1

The Rule of the Game

2
Preamble......................................................................................................... 10
The Mask ........................................................................................................ 12
How to play in a Campaign? ............................................................................................... 13
The Sword ...................................................................................................... 15
An era of conspiracy ........................................................................................................... 16
Mysteries and Secret Tradition ........................................................................................... 16
Master Yannis and Monsieur Jean ...................................................................................... 16
"Better the villain, better the movie." - Alfred Hitchcock .................................................. 17
Historical, Fairy, and Fantastic! How is it possible? .......................................................... 17
Character ....................................................................................................... 19
The Use of Dice .................................................................................................................. 19
Gaming Materials................................................................................................................ 19
Social Background .............................................................................................................. 20
Geographical Origin............................................................................................................ 20
French Provinces ................................................................................................................................... 22
Regions of Europe .................................................................................................................................. 22

Attributes ....................................................................................................... 27
Archetype ....................................................................................................... 29
Saltimbanque, Juggler, Acrobat............................................................................................................. 30
Monk ...................................................................................................................................................... 30
Courtesan, Courtesan ............................................................................................................................ 30
Noble of the Sword, Gentleman ............................................................................................................. 30
Priest ...................................................................................................................................................... 30
Actor, Peddler ........................................................................................................................................ 30
Merchant, Artisan .................................................................................................................................. 30
French Guard, Musketeer ...................................................................................................................... 30
Scholar ................................................................................................................................................... 31
Sailor...................................................................................................................................................... 31
Officer, Civil Servant ............................................................................................................................. 31
Thief, Gentleman of Fortune .................................................................................................................. 31
Soldier .................................................................................................................................................... 31
Servant, Valet, Lackey............................................................................................................................ 31
Gypsy, Witch, Wizard, Astrologer .......................................................................................................... 31
Worker, Farmer, Artisan ........................................................................................................................ 32
Dilettante Bourgeois .............................................................................................................................. 32
Artist ...................................................................................................................................................... 32
Courtier.................................................................................................................................................. 32
Bourgeois, businessman ......................................................................................................................... 32
Freethinker, pamphleteer ....................................................................................................................... 32

3
 Vagabond ............................................................................................................................................... 32
The Dragonnades ................................................................................................................ 32
Abilities Value ................................................................................................ 34
Physical.................................................................................................................................................. 34
Combat ................................................................................................................................................... 34
Technical Skill........................................................................................................................................ 34
Studies .................................................................................................................................................... 34
Communication ...................................................................................................................................... 34
Cleverness .............................................................................................................................................. 34
Creativity ............................................................................................................................................... 34

General Traits ................................................................................................ 37

Reputation ........................................................................................................................... 37
Permanent Effects of Reputation............................................................................................................ 37
Cost of Reputation Actions..................................................................................................................... 39
Gain of Reputation ................................................................................................................................. 40
Loss of Reputation ................................................................................................................................. 40
The Prodigies ...................................................................................................................... 41
Effect of Prodigy on Skills...................................................................................................................... 41
Relationships ....................................................................................................................... 43
Permanent Effects of Relationships ....................................................................................................... 43
Cost of Relationship Actions .................................................................................................................. 44

Experience Points (XP) ................................................................................. 45

How to Allocate Experience Points? .................................................................................. 45
Benefiting from Stroke of Luck .......................................................................................... 45
Earnings ......................................................................................................... 46
Permanent Effects of Earnings............................................................................................ 46
Earnings according to Social Origin .................................................................................. 46
Standard of living .......................................................................................... 46
Living above your Lifestyle ................................................................................................ 46
Talents ............................................................................................................ 47
Skills ................................................................................................................ 51
Campaign Play .................................................................................................................... 52
Unskilled Skills ................................................................................................................... 52
The Man or Woman of the Renaissance ............................................................................. 53
Example ................................................................................................................................................. 53
Skills acquired by archetype ............................................................................................... 54
List of the most common skills ........................................................................................... 55
PHYSICAL ............................................................................................................................................. 55

