upper body can be seen, but
  a crouching man can hide here.
  The choir area is where the priests carry out
  their long rites, sometime sitting in carved
  stalls (individual seats) placed on two long
  daises. Behind them, the choir enclosure is a
  solid 8’-tall wooden partition (DR 4, HP 38).
  The outer side is sculpted and painted with
  scenes from the life of Christ, because that
  area, accessible to laymen, is used for proces-
  sions. Another lectern is in the choir area, for
  the choir director; although cumbersome (65
  lbs., DR 3, HP 32), it can be moved.
  The high altar is at the end of the choir area. An impressive
  reredos, 10’ tall (DR 5, HP 40), tops it. The sides are thick with
  gilded statues: a crucifixion group in the center, St. George
  killing the dragon on the right, St. Guy in prayer on the left.
  THE BUILDING
  9
  Breaking and Entering
  When the church is closed (see A Time for Prayer, p. 24), all the gates
  are bolted from inside, thus requiring brute force to get past them (see
  below). Grates and windowpanes protect the small crypt windows,
  which open at ground level. All the windowpanes are elaborate stained
  glass. They can be disassembled by prying open the lead cames that keep
  the glass pieces together, but it’s tiresome, delicate work.
  For adventurers disdaining subtler means, the architectural elements
  themselves can be breached. In the table below, “wall” refers to the
  ground-level part of it; higher parts are thinner. Some elements are
  thicker than strictly needed; the master builders wanted to play it safe.
  The main external walls (the aisle sides) feature a sandwich design – two
  ashlar walls filled with concrete. This makes it easier to carve out
  recesses, and to add a modern heating system (see Today, p. 26).
  Item
  Description
  DR
  HP
  Crypt gate and grates
  Iron
  12
  23
  Internal doors
  Wood
  2
  29
  Internal walls
  1’ stone
  156
  94
  Main external walls
  4’ stone and concrete
  624
  149
  Main gates
  Iron-bound wood
  30
  50
  Pillars
  6’ stone
  936
  171
  Roof
  1/8” lead
  4
  34
  Roof beams
  6” wood
  6
  26
  Vaults
  8” stone
  104
  86
  Vestry door
  Iron-bound wood
  15
  40
  Tower walls
  8’ stone
  1,248
  188
  Windowpanes
  Glass and lead
  1
  5
  The HP figure is for a 10-square-foot section. All stone and wood DR
  values should be treated as ablative or semi-ablative against most
  attacks; see p. B559 for more details. This doesn’t apply to the iron gates
  and to the roof’s lead.
  The building’s overall HT is 13. However, its HT is 11 for the south
  tower, and 10 for the damaged north one. If the intention is not to enter
  the cathedral but rather to raze it down with a massive attack not target-
  ing any particular area of it, the average DR is 624 and HP is 7,790.
  The final alternative to get in is by climbing. Decorative motifs help,
  so Climbing rolls are at -2 (instead of -3). The lowest windowsills are
  five yards above the ground. The façade balcony is 18 yards high. The
  first clerestory window on the north side has lost its stained glass in
  the spire’s collapse. Reaching it requires climbing the aisle’s wall
  (some 17 yards), then up the aisle’s roof (+3 to Climbing rolls). The
  windowsill is a few feet above the gallery’s arches, with no glass to
  smash through.
  For more about unauthorized access, see GURPS Low-Tech (pp. 122
  and 126).
  Locks
  The vestry has the only outer door with a lock (-2 to Lockpicking);
  both the dean and the sexton have a key. Other doors have standard
  locks that are generally easy to pick, giving +4 to Lockpicking; excep-
  tions are mentioned in the descriptions of various parts of the building.
  
  A stone throne (the bishop’s cathedra) and the dean’s smaller
  seat flanks the altar. They weigh about half a ton (DR 55, HP
  65) each and are decorated by simple carvings. In a medieval
  campaign, they wouldn’t be worth stealing, but see Artworks
  (below) for their value in a modern setting. If the archdeacon
  chooses to celebrate the mass in the cathedral, he takes prece-
  dence over the dean and even sits in the bishop’s cathedra.
  The apse, behind this altar, is dominated by 5’-tall sarcoph-
  agus of the former bishop, Pierre de Tours. He had decided he
  wouldn’t be buried in the crypt. Rumor has it that he was
  entombed here in his full ceremonial vestments. If so, the raw-
  material value of the gold embroidery and semiprecious stones
  might reach $1,500 (with a lot of work by a jeweler to recycle
  it). The sculpted marble slab top weighs two tons (DR 90, HP
  175 for the whole sarcophagus).
  Against the back of the high-altar reredos, and thus facing the
  apse, there is a statue of Jesus as the Good Shepherd – or that’s
  what the priests claim. It’s a life-size Roman sculpture, uncan-
  nily well-preserved and realistic. The subject – a beautiful young
  shepherd playing a pan flute – hints at the namesake older deity.
  It is rumored to be an ancient donation by the last pagan chief-
  tain in the region, upon his conversion to Christianity. Strangely,
  it’s the one unpainted sculpture in the church, its white marble
  pristine. It weighs half a ton, and it’s 5’7” including the pedestal
  (DR 60, HP 85, but it wouldn’t take much damage to deface it);
  its market value would be negotiable.
  THE TRANSEPT
  The transept crosses the main building body; it adds space
  and gives the church the shape of a cross. A late addition, its
  central part isn’t as wide as the nave, which makes it too tall for
  its width. It’s 64 yards from gate to gate.
  The stairs descending into the crypt are here. They have a
  4’-tall ornate stone parapet (DR 156, HP 94). Someone going
  down these steps is faced with demoniac sculptures on the
  inside of the parapet. Legend has it that these demons serve
  to warn those descending that only the pure of heart can use
  this stairway without tripping. This tale might be meant to
  discourage access to the crypt, or in a magical world, there
  might be a sophisticated enchantment. Reportedly, the ill-
  famed Bishop Pierre fell down these stairs once, and avoided
  the crypt from then on.
  The southwestern corner of the transept is St. Stephen’s
  “chapel” – actually a side altar. This is entrusted to the masons’
  guild (see Everybody Goes to Church, p. 21). It is well-known
  (roll Area Knowledge at +1 or Streetwise at +2) that the altar
  contains a strongbox with the recently collected guild dues –
  some $400 in a mass of tiny copper coins. While counting on the
  saint’s protection, the guild also hid the strongbox in a concealed
  slot. Finding it requires a Quick Contest of Observation or Per-
  based Traps, against the guild’s Masonry-18. Opening it requires
  a Lockpicking roll at +4, or a sledgehammer (DR 20, HP 45).
  Winding stairs at the central corners of the transept lead up
  to the gallery. Their doors are barred with standard locks
  (p. 9), but as a lazy deacon (see Vincent the Deacon, p. 20) has
  discovered, the lock of the northern one doesn’t work well.
  THE CHAPELS
  A local noblewoman, the Marquise de Malebois, died heirless
  some 70 years ago. She left a bequest for the cathedral’s build-
  ing, on the condition that it would include a chapel for the
  noblewomen. The area is now known as the Nobles’ Chapel,
  although it is dedicated to St. Martin (another generous horse-
  man of noble birth, like St. George). Woe unto the commoner or
  ruined nobleman who dares trespass! A 4’-tall
  metal railing (DR 6, HP 15) sets it aside. Its walls
  are lined by carved wooden stalls (DR 4, HP 23).
  Each seat is emblazoned with a noble family’s
  coat of arms. Minor nobility stand, and they have
  their escutcheons on the walls.
  One of those seats has a false bottom. It can
  be used as a dead-drop delivery system (see
  Everybody Goes to Church, p. 21), or to hide a
  small weapon (in advance, or after having used
  it). Only a handful of noblemen know about it;
  the canons don’t. Renier the sexton was never
  told about it, but he might have found the
  device on his own while polishing the seats.
  The noblemen prefer to attend mass from
  here, although they see almost nothing. They
  also can have masses celebrated in the chapel
  itself. Recently, the Viscount de Saint-Jules
  mentioned he might appoint a chaplain. Such a
  position, if adequately funded, would be envi-
  able for a priest.
  The other chapel is dedicated to the Virgin
  Mary. Its popularity with the citizenry is evi-
  denced by the warm glow of candles lit at the
  altar’s foot. Traditionally, people kneel along
  the chapel’s southern wall, as far away as pos-
  sible from the altar to show their humility. An
  exquisite, life-size statue of the Virgin tops this
  chapel’s altar.
  THE BUILDING
  10
  Artworks
  Hardly any surface in the building isn’t sculpted, frescoed, or graced
  with statues or patterns. In addition to the main works mentioned in the
  descriptions, all the side altars are crowned by paintings or by carved,
  painted figures. These minor artworks aren’t exciting because of their
  value. Contemporary men, who aren’t considered different from any
  accomplished craftsman, created them. Nor is the difference between
  copies and the original important. If a nobleman wants the picture hang-
  ing over St. Roch’s altar, he can have the same artist make it again, for
  an affordable price.
  A few pieces have value to the local population for other reasons.
  For instance, the statue of the Virgin is said to be miraculous. Con-
  sider those with local mystical significance as relics (see Relics and
  Treasure, p. 12).
  In modern campaigns (see Modern Ideas, pp. 24-25), a medieval
  masterpiece is worth a fortune. Unfortunately, a fire destroyed many
  priceless artworks in 1823. The pieces described in the text survive, but
  not one is by a famous master. They have historical value, just like the
  minor statues. Thus, their value on the stolen-art market can be what-
  ever the GM feels is appropriate.
  A simple theft leaving nothing behind would be bad enough. It
  would be worse if some expert suddenly claimed that the painting of St.
  Stephen’s martyrdom is a fake. Did somebody swap the original with a
  worthless copy? Is the expert trustworthy?
  
  THE VESTRY
  AND WINTER CHOIR
  The vestry is the room where the priests and choirboys pre-
  pare for mass, and hang out to chat. There are several locked
  chests (220 lbs., DR 2, HP 40) containing vestments. A sturdier
  chest (300 lbs., DR 3, HP 50) has an above-average lock, giving
  no modifier to Lockpicking rolls; it contains the more
  valuable items. A Smell roll reveals it stores the incense
  supply and a thurible ($300 taken together, 22 lbs.). It
  also holds the cathedral’s books (see The Scriptures,
  below), beeswax candles ($100, 12 lbs.), the best vest-
  ments (some 60 lbs., and worth around $100) and other
  ritual paraphernalia.
  The aumbry has wooden doors (DR 2, HP 25) and a
  standard lock (p. 9). It contains the everyday commun-
  ion service ($250, 4 lbs.). Demon-worshippers, espe-
  cially if quacks, might be interested in the consecrated
  bread. (In modern times, the reserved elements might
  be housed elsewhere, depending on the faith tradition
  of those currently managing the cathedral.)
  Behind an old tapestry in the southwestern corner, a
  movable section of the wall acts as a concealed door.
  Searchers must win a Quick Contest of Vision, Observa-
  tion, or Per-based Traps against Architecture-18 to
  locate it, then succeed at an IQ-based Traps roll to
  unlatch it. Pushing it open requires only ST 10 nor-
  mally, but if the mechanism was neglected for decades,
  it may have become harder; those doing so will need a
  combined Basic Lift (see p. B17) of 35 or more (e.g., one man
  with ST 14 or two with ST 10). Once open, it leads to a dark,
  steep stairway to the underground (see The Secret Room, p. 12).
  Services attended only by the priests take place in a smaller
  choir room, especially in winter. Father Aloysius uses it as a
  sort of office. Its most remarkable feature is the bas-relief
  described in the story on p. 8. Large braziers ($90, 5 lbs., DR
  4, HP 14) are both here and in the vestry.
  THE BUILDING
  11
  This area is poorly lighted (-2 to Vision rolls) at its eastern
  end, close to the small windows; the farther in, the darker. It is
  normally closed, and only the dean, Father Aloysius, and the
  sexton have a key to the lock of the iron gate at the end of the
  stairs (all locks here are -2 to Lockpicking rolls). Only the dean
  holds all other keys to the crypt’s locks. An early mass is cele-
  brated here one Sunday a month, always by the dean himself.
  For a map of the crypt, see p. 16.
  THE OLD CHURCH
  The main area isn’t entirely below ground level, because it
  was adapted out of the Early Christian church. It is a dank,
  empty space, broken up by massive columns, supporting low
  barrel vaults. The walls were frescoed, and the surviving images
  represent simple Christian themes. An ancient sculpture adorns
  one of the capitals. It represents a man in a strange hat and a
  sort of serpent-man, shaking hands.
  The altar is St. Guy’s ancient sarcophagus (roughly as thick
  as the bishop’s; see The Chancel, Choir, and Apse, pp. 9-10). He
  was considered a protector from dropsy, and the sick once
  prayed while touching the altar. Behind the altar is an aumbry
  containing several relics (its locked wrought-iron doors are DR
  50, HP 58). On special occasions, this is opened so that the
  faithful can see the reliquaries (see Relics and Treasure, p. 12).
  Closer examination, and a roll against Archaeology at +2,
  reveals the baptismal font was a Roman well. Indeed, a small
  opening in the floor was used to drain the water after bap-
  tisms. The faint sound of moving liquid can be heard (Hear-
  ing roll at -2). Widening the hole (DR 104, HP 86 for a
  man-size hole) gives access to an underground stream that
  reaches the river (a perilous journey!). With half that effort, a
  bucket, and rope, drinkable water can be drawn (that is,
  drinkable by medieval standards).
  To the right of the altar is a secondary room, also pro-
  tected by a locked iron gate. This is the bishops’ burial place.
  Their niches are walled over (DR 24, HP 70) and contain
  nothing but bones and tatters. However, a large section of
  the floor can be moved (Quick Contest of Vision, Observa-
  tion, or Per-based Traps against Architecture-15 to locate it).
  As most of the priests and the sexton know, this is the official
  cathedral treasure (see Relics and Treasure, p. 12).
  THE CRYPT
  Cathedrals,
  Luxury liners laden with souls,
  Holding to the East their hulls of stone.
  – W.H. Auden
  The Scriptures
  The most used book in the cathedral is a breviary. It serves for
  the liturgy of the hours (see A Time for Prayer, p. 24), thus it’s often
  left on the choir lectern. Most of the other books are kept in the
  strongest chest in the vestry: a beautifully illuminated Bible, and
  three other books used during mass. During the rite, one is on the
  high altar, another is on the choir lectern, and the third is on one
  of the ambones. Additionally, one special book is kept with the
  relics in the crypt (see Relics and Treasure, p. 12).
  Taken together, these volumes are some $4,000, if sold legiti-
  mately. The Bible alone is worth $1,500 to a monastery or bishop,
  who will however ask questions. It’s bulky (22 lbs., -4 to Holdout).
  The books’ pages can be scraped and reused (see GURPS
  Low-Tech, p. 46). This may have already happened, and mod-
  ern technology or magic might reveal more than prayers in the
  breviary; maybe something that’s the opposite of holy petitions.
  
  Examining the northern wall, and making a successful
  Masonry roll, reveals a hollow space beyond it – the secret
  room (see below). This wall is DR 104, HP 90.
  THE SECRET ROOM
  Without destroying the wall in the old church, this room
  can only be reached through the secret door (see The Vestry and
  Winter Choir, p. 11) and its stairway. The air is musty. The floor
  is uneven; this area is an enlarged cave. The walls look very
  rough; an Observation roll reveals they have been thoroughly
  scraped, as if to remove imagery.
  Against the eastern wall is an altar, topped by a granite slab
  (DR 72, HP 56). This top can be easily pushed into the wall
  (after winning a Quick Contest of Observation or Per-based
  Traps against Masonry-12), revealing a small chamber. The
  dean hoards the missing part of the treasure here. He’s not try-
  ing to embezzle it; he just fears the archdeacon might find a
  way to lay his hands on the chapter’s money. An iron strong-
  box holds some $6,000 in debased silver ducats (12 lbs.).
  The strongbox isn’t locked, but opening it carelessly (failing a
  Per-based Traps roll) means springing a hidden blade (1d-2
  cutting damage to the hand). This blade is dirty, and a wound
  requires an immediate roll against HT. On a failure, the wound
  is infected, see p. B444 for treatment. Surgery can also be
  attempted to solve the problem, but it is an undiagnosed con-
  dition (see GURPS Low-Tech, p. 147).
  Additionally, a reliquary is inside; it’s an ornate copper
  box ($170), containing ashes and a scroll. Knowledge of
  Latin is needed to understand that these are the remains of
  one venerated Brother Marcel. Additional study, requiring
  successful rolls against Research or History, discloses that
  it’s a forbidden relic! Marcel was a heretic leader, burned at
  the stake about 50 years ago. Somebody gathered his
  remains against the Church’s injunctions. The dean probably
  knows this; otherwise, it would be with the other relics. Was
  he, or maybe his predecessor, a member of that cult? A The-
  ology roll ascertains that Marcel’s ideas are still considered
  dangerous today. Indeed, if his creed is still alive, this trove
  might be worth something.
  The backside of this hollow altar is the original cave’s
  wall, not scraped clean here. Ancient engravings represent
  deer hunted by men and by a winged dragon.
  In a decorated niche is a broken lance, its wood rotting.
  Rolling against Observation at -2 or Armoury reveals the handle
  is a hollow container; inside is an older, blackened wood frag-
  ment and a scroll. This is mostly unreadable, but the words
  “Sancti Georgii,” “Dracones,” “Pvgna” can be made out (“Saint
  George’s,” “dragons,” and “combat”). Even in a medieval setting
  where magic doesn’t exist, a faithful knight might have Higher
  Purpose and believe this is really part of the saint’s weapon. If so,
  he might gain Fearlessness (or a similar advantage), with
  gadget limitations, when wielding a lance that incorporates
  this fragment. In other settings, this might be a magic item –
  only because it’s broken, it’s no longer enchanted. Or is it?
  If the dean has not put this powerful relic with the others,
  he may have reason to believe that it’s a fake. Moreover, some-
  thing did break the lance.
  THE OSSUARY
  A low door (DR 15, HP 40) at the west end of the crypt leads
  into the decay-smelling ossuary. This corridor is 6’ tall, lined by
  niches. Most openings gather the bones of several bodies, piled
  together, primarily the remains of priests.
  At the end of the corridor is a tombstone (270 lbs., DR 26,
  HP 30). Below the tombstone lies a mass burial pit with the
  remains from the previous church’s graveyard. The marker’s
  upper face is etched with a cross. The other side features a
  superstitious (or magic?) symbol meant to warn the living – or
  block the unliving.
  The first niche to the right hides a trapdoor that has not
  been used in decades. It can only be found by moving around
  skulls, bones, and debris. From here, a tunnel reaches the cel-
  lar of the bishop’s palace. A paranoid bishop had it built, but
  its existence is now a forgotten secret.
  THE BUILDING
  12
  Relics are worth venerating, and many believe that God
  may provide healing miracles through them. Churches
  owning important relics may make a profit from them
  thanks to the pilgrims’ offers. Forgeries, frauds, and thefts
  are common. The economic interest is increased by the tra-
  dition of conserving them in reliquaries. These are usually
  gilded metal boxes, studded with semiprecious stones.
  St. George’s cathedral is the burial place of St. Guy of
  Cousnay (see A Monument to God . . . and Man, p. 5), but
  it’s been decades since his last miracle. The crypt aumbry
  (see The Old Church, pp. 11-12) contains seven reliquar-
  ies, the most important one preserving a bone of St. Paul
  the Apostle. The raw material value of the containers
  amounts to some $1,000, while the value of a stolen relic
  is highly negotiable.
  In the crypt’s aumbry, hidden behind the reliquaries, is a
  small book. It’s a barely readable Latin collection of hagio-
  graphies, beginning with a boring account of St. Guy’s life.
  However, in the middle is an older text about St. George.
  The GM may use this booklet to convey hidden lore about
  dragons and dragon pursuers (see St. George’s Hunters,
  p. 25). Such information might be coveted by many.
  The cathedral’s treasure (see The Old Church, pp. 11-12)
  contains several communion service sets, most of them sil-
  ver-plated, and worth about $800 but difficult to sell. It also
  holds other jewelry ($550) and a disappointing amount of
  debased silver ducats ($1,250). The overall weight is 25 lbs.
  Finally, an infuriating accounting book lies among the
  objects; it just records revenues and expenditures, with no
  attempt at balancing. It would take a day, knowledge of
  Latin, and successful rolls against Research and Accounting
  to conclude that much of the cathedral’s income is in kind,
  from the land owned by the chapter. The canons live off that,
  but don’t make money out of it. Even so, a hefty amount of
  cash from donations and tithes seems to be absent. (See The
  Secret Room, above, for details on the missing money.)
  Relics and Treasure
  