4
 TECHNICAL SKILLS............................................................................................................................. 56
STUDIES................................................................................................................................................ 56
............................................................................................................................................................... 57
COMMUNICATION .............................................................................................................................. 57
CUNNING .............................................................................................................................................. 58
CREATIVITY .......................................................................................................................................... 58
COMBAT ............................................................................................................................................... 59
Combat Techniques ............................................................................................................ 59
Combat Styles, Fencing Schools......................................................................................... 60
French Style ........................................................................................................................................... 60
Italian Style ............................................................................................................................................ 60
Spanish Style .......................................................................................................................................... 60
Street School .......................................................................................................................................... 60
Old School ............................................................................................................................................. 60
Handedness ............................................................................................................................................ 60
Mastery of Techniques ........................................................................................................ 60
 Brawl and Wrestling 1 tech. / 2 levels. ......................................................................................... 61
 Fencing 1 tech. / 2 levels............................................................................................................... 62
 Firearms 1 tech. / 2 levels  ........................................................................................................... 63
Protections........................................................................................................................... 63
 Medieval Fencing 1 tech. / 2 levels.  ............................................................................................. 64
 Throwing 1 tech. / 3 levels ............................................................................................................ 64
 Archery 1 tech. / 3 levels.  ............................................................................................................. 65
 Dodge 1 tech. / 2 levels.  ............................................................................................................... 65
Ressources........................................................................................................................... 66
Speed ................................................................................................................................... 67
Initiative .............................................................................................................................. 67
Faith .................................................................................................................................... 67
Fatigue................................................................................................................................. 68
Nerve ................................................................................................................................... 68
Location .............................................................................................................................. 69
Alea Cards ...................................................................................................... 70
The Number Series ................................................................................................................................. 71

Numbers and Figures .................................................................................... 72

 ---------- Wands ----------  ........................................................................................... 72
 ---------- Pentacles ----------  ....................................................................................... 75
 ---------- Sword ----------  ........................................................................................... 80
 ---------- Cups ----------  .............................................................................................. 84
Henri IV, the Last Knight King .......................................................................................... 88

5
 Special Case: Combinatorial Draws ................................................................................... 89
Playing with the Cards: Good Fortune.................................................................................................. 89

Reading the Arcana ....................................................................................... 90

Major Arcana ...................................................................................................................... 91
1/ The Magician ..................................................................................................................................... 91
2/ The High Priestess ............................................................................................................................. 91
3/ The Empress....................................................................................................................................... 92
4/ The Emperor ...................................................................................................................................... 92
5/ The Pope ............................................................................................................................................ 93
6/ The Lovers ......................................................................................................................................... 94
The Golden Apple .................................................................................................................................. 95
7/ The Chariot ........................................................................................................................................ 95
8/ The Justice ......................................................................................................................................... 96
8/ The Hermit ......................................................................................................................................... 96
9/ The Wheel of Fortune ........................................................................................................................ 97
10/ The Strength ..................................................................................................................................... 97
11/ The Hanged Man ............................................................................................................................. 98
13/ The Separation ................................................................................................................................. 99
14/ Temperance.................................................................................................................................... 100
15/ The Devil........................................................................................................................................ 100
16/ The House of God .......................................................................................................................... 101
17/ The Star.......................................................................................................................................... 102
18/ The Moon ....................................................................................................................................... 103
9/ The Sun ............................................................................................................................................ 104
20/ The Judgment ................................................................................................................................. 105
21/ The World ...................................................................................................................................... 106
22/ The Fool, the Madman ................................................................................................................... 106
On the Paths of War............................................................................................................................. 108

The Mechanics of the Game ....................................................................... 108

Resolving Actions ............................................................................................................. 109
Long Actions ........................................................................................................................................ 109
Action Scenes ....................................................................................................................................... 109
Initiative Roll ....................................................................................................................................... 109
Action: Success Test ......................................................................................................... 109
Horse Riding ........................................................................................................................................ 110
Cooking, Art, scientific research, comedy ........................................................................................... 110
Locksmithing ........................................................................................................................................ 110
Climbing .............................................................................................................................................. 110
Knowledge ........................................................................................................................................... 110
Agility ................................................................................................................................................... 110
Resourcefulness ................................................................................................................................... 110
Strength ................................................................................................................................................ 110