  These areas are not normally open. The sexton has his
  own keys, and Father Aloysius has been given the dean’s. The
  winding staircases are dark, with small slits giving -3 to
  Vision rolls. The galleries have no windows save at the
  transept ends, but receive light from their arches opening on
  the nave. The aisle garrets are almost completely dark (-8).
  The nave attic and the south tower below the belfry level are
  at -2. The belfry is bright.
  THE GALLERY
  see map on p. 17
  The gallery was once considered a place of honor. Noble-
  men, and especially noble women, would attend mass from
  here. Nowadays, this is out of fashion. Therefore, the dean has
  decided this area is not worth maintaining and cleaning. Nor-
  mally, it’s closed, but the nuns still occasionally use it. Though
  they normally pray in their own chapel in the nunnery, two
  miles south of the city, they come to the cathedral and climb to
  the gallery on important festivities.
  The gallery offers, through its small arches, a splendid view
  down onto the nave, the transept, and the chancel. The para-
  pets are 4’6” tall.
  In the north section, boards, logs, ropes, and similar mate-
  rial are stockpiled; these are supposed to be used for the repair
  works of the first clerestory window (see Breaking and
  Entering, p. 9), above the gallery. A lazy deacon (see Vincent the
  Deacon, p. 20) has created a cozy hiding hole for himself. Well-
  hidden behind a pile of boards is a hay-stuffed sack, an old
  blanket, a capped jug with some diluted wine, and a stale loaf.
  A person could hide here and survive for a couple of days,
  though Vincent would eventually find him. Furthermore, dis-
  covery of this obviously unauthorized “crib” would provide
  leverage over the deacon.
  THE FAÇADE BALCONY
  see map on p. 17
  At the gallery level, small doors open onto a balcony. A
  stone balustrade 4’6” tall lines it (each shaft is DR 78, HP 45).
  Somebody falling from one of the balcony’s ends would hit the
  parvis (p. 8), 18 yards below. From the central part, it’s some-
  thing less than seven yards to the porch’s sloped roof.
  At the center of the balustrade is a recent statue of St.
  George, standing over a dragon’s head. Decades ago, smaller
  statues were on this balcony; old women describe them as
  “demons.” They were removed and supposedly destroyed after
  one of them fell just as a count was passing, killing him (but
  see The Garrets, below).
  THE GARRETS
  see map on p. 17
  The galleries are narrower than the underlying aisles,
  because of the roofs’ pitch. This is evident if studying the
  building; rolls against Architecture or Masonry, both at +3,
  might be required if in a hurry.
  The access to the garrets isn’t through proper doors. Wooden
  panels, painted like the surrounding walls (Vision roll to
  notice them), hide openings. Tools and a roll against Carpen-
  try are required to remove them, or brute force to break them
  (DR 1, HP 15).
  Moving inside the dusty garrets isn’t easy. The roof slopes
  down steeply, and a visitor has to step over horizontal wooden
  beams and negotiate diagonal ones, which support the aisle roof.
  Just inside one of the garrets are three statues of winged,
  reptilian beings that were removed from the balcony (see The
  Façade Balcony, above). Nervous people might need a Fright
  Check, but they are just stone statues – unless animated.
  THE TOWERS
  see maps on pp. 18-19
  Each tower has its own staircase and can be accessed by the
  gallery. From the gallery level, the spiral staircase reaches a land-
  ing. From that point, a wooden staircase leads to the belfry. The
  stairs are sturdy (DR 6, HP 42 for each one-square-yard section),
  but the banisters were built cheaply (DR 1, HP 14). In the north
  tower, the staircase was taken down in the collapse, and rubble
  fills this landing. However, wooden stumps and holes in the wall
  remain; someone could make a Climbing attempt without
  penalty. The broken end of this tower is some 53 yards from the
  ground. It’s heavily damaged and open to the rain. The last 10
  yards inflict -3 to Climbing rolls, because the stones are loose
  and may be wet. A climber might dislodge one of them, which
  would be hazardous to anybody below, and noisy.
  Down at ground level, the access to the north tower is
  boarded; Gautier the stone carver has the key to the standard
  lock (p. 9) on this door. This rickety enclosure is DR 1, HP 10.
  The tools inside include a pick, crowbars, and a bucket. Careful
  inspection and a roll against Architecture at -3 will show that
  regardless of damage high above, a worse problem lies down
  below. The foundations are failing, either because of subsiding
  ground or cheap construction. Maybe the lightning damaged
  the tower only because it was already weakened.
  THE BELFRY
  see map on p. 19
  The surviving belfry is in the south tower. Its lower level is
  where the bell-ringers operate the seven bells from; it takes
  eleven strong men, wearing earplugs. At the center of this
  wooden floor (DR 12, HP 54) there is a hole, large enough for
  a man to squeeze through; it’s 30 yards to the landing. It can
  be closed with a trapdoor, but normally it’s open, so that the
  sexton can ring the smallest bell from the landing, by pulling
  on its rope (which can support one man’s weight).
  The upper belfry level is where the bells are hung. It’s
  accessed by a ladder, and there is only a walkway all around,
  so that nothing interferes with the ropes.
  Anyone in the upper belfry when all the bells are ringing
  must roll against HT-3 or suffer severe pain (p. B428) for min-
  utes equal to the margin of failure. Earplugs give +3 to this
  roll and reduce the effects of a failed roll to moderate pain.
  THE BUILDING
  13
  THE UPPER LEVELS
  
  Remaining here for more than a minute requires another HT
  roll to avoid being Hard of Hearing for a day, and a critical
  failure makes the disadvantage permanent.
  A trapdoor is in the ceiling, to reach the roof (below) for
  maintenance. The opening can be reached via a ladder.
  THE ATTIC
  see map on p. 19
  When climbing the wooden staircase to the belfry, a small
  door can be found halfway up. This leads to the nave’s attic.
  This area was known as “the forest” to the builders, because
  it’s crowded with horizontal, diagonal, and vertical beams
  supporting the roof rafters. All wooden parts are tarred. This
  protects them from water and bugs, but makes them doubly
  vulnerable to fire (they qualify as flammable; see p. B433).
  Somebody hating this building could exploit this weakness,
  even before explosives. A fire would take a long time to
  develop, but it could be sped up by openings in the roof cover,
  fanning the flames. Once the whole “forest” was ablaze, the
  heat would weaken the underlying vaults, and sections of
  these huge beams would start falling on them. The nave and
  choir would eventually be bombarded with burning beams
  and stones from the collapsing vaults.
  The bottom of the attic isn’t a flat floor, which would be
  wasted weight. Instead, it is the upper side of the nave’s vaults.
  The highest parts of these are along the central axis of the nave
  and on the perpendicular lines across it. The diagonal lines
  define funnel-like traps, four yards deep, down to the pillars.
  Falling inside means slipping down a slope; with a successful DX
  roll, it’s possible to cling to the masonry before reaching the bot-
  tom. Otherwise, the fall inflicts 1d crushing damage. Getting out
  from the funnel requires a Climbing roll at +3.
  Because of this uneven bottom, workmen move along
  wooden passageways (DR 2, HP 29), without banisters, to carry
  out repairs. Two ladders go up a few feet to trapdoors to the roof.
  THE ROOF
  The roof base is surrounded by a walkway and a 3’-tall stone
  parapet (DR 104, HP 86), adorned with pinnacles. Troughs
  drain rainwater into the flying buttresses and down to the
  impressive gargoyles at the height of the aisles’ roofs (see The
  Parvis and Porches, p. 8).
  Just outside one of the trapdoors accessible from the attic
  (above) are metal rungs going up to the roof ridge; this has a
  walkway built in. Moving around the roof in any other area
  requires a Climbing roll at +2 on a dry day. The bonus is wiped
  out if the lead is damp, while rain gives -1 to attempts.
  THE BUILDING
  14
  FRONT CROSS-SECTION OF THE CATHEDRAL
  Key
  1. Attic
  4. Garret
  2. Clerestory
  5. Nave
  3. Gallery
  6. Aisle
  Scale
  3/16” = 6’ (priest shown for scale)
  1
  3
  2
  4
  5
  Walkway
  Flying Buttress
  Pinnacle
  Gargoyle
  Bench
  Pillar
  “Funnel”
  Nave Vault
  Clerestory Window
  Gallery Vault
  Gallery Arches
  Aisle Roof
  6
  Aisle Vault
  Aisle Window
  Side Altar
  Aisle Arch
  Buttress
  Forest
  Roof
  
  THE BUILDING
  15
  MAP OF THE GROUND FLOOR
  Key
  1. Apse
  1a. Sarcophagus
  2. Choir
  2a. Bishop’s Cathedra
  2b. High Altar
  2c. Dean’s Chair
  2d. Lectern
  2e. Stalls
  3. Chancel
  3a. Ambo
  3b. Balustrade
  3c. Ambo
  4. Vestry
  4a. Aumbry
  4b. Brazier
  4c. Chests
  4d. Chest
  4e. Secret Door
  5. Winter Choir
  5a. Lectern
  5b. Brazier
  5c. Stalls
  6. Nobles’ Chapel
  6a. Altar
  6b. Stalls
  6c. Railing
  7. Virgin’s Chapel
  7a. Altar
  8. North Porch
  9. North Transept
  9a. Stoup
  10. South Transept
  10a. Stoup
  11. St. Stephen’s Chapel
  11a. Altar
  12. South Porch
  13. North Aisle
  13a. Bench
  13b. Side Altar
  14. South Aisle
  14a. Bench
  14b. Side Altar
  15. Nave
  15a. Baptismal Font
  15b. Stoup
  16. Building Yard
  16a. Lodge
  16b. Fence
  16c. Rubble
  17. North Tower
  17a. Stoup
  17b. Up to Tower
  17c. Tools
  18. South Tower
  18a. Stoup
  18b. Up to Tower
  1
  1A
  2A
  2B
  2C
  2E
  2
  A B
  C
  4
  D
  E
  UP TO
  VESTRY
  DOWN
  TO
  SECRET
  ROOM
  5
  6
  6A
  6B
  6C
  7
  7A
  3
  3A
  3C
  3B
  DOWN TO
  CRYPT
  UP TO
  PORCH
  8
  9
  9A
  UP TO
  GALLERY
  UP TO
  CHANCEL
  10
  10A
  UP TO
  GALLERY
  11
  12
  UP TO
  PORCH
  UP TO
  PORCH
  15
  13A
  13B
  13A
  14A
  14A
  13B
  14B
  14B
  16
  17
  19
  18
  20
  15A
  15B
  16A
  16B
  16C
  UP TO
  NORTH
  GATE
  UP TO
  SOUTH
  GATE
  B
  A
  A
  C
  B
  21
  A
  2D
  13
  14
  N
  0
  8
  yards
  B
  A
  C
  19. West Porch
  20. Parvis
  21. Vendor Booths
  
  THE BUILDING
  16
  MAP OF THE CRYPT
  Key
  1. Old Church
  1a. Altar
  1b. Relic Aumbry
  1c. Baptismal Font
  2. Secret Room
  2a. Niche
  2b. Altar
  3. Bishops’ Burial Chamber
  3a. Movable Stones
  3b. Niches
  4. Ossuary
  4a. Tombstone
  4b. Trapdoor
  1
  1A
  A
  B
  2
  1B
  UP TO
  VESTRY
  3
  A
  B
  UP TO NORTH
  TRANSEPT
  1C
  4
  A
  B
  N
  0
  5
  yards
  
  THE BUILDING
  17
  MAP OF THE GALLERY, THE FAÇADE BALCONY,
  AND THE GARRETS
  Key
  1. Garret
  2. North Transept (below)
  3. South Transept (below)
  4. North Gallery
  5. Nave (below)
  6. South Gallery
  7. Statues
  8. Boards, Logs, and Ropes
  9. North Tower
  10. Balcony
  11. South Tower
  1
  1
  1
  1
  2
  3
  Down to
  Transept
  1
  1
  4
  5
  6
  7
  8
  9
  Down to
  Transept
  Up to
  Landing/Down
  to Ground Floor
  Up to
  Landing/Down
  to Ground Floor
  10
  11
  Beam
  N
  0
  8
  yards
  
  THE BUILDING
  18
  MAP OF
  THE TOWER LANDINGS
  AND AISLE ROOFS
  Lower Part of
  Flying Buttress
  Gargoyle
  Aisle
  Roof
  Rubble
  Down to
  Gallery and
  Ground Floor
  Down to
  Gallery and
  Ground Floor
  North Tower
  Landing
  South Tower
  Landing
  Up to Belfry
  N
  0
  8
  yards
  
  THE BUILDING
  19
  MAP OF THE NAVE ATTIC
  AND THE BELFRIES
  Walkway
  Trough
  Ridge
  “Funnel”
  Nave Attic
  Walkway
  North Tower
  South Tower
  Ladder Up
  to Roof
  Down to
  Landing
  Up to Belfry
  Damage to Roof
  MAP OF THE
  SOUTH BELFRY
  Upper Level
  Lower Level
  Walkway Open to
  Lower Level
  Bells
  Bell Ropes
  Ladder Up to
  Upper Level
  Down to Landing
  Ladder Down to
  Lower Level
  N
  Trapdoor
  0
  8
  yards
  
  The dean limped hurriedly toward the noise coming from
  behind the corner. “Gautier! What are you doing?” The stone carver
  turned away from the wall. “I was worried about this new crack,
  Father. But, can you hear the difference?” He resumed tapping with
  the butt of his mallet, “Here! It sounds hollow. As if . . .”
  “Stop this! Immediately! And don’t concern yourself with this
  wall. Never again!”
  This section introduces a few of the more interesting people
  commonly encountered in the cathedral. Even if it’s under-
  staffed now, it’s a big place, requiring a lot of manpower.
  FATHER THIBAULT
  D’AUVERS, THE DEAN
  The dean is a limping old man, using a walking stick. He is
  the head of the chapter. While certainly interested in the salva-
  tion of souls, he believes that the good of the church will only
  be achieved by not wasting its resources. He’s always against
  any increase in expenses, be they for repairing the building
  itself, for the poor, or for lavish ceremonies. Now that he’s the
  treasurer as well as the dean, nobody knows exactly where the
  cathedral’s savings end up.
  The dean is not a bad judge of men, but lip service to thrifti-
  ness and Christian dogma can win him over, at least temporar-
  ily. Nowadays, Thibault is not involved in the day-to-day
  management of the cathedral, and he spends hours in lonely
  prayer in the crypt. On occasion, he’s fallen asleep there.
  FATHER ALOYSIUS
  A middle-aged, righteous, officious priest, Father Aloysius is
  the cathedral’s real overseer, celebrating most services. He’s
  slowly taking away responsibilities from the dean. Aloysius has
  thrown his lot in with the bishop’s archdeacon, and he’s Monsi-
  gnor Dandolo’s eyes in the building. The dean can’t live forever,
  and the other priest who’s his senior is a simpleton. Although
  driven by ambition, Aloysius sincerely believes he’s doing God’s
  will. He is surprisingly lenient as a confessor. He prefers hang-
  ing around in the chancel; the nave’s the place for laymen, and
  he dislikes the crypt.
  FATHER JULIEN
  Father Aloysius says that if Father Julien were to decide,
  beggars would sleep in the cathedral in winter, and the cof-
  fers would be empty. Julien is a young, earnest priest, who is
  indeed the soul of the cathedral’s charity; the dean never
  gives him enough. His awkward figure is commonly seen
  down by the gates, talking with parishioners and giving alms.
  It’s easier to meet him in the parish alleys than in the church.
  He’s the one in touch with the citizenry. Exactly because he’s
  so charitable, he regularly deals with the homeless; therefore,
  he’s far from gullible.
  VINCENT THE DEACON
  This sour, spindly teenager is here only because his impov-
  erished noble family can’t afford to turn him into a knight.
  Vincent resents it; he hates the Church and lords his position
  over the altar boys. As the latest addition to the cathedral’s
  chapter, he doesn’t know a lot. Not being an ordained priest
  yet, he’s entrusted with mundane chores, which he tries to
  dodge by hiding in the gallery. If the cathedral burned down,
  he wouldn’t give a damn, save that he’s fond of the depictions
  of St. George.
  LUC THE CHOIRBOY
  Luc is the best singer in the choir, and the gifts he
  receives for singing are a significant contribution to his
  family’s income. He spends much of his free time in
  the winter choir room. Luc appears as naughty as any
  boy, but it’s a pretense, to avoid being mocked by his
  peers. Actually, he has a vein of orthodoxy, and he might
  become a stern priest. The dean has noticed this, and that’s
  why, unbeknown to many, Luc has his ear.
  NOTABLE PEOPLE
  20
  The Preacher
  Brother Geremie Roux is a monk from the nearest
  monastery. Last year, the dean invited him to preach in the
  cathedral for Lent. He was already known as an exceptional
  preacher, but he earned a reputation as a firebrand because
  of those Lenten sermons. He ranted against the worldly, cor-
  rupt Church; the rich; and the powerful – a great success
  with the populace.
  The dean and Father Julien would like to invite him
  again, defying the archdeacon, who loathed those preach-
  ings. However, giving this man a bully pulpit means playing
  with fire. Last year, Brother Geremie’s vague but ominous
  prophecies came to nothing. Should some disaster happen
  after one of those, there could be rioting in the streets.
  CHAPTER THREE
  NOTABLE
  PEOPLE
  
  Luc is turning 13. He knows he’s going to
  lose his heavenly voice, the music, and the
  gifts. Becoming a priest would be his next
  best option, but he’ll need a sponsor.
  RENIER SACRESTE
  Renier’s father was the first sexton of St.
  George’s, and their family name refers to
  their occupation. Renier followed his father’s
  footsteps. He knows the building like the
  back of his hand, including the secret cham-
  ber. Little happens here that he’s not aware
  of. He’s a strong, pragmatic man who loves
  the cathedral in a no-nonsense way – mend-
  ing the roof comes before posh celebrations.
  As the sacristan, he defers to the priests
  but without being servile. He knows most
  churchgoers. He’s on good terms with the
  bishop’s guards, and he calls upon them
  when smelling serious trouble. However,
  he deals on his own with drunkards and
  rowdy youngsters. He carries his heavy
  keys on an iron ring.
  JEHANNE
  Jehanne is an old, pious widow who seems never to miss a
  service and prays frequently at other times. She’s nearly a fixture
  of the Virgin’s Chapel, and when she kneels there in her black
  clothing, her presence can easily be missed. She insists on con-
  fessing every day; her main fault is being a gossipy busybody.
  GAUTIER THE STONE CARVER
  It breaks Gautier’s heart to see the cathedral in disrepair.
  Yet, the dean hasn’t hired other workers aside from him and
  his apprentice, who carry out minor repairs. Gautier has been
  working here for years, but now he’s mostly concerned with
  preventing further damage in the tower, although he’s aware
  he’s no master builder. He’s typically found in the tower area.
  A coarse, broad-shouldered commoner, Gautier believes
  that if Aloysius were to run things, he’d manage to raise the
  money that the building’s repairs need. He always carries a
  mallet and chisel, though he’s no fighter.
  HERVÉ THE BISHOP’S
  GUARDSMAN
  Hervé Guiclan is the leader of the detail of the cathedral. He’s
  not above exacting “fines,” especially from hawkers, harlots, and
  foreigners stumbling into his turf, but he’s softer than he sounds.
  He has not fought in years, and he’s quick to identify men he
  doesn’t want to argue with. Hervé is in love with Perrette
  Benison (below), who has rebuffed him.
  Hervé takes orders from the archdeacon, not the dean, and
  the guardsmen step in the church only rarely. They lazily
  stroll around the building or the parvis. He and his subordi-
  nates normally carry batons and knives. When expecting a
  riot, they don padded gambesons made of cloth armor and
  switch to shortswords.
  PERRETTE BENISON
  This young, stout vendor manages her ailing father’s stall,
  which specializes in snack food. Notwithstanding her age and
  sex, thanks to her wit and will, she’s the leader of the few ped-
  dlers authorized to keep their stalls on the parvis. She drives
  hard bargains with the dean, but she gets along well with Father
  Julien. She’s willing to sell information or assist with meetings
  for a fee, if it doesn’t harm her source of income: the cathedral.
  MONSIGNOR GIOVANNI
  DANDOLO, THE ARCHDEACON
  A plump, clever Venetian schemer, the bishop’s right-hand
  man resents not having actual jurisdiction in the cathedral (see
  The Power Brokers, pp. 6-7). He mainly comes to the cathedral
  in order to represent the bishop during important celebrations.
  When he needs to discuss with the dean one of the controver-
  sies arising because of the byzantine administrative arrange-
  ment of the diocese, he annoys Father Thibault by summoning
  him to the bishop’s palace.
  Dandolo does not seem to have weaknesses – at least, not
  now. But who knows if there aren’t skeletons in some long-for-
  gotten closet, back in Venice?
  GODEFROY, VISCOUNT
  DE SAINT-JULES
  The most powerful of this region’s noblemen, the viscount is
  famously pig-headed. He readily takes offense at the subtlest
  slight by upstart commoners. He lives in a countryside manor
  complete with a chapel, but he also owns a townhouse not far
  from the cathedral. When he’s in the city, he makes a point of vis-
  iting the Nobles’ Chapel to verify that the nobility’s privileges are
  not challenged. A man of action, he doesn’t think much of priests
  and religion, unless they serve to support the established order.
  NOTABLE PEOPLE
  21
  Everybody Goes to Church
  In the Middle Ages, not going to mass brings about a bad Reputation,
  and eventually the attention of the Church, unless the person is wealthy
  enough to have a private family chapel. Therefore, the cathedral is where
  recluses can be met, and sheltered damsels can be eyed (though approach-
  ing them is another story; they’ll be accompanied by relatives, or a chap-
  eron and a maid). Most of the strangers and visiting dignitaries who
  happen to be in town will go to mass here. The cathedral and the parvis are
  good places to address hard-to-reach personalities, too; a nobleman would
  look bad if he ignored a plea from a woman kneeling in front of him.
  People who shouldn’t be seen together can exchange a few words when
  meeting at the cathedral gates. Those who would be at each other’s throat
  anywhere else may choose the cathedral as neutral ground, where violence
  is off limits (or should be; the ruthless have the advantage of surprise).
  Tokens or messages can be left in prearranged “dead drop” locations within
  this large building.
  While most of the city guilds meet in their halls, a tavern, or the city hall,
  some of them gather in St. George’s cathedral. They make donations and
  take care of their patron saint’s altar. For instance, the masons meet near
  St. Stephen’s Altar (p. 10).
  