6
Bonuses and Penalties ....................................................................................................... 111
Opposition Action ................................................................................................................................ 111
The Case of Pursuits ......................................................................................................... 111
Results Based on Quality of Success .................................................................................................... 111
Managing Combat ............................................................................................................. 112
Skirmishes ............................................................................................................................................ 112
Delayed Action ..................................................................................................................................... 112
Counterattack....................................................................................................................................... 114
Horseback Combat .............................................................................................................................. 114
One Against Several Opponents .......................................................................................................... 114
The Holy League .................................................................................................................................. 114
The Mob ............................................................................................................................................... 114
These are always actions of medium difficulty. The mob can also pursue (see the pursuit chapter). .. 114
Its movement rate is then 4 or 5. .......................................................................................................... 114
The mob does not use combat techniques. ........................................................................................... 114
Brawling and Wrestling ....................................................................................................................... 115
Dodging ............................................................................................................................................... 115
Left Hand ............................................................................................................................................. 115
Secret Techniques ............................................................................................................. 116
Nevers Technique ................................................................................................................................. 116
Ranged Combat ................................................................................................................. 117
Distance/Difficulty Chart by Weapon Type ..................................................................... 117
Aiming and Wound Localization ...................................................................................... 118
Wounds (Injuries) ............................................................................................................. 118
Effects of Wounds and Fatigue ......................................................................................... 118
Death of a Character or an Important NPC ....................................................................... 119
Injuries from Ranged and Firearms .................................................................................. 119
Injury Table for Ranged and Firearms ................................................................................................ 120
Injury with a Melee Bladed Weapon .................................................................................................... 121
Brawling and Wrestling Injury Table ................................................................................................. 123
Protections ........................................................................................................................................... 124
Ritual, Magic, Witchcraft, and Other Mysteries… ........................................................... 125
Historical Context ................................................................................................................................ 125
Use of the "Faith" Resource ................................................................................................................ 125
Confrontation with a Supernatural Phenomenon Table .................................................... 126
Performing Magic ................................................................................................................................ 127
Combination of Skills ........................................................................................................................... 128
Magical Effects .................................................................................................................................... 128
Examples of rituals, spells, mystical research ..................................................................................... 129
Enchant or Exorcise ............................................................................................................................. 129

7
 Heal - Cure .......................................................................................................................................... 130
Escape Physical Constraints ................................................................................................................ 131
Predicting the Future ........................................................................................................................... 133
Combating Evil or Its Manifestations .................................................................................................. 135
Applications and Examples .................................................................................................................. 135
Alchemy's Magic .................................................................................................................................. 136
Astrology and Divination ..................................................................................................................... 136
The Mask, Attributes of the Hero or Villain ..................................................................... 138
Description of a Group at the Carnival ............................................................................................... 138
Romantic Setting .................................................................................................................................. 138
Mask : Specific Rules ........................................................................................................................... 139
Playing a Masked Character ............................................................................................................... 139
Masks of the Commedia dell’arte ........................................................................................................ 140
Other Masks ......................................................................................................................................... 141
Playing History ................................................................................................................. 141
The Company: A Team of Characters ...................................................... 142
Commedia dell'Mazorcco ................................................................................................. 142
Friends and Protectors of the Company .............................................................................................. 143
1601: The Vendetta of the Brighellas .............................................................................. 144
The Iconic Character of the Commedia del Marzocco ..................................................... 145
Some Characters of the Troupe......................................................................................... 146
Adventure Where You Are the Hero ........................................................ 155
The Saltimbanque and the Fool ........................................................................................ 155
Introduction Scenario ................................................................................. 215
The Story........................................................................................................................... 215
Plot Summary.................................................................................................................... 215
Foreword ........................................................................................................................... 215
A Florentine Swindle ........................................................................................................ 215
Prophecy and Lament of the Solitary Great Briton. ............................................................................ 216
The Good Neighbors ......................................................................................................... 216
The Chessboard Enters the Game ..................................................................................... 217
The Foundation of Western Secret Societies ........................................................................................ 218
Introductions and Stage Entries ........................................................................................ 220
Scene I: Welcome Ball. ........................................................................................................................ 220
Scene II: The Pheasant. ....................................................................................................................... 220
Scene III: A Golem in Paris ................................................................................................................. 221
Desecrations and undead at the Cemetery of the Holy Innocents........................................................ 221
Disappearances and attacks on notables in Paris. .............................................................................. 221
Scene IV: The Return of Ursulin .......................................................................................................... 222

8
 Scene V: The Satriani Family .............................................................................................................. 222
The Brotherhood of the Thistle ............................................................................................................ 228
The Teutonic Mercenaries ................................................................................................................... 229
Visited Locations, Maps, and Plans .................................................................................. 230
The Court of Swords ............................................................................................................................ 230