  “This can’t be serious!” sputtered the dean, putting down the
  parchment.
  The archdeacon’s clerk sighed. “There’s the seal, Father.”
  “A synod! The bishop’s away! How can he summon an
  assembly of the diocesan clergy? Here in the cathedral! Disrupt-
  ing the liturgies. And think of the expense!”
  The clerk frowned. “Yes. But don’t you rather wonder what the
  bishop wants a synod for?”
  Many activities take place in and around the cathedral.
  They can turn profitable, exciting, bizarre, or violent.
  ADVENTURES
  22
  Any adventure in the Middle Ages should not underestimate
  the power of the Church. Committing crimes, such as theft or
  violence, in the cathedral is a sacrilege. The civil powers will
  support the Church by prosecuting such crimes with particu-
  lar harshness; excommunication (see p. B155) is likely. Addi-
  tionally, parishioners are expected to attend mass (see p. 21)
  and tithe regularly!
  RITES AND CELEBRATIONS
  On important festivities, the masses can be splendid, long-
  drawn affairs. Exceptional events may turn into celebrations
  that last for days – for instance, when the crown prince mar-
  ries the daughter of a local, powerful nobleman. These rites
  can become the opportunity for many to strike gold. Church
  dignitaries try to outshine their rivals through precedence,
  noblemen coming from everywhere, and local social climbers
  show off. The pickpockets have a field day. Meanwhile, the
  parvis is where “miracle” plays and other entertainment are
  staged. All those efforts may interfere with each other, mostly
  within this one building. This is a perfect backdrop for a
  GURPS Social Engineering adventure.
  IN TIMES OF TURMOIL
  It’s the end of the siege – one of those times when the citi-
  zens flock to the church for protection. The building becomes
  an emergency shelter. Hopefully, the sacking (“havoc”) will
  only last a day or two, then the conquerors will re-establish
  order. Holding the cathedral’s gates against the plunderers for
  that short time may save the people inside from robbery, rape,
  and death. Most of the attackers are drunk and they might be
  diverted toward easier targets, but the cathedral’s renown for
  its reliquaries is a drawback now.
  If the threat is a pestilence, crowded places are a bad idea,
  but people will gather here anyway, for funerals if nothing else.
  St. George’s being one of the strongest buildings in the city,
  floods or earthquakes can turn it into a shelter. With its stone
  walls and metal roofing, it might be one of the few buildings to
  survive a citywide fire. Even so, wooden beams support the
  roof. These are safe from wind-carried embers, but not from
  arson (see The Roof, p. 14).
  Whatever the disaster, the refugees must be organized,
  food and water stored and rationed, and the wounded or ill
  tended to. Leaders emerge (and clash), as do naysayers, and
  maybe enemies.
  WEALTH CALLS THIEVES
  The treasures found in the cathedral (see Relics
  and Treasure, p. 12) can attract thieves. However,
  this month nothing less than a bone of St. Avitus
  stops here, on its way to the capital, and it’s said to
  be encased in a golden, gem-studded miniature tem-
  ple. Church officials, nobles, and knights, who all
  are concerned with its security, escort it. However,
  the local clergy insist that Christians have to be
  allowed to pray before it. At night, it will be secured
  in the crypt, or so they say.
  Adventurers may be thieves, or additional, pos-
  sibly “unconventional” security. They could be
  envoys of the parish that originally owned this
  relic, which was taken from them as war booty.
  Ludus Draconis
  On January 13, at dusk, the “Play of the Dragon” takes place on
  the parvis. Squires and young noblemen, toting wooden swords,
  stage a mock fight against street performers, especially fire-eaters.
  These are dressed up as scaly, green dragons. Unlike similar events
  elsewhere, the staged combat doesn’t end with the beasts’ defeat; the
  onlookers start throwing snowballs (or mud) at both parties, until a
  canon gives a token to the fire-eaters, who disappear to the north.
  The lower the status of the throwers, the more they seem to
  target the “knights.” Even if this is a mock fight, bruises and
  burns are common.
  Years ago, the bishop considered forbidding this, officially
  because of the disorderliness of it all; the dean advised against it.
  See also Here Be Dragons, p. 26.
  MEDIEVAL AND FANTASY IDEAS
  CHAPTER FOUR
  ADVENTURES
  
  As strangers in town, they might want to recruit local talents
  and buy themselves an insider.
  POLITICS, RELIGION, MAGIC
  The delicate balance in the struggles centered on the cathe-
  dral (see The Power Brokers, pp. 6-7) ends when just one new
  factor is added: Father Thibault somehow came into posses-
  sion of a magical item, a Truthsayer (see p. B245) coronet.
  Now, every time a trial or a controversy occurs between pow-
  erful people, one party can challenge the other to undergo a
  “lie-detector test.” Nobody is forced to accept, but not accept-
  ing is tantamount to a confession. Moreover, the cathedral’s
  chapter charges a hefty sum for every use.
  Many wish the magical item would disappear. Some
  would like the thing to be outlawed as “black magic,” which
  would endanger the dean himself. An enchanter claims he
  can devise workarounds.
  Some say it’s a fraud. However, since the coronet’s effective-
  ness can be easily checked, what’s the purpose of these rumors
  about it being fake? Of course, if it disappeared, then it couldn’t
  be verified any more, and the rumors might cast a shadow on
  previous trials.
  Such a device might “work” in a nonmagical world, too. In
  this case, the coronet is believed to be a powerful relic that can
  bring woe unto anybody who lies while wearing it.
  SAINTHOOD
  A paralytic woman now walks, and she says one of the
  canons healed her. She doesn’t say which one, for some reason.
  (Doesn’t she want to? Can’t she? Doesn’t she know?) Some claim
  he’s the popular Father Julien, which he vehemently denies.
  Despite protestations, cripples wait for him every day, and many
  call him a saint. Offers are on the rise, and the masses are
  crowded. If asked about the miracle worker, Father Aloysius
  shrugs, and hints Julien was away on that day. The dean says
  St. George is to be thanked, not a priest. The archdeacon has
  shown an annoying interest in the issue. Other parish priests
  have begun complaining, and the civil authorities are concerned
  about the crowds: Last Sunday, a girl was trampled to death out-
  side the cathedral. Some awakened force may be at work in the
  building, but it’s a mixed blessing.
  What if it’s all a fraud? Or just an unexplainable, yet nat-
  ural event? If magic works, it could have been a magical
  healing disguised as a miracle, a deception that’s anathema
  to the Church.
  MARTYRDOM
  Masked rascals killed one of the canons, Father Florent,
  before the main altar. It’s stuff for martyrdom tales, and his
  bloodied vestments are now exposed in the cathedral (and they
  might contain clues). He was the youngest and meekest canon
  in the cathedral, an unlikely target. Father Aloysius is promot-
  ing the victim’s status as a martyr, and claiming that heretics
  murdered him – which might spark off a witch-hunt.
  Keen observers might have noticed that Florent resembled
  Julien. The younger priest is growing very outspoken in crit-
  icizing corrupt authorities for “taking advantage of the
  widow and the fatherless.”
  Maybe Florent was the intended target. He was from a noble
  family, so maybe this was just revenge. He was also known to
  be friends with disreputable youths. Had he heard too much,
  perhaps in confession? Do those young men dabble with pre-
  Christian secrets, maybe hidden in the cathedral itself?
  SANCTUARY
  A young minstrel, Gilles Vaudin, barely made it to the
  cathedral’s gates, with the retainers of the Viscount de Saint-
  Jules on his heels. He supposedly had raped the viscount’s wife
  and killed her maid. The bishop’s guardsmen had to scuffle
  with his pursuers to grant the minstrel his right – sanctuary in
  the Church’s embrace.
  A week later, the viscount’s men besiege St. George’s cathe-
  dral; they may not get in to slaughter Gilles, but he won’t get
  out. Nor does the viscount allow, as usual, the fugitive to move
  to a monastery, or to the bishop’s palace. Recently, he has
  ordered a blockade of food supplies.
  ADVENTURES
  23
  The Truth of a Matter
  The city council is infamous for embezzlement. Even-
  tually, somebody will challenge a councilor to wear the
  Truthsayer coronet. Maybe the allegations come from
  the cathedral’s priests themselves!
  Part of the sexton’s job is to chase stray dogs out of the
  church. However, it is perfectly normal for the wealthy and
  powerful to bring in small pets (including falcons); if they
  are well behaved, nobody will complain.
  Riding into the church is forbidden, not so much for the
  animal but because it would be a display of arrogance.
  Nonetheless, it’s worth noting that the main gates are tall
  enough to do that. An unusual mounted-combat scene could
  easily take place in the building, but hooves at high speed
  don’t do well with stone floors (the GM may exact a penalty).
  Watch out for the pillars when turning around!
  The aisles’ garrets are home to bats, and the nave’s
  attic and the open areas of the towers to pigeons. Drop-
  pings can give -1 to Climbing or DX rolls, can be a prob-
  lem for Mysophobic persons (see p. B149), and can
  actually be a source of disease (see p. B442). If looking for
  recent tracks, they give +2 to Tracking. Neither pigeons
  nor bats are a direct threat to humans, unless somebody
  can control them. There can be 1d+1 swarms per location
  at any given time.
  Rats might appear, if summoned, in the underground
  parts of the building (up to 3d swarms per summoning).
  God’s Creatures
  
  For once, the archdeacon and the dean agree – they
  both want the Church’s prerogatives confirmed. Monsignor
  Dandolo, however, isn’t anxious to help the cathedral in its
  predicament (the minstrel sleeps in the vestry!), while Father
  Thibault wouldn’t mind if the fugitive slipped away. The king’s
  bailiff wants a regular civil trial, a loathsome idea for the vis-
  count. The nobleman, meanwhile, is entertaining the idea of
  treachery; he’s considering pretending to guarantee safe pas-
  sage to a monastery, then strike.
  The city’s commoners are happy to see the arrogant vis-
  count stalemated. Moreover, according to rumors, the young
  man is innocent (but if so, what really happened, and who
  killed the maid?). Some councilors would like those rumors
  to be confirmed.
  STONE PREDATORS
  On nights of the full moon, no one travels the city’s streets,
  lest his body is found at dawn – on a roof. Rumor suggests that
  it’s the cathedral’s gargoyles: They come alive, and hungry.
  Indeed, the latest victim was found with a broken blade in his
  hand. When Gautier checked the sculptures, he found one of
  them chipped.
  Maybe it’s a serial killer, who chooses his victims at random
  (or does he? Isn’t there something linking them all?) and who
  likes to put the blame on those old statues. Might he be a were-
  wolf? Or maybe somebody can use magic to give life to sculp-
  tures. What if they had been alive once, then they were turned
  into stone, and now they can break free, if only once a month?
  THE BISHOP’S HOME!
  After staying away for so long, he’ll be here for Christmas.
  Things will change, in the city and in the cathedral. Everyone
  is polishing the feathers in their caps, and moving the skele-
  tons from the closet to the ossuary. Father Thibault seems wor-
  ried about the bookkeeping. Hervé has cut down on graft.
  Father Aloysius is working on a plea for extraordinary funding,
  so that the fallen spire can be repaired, and he’s looking for
  support. However, the archdeacon is the most troubled.
  ADVENTURES
  24
  In medieval times, the chapter of the cathedral follows
  the liturgy of the hours, every day. The rites include psalm
  singing, scripture reading, and prayers. Those that occur in
  the cathedral take place as follows.
  Matins: Visitors not familiar with medieval Christian
  traditions will be surprised when at 3:00 a.m. the vestry’s
  outer door is opened, and the sleepy, candle-holding
  priests reach the choir (or the winter choir) for the first of
  the days services.
  Lauds: At dawn, the sexton opens the secondary gates;
  the cathedral remains open until Vespers. Choirboys and
  some laypersons also attend this morning rite.
  Other Daily Services: At 6:00 a.m. (Prime), 9:00 a.m.
  (Tierce), noon (Sext), and 3:00 p.m. (Nones), the Chapter
  gathers again.
  Vespers: At 6:00 p.m. or dusk, another service attended
  by parishioners is celebrated. After Vespers, the sexton
  closes the cathedral.
  Chapter discipline has grown lax, and several canons
  seek dispensations or simply skip some services, espe-
  cially Matins.
  Main Holy Days
  In the Middle Ages, dozens of holy days were cele-
  brated. The most important ones to this cathedral are
  Easter (the first Sunday after the full moon following the
  spring equinox), the Feast of St. George (April 23), Pente-
  cost (seven weeks after Easter), Christmas (December 25),
  and All Hallows (November 1). On the eve of Easter and
  Christmas, important services are held at night. See Ludus
  Draconis (p. 22) for a peculiar tradition.
  A Time for Prayer
  MODERN IDEAS
  The Church’s direct power has waned, but not its influence.
  Public bodies, such as the Department for Cultural Heritage,
  are, or should be, interested in the cathedral as a monument,
  but funding is more difficult than ever. The building remains
  the venue for many social activities. The personnel has been
  downsized, especially the priests. See also Today (p. 26).
  PUBLIC EVENTS
  The cathedral is mostly empty on ordinary masses. Aloysius
  wants to foster the building’s prominence in the city’s life as a
  venue for lay events: concerts and conferences. A famous
  orchestra will play this evening, and the church is in chaos.
  The Stradivarius violin, worth a fortune, needs to be kept
  safe in the vestry. The orchestra’s manager is quarrelling with
  Aloysius about logistics. The soloist complains about the tem-
  perature. Thibault has second thoughts about it all. Worse, a
  cold snap is expected, and Julien might ruin everything by
  admitting homeless people tonight!
  AN X MARKS THE SPOT
  St. George’s is nearly an empty shell. Artworks have been
  stolen or moved to museums; shabby copies remain. The parish-
  ioners are few and old, and the diocese can’t afford the repairs.
  
  They’re considering a sale of the building. However, tales
  describe a church treasure that was buried long ago, as well as
  a secret chamber. The sexton’s father, before dying, provided a
  tantalizing clue.
  This is a classic treasure hunt, from the dusty records in the
  vestry, to clues chiseled in the belfry’s stones, ending with
  crowbars – against the wishes of the dean and therefore in
  secret. Maybe the treasure isn’t buried, but hidden under the
  roof. Several groups may be competing: professional treasure
  hunters hired by the archdeacon, parishioners wanting to save
  their church, and outright thieves.
  Why is the dean so opposed? Does he fear that digging in
  the crypt might be dangerous?
  ST. GEORGE’S HUNTERS
  An order of knightly hunters kept the threat of monsters in
  check through the centuries. Now, many of their secrets have
  been lost, and the worst is yet to come. This church was one
  of the order’s strongholds, and its imagery contain a series of
  clues to the solution – rebuilding St. George’s lance, the only
  weapon against ultimate evil. A piece of that is in the cathe-
  dral in the secret room, but the rest may be spread across
  Europe. The protagonists are outsiders who learn of the
  impending apocalypse and want to pick that tradition up,
  since the order is now defunct.
  Or so they think. If they are wrong, some powerful secret
  players are likely to see them as clumsy trespassers.
  For the opposite view, maybe the monsters would be happy
  to just mind their own business, were it not for these fanatic
  zealots. Those zealots are gathering again, right here, to start a
  new crusade. The monsters won’t tolerate it this time, and the
  hunters might become the hunted.
  NEGOTIATIONS
  Certain supernatural beings cannot violate hallowed
  ground by committing violence there. This makes an anciently
  consecrated church the ideal place for dangerous negotiations.
  Other entities might be unable to enter such a place, so the
  meeting might take place at the gates, with the weaker party
  inside. (Then the problem becomes how to leave without being
  ambushed in the vicinity.)
  A devilish ploy could be to gain control of the clergy and
  have the building deconsecrated (see Repurposed, p. 26), in
  secret, before the meeting.
  CORRUPTION
  The cathedral isn’t consecrated. It has always been a demon-
  worshippers’ den hiding in the most unlikely place. Doing evil is
  so much funnier when the good are your unwitting tools!
  Unskilled spectators to ceremonial magic, if opposed to the cast-
  ing, can ruin it (see p. B238); but who says they have been told
  the truth about the casting’s purpose? The coven has an outer
  layer of misguided youths. They think they’re doing something
  cool, secretly meeting for chanting, inhaling substances, and
  fraternizing, down in the crypt at night. Actually, they are help-
  ing the cultists to transform important citizens into mindless
  puppets, and this is just the beginning.
  BLACK IS BACK
  The archaeologists who opened the ossuary knew it con-
  tained the remains of victims of the Black Death. What they
  didn’t anticipate is that the old enemy, Yersinia pestis, could be
  dormant down there. Worse, nobody expected this strain
  would be resistant to antibiotics.
  The plague is spreading fast, and citizens living near the
  cathedral are already dying. (Anyone still alive is desperate
  enough to be a danger to himself and others.) A team of scien-
  tists, archaeologists, and soldiers, clad in biohazard suits, is on
  a mission to look again into that bone pit. They must find bio-
  logical material belonging to people who died at that time, but
  not of the plague. The faint hope is to find natural immunity,
  and to develop a vaccine from it, before civilization collapses.
  ADVENTURES
  25
  The cathedral has been around for centuries, undergoing
  many transformations. It may change significantly in nonhis-
  torical game worlds.
  A MUNDANE BUILDING
  In the Middle Ages, the faith is strong, the Church is power-
  ful, and everybody may try to make use of this building for their
  own earthly purposes. If there are secrets, they are worldly.
  WHEN MAGIC WORKS
  Even in settings where some Church orders accept Magery
  (as in the GURPS Banestorm setting), this cathedral’s chapter is
  very conservative, and none of its priests have such questionable
  powers. Nonetheless, they rely on a few magical items. Father
  Aloysius uses a Magelock key to secure the doors, when he
  doesn’t forget to. The saints’ relics, and maybe the bishops’ bod-
  ies, are safeguarded against necromantic desecration. The crypt
  is Scrywalled – which raises the question of what would any-
  body want to hide there, and whether the priests know about it.
  The bishop is more flexible. One of the priests in the archdea-
  con’s service knows a few basic spells. Hervé the Guardsman
  was hired in the first place because he’s resistant to magic.
  If clerical magic works separately, then maybe this place
  has a high sanctity level for Christian holy casters. If it features
  high sanctity for some other god, then that’s a warning that
  something is greatly amiss. For more about sanctity and the
  effect a consecrated building may have on magic, see GURPS
  Thaumatology (p. 126).
  LENSES
  One piece of artwork shows
  a man and a serpent-man,
  shaking hands.
  