Chronology ................................................................................................... 235

Ageing of Characters ........................................................................................................ 237
Bibliography ..................................................................................................................... 237
Age-Related Attribute Malus Table .................................................................................. 238
Blank Character Sheet ................................................................................ 238
A Dedicated 2D Metaverse ............................................................................................... 240
Of the same author ............................................................................................................ 241

All rights reserved 2024 – ISBN 9798873627660

"The Intellectual Property Code prohibits copies or reproductions intended for collective use.
Any representation or complete or partial reproduction by any means, without the consent of the
author or his heirs or assigns, is unlawful and constitutes infringe-ment, under the terms of
articles L.335-2 and following of the Intellectual Property Code."

9

Preamble
It is the summer of 1600. A fierce storm
has just passed, causing the Seine to swell—
a serpent of water, swollen and bulging,
carrying countless debris in its twists and
turns. The last flash of the dark and
thunderous mass that is receding has outlined
an iridescent arc of immaculate whiteness
around the Tower of Nesle.
- A blessing for the people.
The man on a balcony takes the final puffs
of tobacco brought from the Americas,
especially for him.
- After this storm, we will be freed for a
few hours from the oppressive odors and
noxious airs produced by the most populous
capital in Europe.
Minister Maximilien de Béthune, the
future Duke of Sully, taps the stone
balustrade with the bowl of his Indian clay
pipe. He has been leaning since the last drops
that continue to bead are no longer those
falling from the sky, but those still rolling on
the exterior moldings and decorations. The
sky fades, and its darkness pales.
He rubs his neck and stretches, as if
preparing to go to the fencing hall. All stiff,
he reflects on the past hours spent recounting
everything. He cleans his pipe, and once
satisfied with the fate he has bestowed upon
the blackish residues disappearing into a
gutter, he puts it back in his pocket. A
woman's silhouette seemed to him to float
between two planks in the chaos of filth
carried by the river under his windows. He
returns to his thoughts and considers the
sorry state of the Kingdom's finances after
three decades of religious wars. He wished
for the king a marriage of wealth and
naturally directed his search towards the
wealthy city of Florence.
king. The statesman does not yet know that
she will give an heir to the throne of France
on September 27, 1601, in the person of the
future Louis XIII.
Before going out onto the balcony to
breathe the fresh air and enjoy the calm after
the squalls, he handed a letter to his
secretary. A devoted, diligent, attentive man
in all respects. And an honest man, which
surprised Maximilien, who thought this
value present only in the Huguenot
profession of faith or Chivalry. Jean, that's
his name, has a discreet livery, a solid body,
and a balding forehead. He recently entered
the minister's service. The superintendent of
finances wonders about this man he
appreciates, especially regarding whether he
is his elder or roughly the same age as him?
These considerations are interrupted
when he is announced the arrival of Mr.
Laffemas, with whom he has a meeting for a
report on Silk culture and manufacturing.
Then he will prepare for his trip to Savoy.
Before returning to his spartan office for his
own convenience but luxurious for guests, he
contemplates the Seine one last time. A
bizarre idea suddenly stamps his memory:
The woman... I could have sworn... she
had a fish tail.

The new bride, Marie de Medici, is the

daughter of the Grand Duke of Tuscany. She
is 25 years old, 22 years younger than the