  A PLACE OF POWER
  In some settings, only ceremonial magic works, or it’s the
  most potent. On these worlds, the cathedral is a place of
  power, where such magic works best. In fact, the site was
  picked because it had been a pagan temple, which in turn had
  been constructed on a barbaric place of worship.
  This power can be neutral, usable for whatever purposes.
  The crypt might be an intersection of “ley lines,” a source of
  untapped cosmic strength.
  Alternatively, this is a bad place (and perceived as such by
  those who can). Mana may be death-aspected, at least in the
  ossuary. Under a veneer of conventional Christianity, some-
  thing evil lurks. It might be dormant – for now. The GM could
  emphasize the atmosphere to have it in tune with the actual
  effects. For instance, the Hell imagery in the artworks is unset-
  tling, and unexplainable chilling drafts blow out of terribly
  dark corners. The eccentricities of the notable people may be
  played up to the verge of derangement. Their descriptions
  might not tell the whole story. Aloysius is remarkably disagree-
  able, yet he might be the one potential ally. Julien might be
  always away because he instinctively avoids the building. A
  seemingly secondary person such as the sexton might be a
  secret leader. As to Thibault, why does he spend so much time
  in the crypt? Is he fighting something? Or, worse, yielding to it?
  HERE BE DRAGONS
  The knight-vs.-dragon theme might just be a peculiar local
  tradition. It might be a symbolic device representing social
  strife. Maybe there’s something worse. A folklore remem-
  brance of a time when other beings walked this region? A
  demon-worshipping cult? Transdimensional entities? Actual
  high-fantasy dragons and their minions? Reptile men? Aliens?
  TODAY
  A modern campaign may have the cathedral as a mundane
  building or not, but in both cases, technology has come. Electric
  lighting takes a stab at pushing darkness to the remotest corners,
  but the cathedral’s system is notoriously unreliable. Electric
  alarms are on the outer doors, and proximity detectors were set
  around important artworks. (For these electronic security meas-
  ures, see GURPS High-Tech, p. 206). The city has set up security
  cameras trained on the porches, to prevent vandalism.
  The heating system is a recent addition. The underground
  boiler room is accessed only from the outside through a man-
  hole (DR 25, HP 40, -5 to Lockpicking). The boiler is tempera-
  mental. The church is dotted with air vents (DR 1, HP 5), but
  nothing bigger than a cat could go through these openings, and
  the piping is inside the walls.
  Sturdy, high-backed pews were introduced in the 18th cen-
  tury. Each is five yards long (250 lbs., DR 2, HP 52). Given their
  placement, it’s likely that anybody taking cover will benefit
  from the DR of several of them, in case of a shootout. Flimsy
  folding chairs (10 lbs., DR 1, HP 9) are in the aisles. The main
  altar (160 lbs., DR 1, HP 45) is a questionable modern wooden
  artwork, placed in the chancel, three yards to the east of the
  ambones. Wooden structures were added inside the commonly
  used gates, to serve as double doors (DR 1, HP 40). A modern
  harmonium was put in the chancel, to the right (30 lbs., DR 1,
  HP 12). A baroque organ loft had been built, but it fell down in
  a fire in 1823.
  In the vestry, the walls have been lined with wooden cabi-
  nets (bolted in place, DR 1, HP 40 each), replacing the chests.
  They are filled with vestments, hymnals, and other supplies, all
  very combustible. There is a fire extinguisher.
  The two confessionals in the aisles are classic, if obvious,
  hiding places. They are delicately carved (320 lbs., DR 1, HP
  54). The nearest restrooms, available to the congregation, are
  in another building altogether, the community center in the
  bishop’s palace.
  DESPOILED
  After a war or revolution, the cathedral is still here, but in
  bad shape. Anything that could be carried away is no longer
  around. This may include even the bulkiest artworks; sacred
  symbols may have been defaced. Even the remains of
  entombed bishops may have been dragged out and
  mutilated, just out of spite.
  Furniture was used as firewood, possibly on the
  spot. Depending on the battle, the structure may have
  suffered additional damage: The stones may be pock-
  marked by gunfire, and most of the windowpanes
  may be gone.
  If there were rumors about treasures, the floors
  have been damaged, but that doesn’t mean anything was
  found. The GM must decide whether the secret room remains a
  secret, and what the priests have hidden in there before the
  occupation. Likewise, the priests may have had advanced warn-
  ing of the attack, permitting them to hide artwork in plain sight.
  Add-on daubery may cover priceless paintings, and ugly plaster
  statues may have been cast over marble sculptures.
  REPURPOSED
  The cathedral has been deconsecrated; it is no longer a hal-
  lowed place of worship. Probably, it doesn’t belong to the
  Church any more. A benevolent new owner may have taken
  into account its history and value, turning it into a museum,
  library, or conference center. Others may want to debase it and
  what it stood for, and turn it into a barracks, stable, granary,
  warehouse, prison, or asylum. Artworks, treasures, church fur-
  niture, and records are no longer here – but do the new own-
  ers know about the secret room?
  ADVENTURES
  26
  Where Christ erecteth his church,
  the divell in the same church-yarde will
  have his chappell.
  – Archbishop Richard Bancroft
  Maps for Players
  The maps on pp. 27-29 were specifically designed for adventures
  that need to keep secret certain parts of the cathedral. The maps on
  pp. 7, 14, 18, and 19 do not need modification for use.
  
  ADVENTURES
  27
  MAP OF THE GROUND FLOOR
  Key
  1. Apse
  1a. Sarcophagus
  2. Choir
  2a. Bishop’s Cathedra
  2b. High Altar
  2c. Dean’s Chair
  2d. Lectern
  2e. Stalls
  3. Chancel
  3a. Ambo
  3b. Balustrade
  3c. Ambo
  4. Vestry
  4a. Aumbry
  4b. Brazier
  4c. Chests
  4d. Chest
  5. Winter Choir
  5a. Lectern
  5b. Brazier
  5c. Stalls
  6. Nobles’ Chapel
  6a. Altar
  6b. Stalls
  6c. Railing
  7. Virgin’s Chapel
  7a. Altar
  8. North Porch
  9. North Transept
  9a. Stoup
  10. South Transept
  10a. Stoup
  11. St. Stephen’s Chapel
  11a. Altar
  12. South Porch
  13. North Aisle
  13a. Bench
  13b. Side Altar
  14. South Aisle
  14a. Bench
  14b. Side Altar
  15. Nave
  15a. Baptismal Font
  15b. Stoup
  16. Building Yard
  16a. Lodge
  16b. Fence
  16c. Rubble
  17. North Tower
  17a. Stoup
  17b. Up to Tower
  17c. Tools
  18. South Tower
  18a. Stoup
  18b. Up to Tower
  1
  1A
  2A
  2B
  2C
  2E
  2
  A B
  C
  4
  D
  UP TO
  VESTRY
  5
  6
  6A
  6B
  6C
  7
  7A
  3
  3A
  3C
  3B
  DOWN TO
  CRYPT
  UP TO
  PORCH
  8
  9
  9A
  UP TO
  GALLERY
  UP TO
  CHANCEL
  10
  10A
  UP TO
  GALLERY
  11
  12
  UP TO
  PORCH
  UP TO
  PORCH
  15
  13A
  13B
  13A
  14A
  14A
  13B
  14B
  14B
  16
  17
  19
  18
  20
  15A
  15B
  16A
  16B
  16C
  UP TO
  NORTH
  GATE
  UP TO
  SOUTH
  GATE
  B
  A
  A
  C
  B
  21
  A
  2D
  13
  14
  N
  0
  8
  yards
  B
  A
  C
  19. West Porch
  20. Parvis
  21. Vendor Booths
  
  ADVENTURES
  28
  MAP OF THE CRYPT
  Key
  1. Old Church
  1a. Altar
  1b. Relic Aumbry
  1c. Baptismal Font
  2. Bishops’ Burial Chamber
  2a. Niches
  3. Ossuary
  3a. Tombstone
  1
  1A
  1B
  2
  A
  UP TO NORTH
  TRANSEPT
  1C
  3
  A
  N
  0
  5
  yards
  
  ADVENTURES
  29
  MAP OF THE GALLERY, THE FAÇADE BALCONY,
  AND THE GARRETS
  Key
  1. Garret
  2. North Transept (below)
  3. South Transept (below)
  4. North Gallery
  5. Nave (below)
  6. South Gallery
  7. Boards, Logs, and Ropes
  8. North Tower
  9. Balcony
  10. South Tower
  1
  1
  1
  1
  2
  3
  Down to
  Transept
  1
  1
  4
  5
  6
  7
  8
  Down to
  Transept
  Up to
  Landing/Down
  to Ground Floor
  Up to
  Landing/Down
  to Ground Floor
  9
  10
  Beam
  N
  0
  8
  yards
  
  Books about the Church in the Middle Ages could easily fill
  several libraries, with large sections dedicated to Gothic cathe-
  drals. The selection of non-fiction books will be enough to
  introduce the way of thinking of the people who designed,
  built, paid for, maintained, and used these monuments. The
  fictional works were chosen for flavor and visual impact.
  Finally, the best way to get to know a building remains to step
  in. The fictional church of St. George is a composition of ideas
  drawn from architectural parts that do exist in the real world,
  in the cathedrals listed on p. 31.
  NONFICTION BOOKS
  Bony, Jean. French Gothic Architecture of the 12th and 13th
  Centuries (University of California Press, 1983). Specifically
  about Gothic construction.
  Duby, Georges (Eleanor Levieux and Barbara Thompson,
  translators). The Age of the Cathedrals. Art and Society, 980-1420
  (University of Chicago Press, 1981). If you can only buy one
  book, this is the one.
  Gies, Frances and Gies, Joseph. Life in a Medieval City
  (HarperCollins, 1981). The daily life in Troyes. Compelling and
  succinct.
  Gimpel, Jean (Teresa Waugh, translator). The Cathedral
  Builders (Grove, 1983). Focusing on architects, builders,
  masons, and their craftsmanship and methods.
  Le Goff, Jacques (Arthur Goldhammer, translator). The
  Medieval Imagination (University of Chicago Press, 1988). For
  the life of the mind of the medieval man (and woman), includ-
  ing church symbolism.
  Macaulay, David. Cathedral: The Story of Its Construction
  (Houghton Mifflin, 1973). Because it’s for kids, it has simple
  language, clear drawings, and curious details.
  Marchi, Cesare. Grandi peccatori, grandi cattedrali (Rizzoli,
  1987). Society, religion, and colorful anecdotes about 15 great
  cathedrals and the great sinners that built them.
  Pirenne, Henri. Economic and Social History of Medieval
  Europe (Mariner Books, 1956). The classic summary of the
  rebirth of cities and commerce.
  Prache, Anne. Cathedrals of Europe (Cornell University
  Press, 2000). If a picture is worth a thousand words, how much
  are a thousand photos? A lot, so borrow this from your library.
  Southern, Richard William. Western Society and the Church
  in the Middle Ages (Penguin, 1990). A good one-stop resource
  for the interaction between the Church as a worldly body and
  the rest of the world in the Middle Ages.
  FICTION BOOKS
  Cornwell, Bernard. Harlequin (HarperCollins, 2000; also
  titled The Archer’s Tale), Vagabond (HarperCollins, 2002), and
  Heretic (HarperCollins, 2003). The trilogy dwells on medieval
  warfare (and overstates the case for the longbow). It’s
  priceless for the medieval mindset, and there’s a holy
  quest, too.
  Crichton, Michael. Timeline (Knopf, 1999).
  Highly cinematic treatment based on solid knowl-
  edge; action scene in a chapel attic.
  Eco, Umberto (William Weaver, translator). The
  Name of the Rose (Harvest Books, 1994). Outside the
  church is a monastery, not a city. The church comes
  with unsettling artworks, power struggles, and a
  secret passage.
  Eliot, T.S. Murder in the Cathedral (Mariner
  Books, 1964). A short play about the conflict
  between temporal and spiritual power; also useful
  for the behavior of clergy in the face of sacrilegious
  violence.
  Falcones, Ildefonso (Nick Caistor, translator).
  Cathedral of the Sea (Dutton, 2008). The building of a
  cathedral is linked with the rise of a new city-dwelling
  social class, and with melodrama.
  INSPIRATIONAL RESOURCES
  30
  APPENDIX
  INSPIRATIONAL
  RESOURCES
  
  Follett, Ken. The Pillars of the Earth (Morrow, 1989). Human
  motives, social change, political strife, economy, nature, art, and
  technology all interact with the works for the cathedral.
  Follett, Ken. World Without End (Dutton, 2007). Two cen-
  turies later, the church is sur-
  rounded by a city, and by a
  tangle of rivalries and intrigue.
  Hugo, Victor (Walter J. Cobb,
  translator). The Hunchback of
  Notre Dame (Signet Classics,
  2010). A recent edition of the
  classic description of unusual
  action in all corners of a cathe-
  dral. The theme of sanctuary is
  mentioned as well.
  Peters, Ellis (a.k.a. Pargeter,
  Edith). A Morbid Taste for Bones
  (MacMillan, 1977). This is the
  first in a series of 20 books.
  Although the central character,
  Brother Cadfael, perhaps thinks
  too much like us, all facets of the
  Middle Ages are explored in these
  monastery-based “medieval who-
  dunnits.”
  FILMOGRAPHY
  Batman (Tim Burton, 1989).
  Final confrontation in a neo-
  Gothic belfry where bells and
  gargoyles are manmade hazards.
  Highlander (Russell Mulcahy,
  1986). In this movie, very special characters may enter a conse-
  crated building, but not commit violence in it.
  In Bruges (Martin McDonagh, 2008). A modern murder in a
  church.
  Kingdom of Heaven (Ridley Scott, 2005). Religion, power,
  responsibility, leadership, honor, and mass combat, in a
  medieval package.
  Omen, The (Richard Donner, 1976). Grisly scenes in several
  churches.
  Van Helsing (Stephen Sommers, 2004). Destructive combat
  scenes in Notre Dame de Paris.
  Television
  Cadfael (Sebastian Graham-Jones, 1994-1998). Thirteen of
  this medieval sleuth’s mysteries.
  Pillars of the Earth, The (Sergio Mimica-Gezzan, 2010).
  Mostly what you find in Ken
  Follett’s books, but the visual
  impact helps.
  SITEGRAPHY
  Mapping Gothic France (Stephen
  Murray
  and
  Andrew
  Tallon),
  mappinggothicfrance.org. This
  project,
  established
  by
  Vassar
  College and Columbia University,
  is priceless not just for the history
  of French Gothic cathedrals, but
  also for the 360° panorama views it
  offers. You can get the feeling of
  really being there.
  Actual Sites
  These locations were used as
  inspiration during the design of St.
  George’s Cathedral.
  Basilica Patriarcale di Santa
  Maria Assunta, Aquileia, Italy. For
  the crypt.
  Cathedral of Saint Mary (for-
  merly Cathedral Church of the
  Blessed Virgin Mary), Salisbury,
  England. For the bell tower and roof areas.
  Cathédrale Notre-Dame de Chartres, Chartres, France. For
  the porches, sculptures, windows, and nave floor maze.
  Cathédrale Notre-Dame de Paris, Paris, France. For the
  facade balcony and the choir area.
  Domkirche Sankt Stephan, Vienna, Austria. For the second-
  ary areas.
  Iglesia Catedral de la Asunción de Nuestra Señora, Valencia,
  Spain. For the transept.
  Kathedrale Sankt Peter, Regensburg, Germany. For the apse
  and winter choir.
  INSPIRATIONAL RESOURCES
  31
  But it seemed as though each Christian community
  was aiming to surpass all the others in the splendour of
  construction. It was as if the whole world were shaking
  itself free, shrugging off the past and cladding itself
  everywhere in a white mantle of churches.
  – Rodulfus Glaber, monk and chronicler
  
  Adventure ideas, campaign uses,
  4; medieval and fantasy,
  22-24; modern, 24-25.
  Aloysius, Father, 6, 20.
  Animals, 23.
  Archdeacon, 4; current, 6.
  Artworks, 10.
  Bailiff, 4; current, 7.
  Bats, 23.
  Benison, Perrette, 21.
  Bibliography, 30-31.
  Birds, 23.
  Bishop, current, 6.
  Breviary, 11.
  Building yard, 5, 8, 15.
  Campaigns, uses in, 4.
  Cathedral, aisles, 4, 8, 15; apse,
  4, 10, 15; attending mass,
  21; attic, 14, 19; belfry,
  13-14, 19; bishop’s burial
  chamber, 11, 16; breaking
  and entering, 9; building
  materials, 9; burial in, 7,
  11-12; chancel, 4, 9, 15;
  chapels, 7, 10, 15; choirs,
  9-11, 15; cross-section map,
  14; crypt, 11-12, 16; façade
  balcony, 13, 17; gallery, 13,
  17; garrets, 13, 17; ground
  floor, 8-11, 15; history, 5;
  lenses, 25-26; main choir,
  9-10, 15; maps, 7, 14-19;
  modern additions, 26; nave,
  4, 8, 15; old church, 11, 16;
  ossuary, 4, 12, 16; parvis, 4,
  8, 15; porches, 8, 15;
  relationship with city, 6-7;
  riding into, 23; roof, 14, 18,
  23; secret room, 12, 16;
  towers, 13, 15, 17-19;
  transept, 4, 10, 15; upper
  levels, 13-14, 17-19; vestry,
  11, 15; winter choir, 11, 15.
  Chapter, of the cathedral, 4, 6.
  City council, 6, 7.
  City, 6-7; map of, 7.
  Climbing, 9.
  Confraternity of the Fabric, 5, 6.
  d’Auvers, Thibault, 6, 20.
  Dandolo, Giovanni, 6, 21.
  de la Motte, Guillaume, 7.
  d’Evreux, Jacob, 6.
  de Saint-Jules, Viscount, 6.
  Dead-drop delivery system, 10,
  21.
  Dean, 4; current, 6, 20.
  Dogs, 23.
  Donations, 7.
  Entertainers, 8.
  Gargoyles, 8; adventure, 24.
  Gautier the Stone Carver, 21.
  Glossary, 4.
  Godefroy, Viscount, 6, 7, 21;
  adventure, 23-24.
  Guardsmen, 6, 21.
  Guilds, 6, 7.
  GURPS Banestorm, 4, 25;
  High-Tech, 26; Low-Tech,
  5, 9, 11, 12; Social
  Engineering, 22;
  Thaumatology, 25.
  Hagiographies, 4, 12.
  Hervé the Guardsman, 21.
  Holy days, 24.
  Horses, 23.
  Hours of the day, 24.
  Jehanne, 21.
  Julien, Father, 20.
  L’Erbiere, Ermenjart, 8.
  Labyrinth, 9.
  Leblanc, Armand, 6.
  Liturgy of the hours, 24.
  Locks, standard building, 9;
  special building, 11.
  Lockpicking skill, 9
  Luc (choirboy), 20-21.
  Ludus Draconis, 22.
  Magic, 26; adventure, 23.
  Marcel, Brother, 12.
  Merchants, 6, 8.
  Nobility, 6, 7, 21; pets and, 23.
  Nobles’ Chapel, 7, 10.
  Peddlers, 8.
  Pets, 23.
  Pigeons, 23.
  Play of the Dragon, 22.
  Rats, 23.
  Relics, 4, 10; adventure, 22-23;
  forbidden, 12; in cathedral,
  11, 12; magic and, 25.
  Roux, Geremie, 20.
  Sacreste, Renier, 21.
  Scriptures, 11.
  Sexton, 4, 23; current, 6, 21.
  Sitegraphy, 31.
  St. George’s Hunters, 25.
  St. George’s lance, 12.
  St. Stephen’s Altar, 10.
  Statues, notable, 8-10, 13;
  hidden, 13.
  Table, building materials, 9.
  Tithes, 4, 12, 22.
  Treasure, 12; see also Relics.
  Vincent the Deacon, 20.
  Virgin Mary’s Chapel, 10, 21.
  Viscount de Saint-Jules, see
  Godefroy.
  Windowpanes, 9.
  INDEX
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SOURCE: textdata/thevault/GURPS [multi]/4th edition/GURPS 4e - Locations - St. George's Cathedral .pdf