10
 As it is necessary to proceed quickly
before the Pope objects to this remarriage,
the union will be celebrated by proxy on May
5, 1600, in Florence, where Henri IV will be
represented by his grand squire, the Duke of
Bellegarde. Marie de Medici will embark in
November for Marseille and will meet her
royal husband on December 4 in Lyon. The
union will be solemnized by a mass
celebrated in the Cathedral of Saint John on
December 16 by the Pope's legate, Cardinal
Aldobrandini. The dowry amounts to
600,000 ecus. The bride is rather beautiful
but reportedly vindictive, haughty, and
foolish, also very superstitious. As much as
the King appears neglectful towards her, the
Italians, part of the two thousand people she
will take with her, will say he is lascivious.
The festivities in the Phocaean City are
perceived as rushed, failing to rival the
splendor and prodigality of the celebrations
in Tuscany. Especially since the king gets
involved in a skirmish between lackeys and
soldiers at the end of the Pope's procession,
which does not improve matters. This
Florentine Court is composed of individuals
of all professions and backgrounds: nobles,
soldiers, religious, servants, artists,
adventurers...
Among them is the master of a troupe of
acrobats: Yannis. He is a young man, tall,
athletic, with thick curly blond hair and a
watery gaze. He is economical with words
and has a gentle voice. A respected Apollo
among his fellow travelers, equally talented
in acrobatics, juggling, and storytelling. The
future queen adores actors, and she will not
part with this profession in her entourage
throughout her reign.
Yannis is an idealist. He comes to Paris
not to conquer fame and fortune, not for love,
but out of a desire to pursue his profession:
to communicate to people the desire for truth
and justice, liberated through the actor's
performance. He is a soulful avenger. And he
11
shares this passion with an old friend he must
meet soon.
It is at this precise moment of the arrival
of the Florentine Court in Paris that the
Adventure of the Mask and the Sword
begins. It will last almost two centuries and
involve or concern dozens of famous or
unknown characters who will have played
their roles in the history of France.
This is a war between two antagonistic
forces, the reasons for the confrontation lost
in the depths of ages. But a very real war,
made up of victories, heroic acts, and
bravery, but also of tricks, defeats, and
betrayals.
At this stage, to understand the stakes of
this fantastic challenge, you have only one
choice:
- Do you want to become the Mask, that
is, the game leader, and make players live
adventures in the context that has just
been described?
You must give up a precious thing.
Innocence. The Arcana and mysteries of the
backdrop of the Mask and the Sword
universe will be revealed to you. From now
on, pages of this book are exclusively
reserved for you (spoiler) marked at the top
right with this logo:
Go to page 11.
- Do you want to embody a character
and evolve in this France with uncertain
borders, still weighed down by the wars of
faith but full of promises of glory and
discoveries?
You must know the rules of the game, the
resources, mechanisms, and possibilities of
actions. Choose an origin, an Archetype, and
an occupation.
Go to page 17.
1 2 4 6 1

The Mask
The origin of the Mask is lost in the twists
and turns of ancient history. No one knows
exactly when, who, or where.
Perhaps on the occasion of a cruel
injustice? The first written trace of the Mask
is found in Greece. A text ignored by
historians narrates the story of Yannis, a
young Athenian actor who made it his duty
to expose the misconduct of senators and the
antidemocratic manipulations of the most
powerful.
In the morning, taking advantage of the
growing commotion, he perched on the roofs
of temples. With his face covered by a
theater mask, sometimes tragic, sometimes
comic, he addressed the passersby crowding
the squares and markets. Elusive, he even
went so far as to steal from wealthy
merchants to allow debt-bound slaves to
redeem their citizenship. He targeted
manipulating priests and false philosophers
with equal pleasure.
The unknown author suggests that
different people could hide behind this mask.
A group of men and even women gathered to
embody this avenging hero in turns. Quickly,
more and more Athenians awaited the
appearances of the Mask, which gained in
popularity.
From a mere troublemaker, he quickly
became a real threat to the wealthy
merchants and priests who flouted the laws
of the young republic or worse, bent them to
their will.
They gathered to organize a relentless
hunt. Buying the services of disguised
Libyan mercenaries, they pursued anyone
suspected of having a conflict with the Mask.
They even massacred the actors of the
theaters in the surrounding temples who, it is
true, were members of the Mask for a good
part. Athens experienced several nights of
terror. No one dared to come to the aid of the
victims.
12
The citizens, accomplices of the killers,
perhaps paralyzed by fear in the face of the
violence of the attacks, or simply cowardly
and passive, did not move. After a final night
of manhunt, a cloak of shame fell over
Athens and its inhabitants.
No one dared to speak publicly for almost
a lunar month. Then, slowly, the Athenians
decided to erase this event from their
memory. Life resumed, and the Mask was no
longer talked about.
But fortunately, not all members of the
Mask were killed. A handful of them,
including Yannis, managed to flee the cradle
of democracy to reach the port of Piraeus.
From there, they took a boat that took them
to Rome. On the way, they swore to continue
their fight and to pass on the torch of the
quest for truth and justice. However, they
agreed to change their method and never
expose themselves publicly again. They
would continue to wear a Mask, but
shadows, night, and secrecy would now
surround their actions. The "Fraternity of the
Mask" was born.
Coming from the world of arts and the
stage, they easily joined a troupe of actors
tasked with animating the life of temples and
encouraging the faith of believers to collect
more offerings for the gods. This is how they
discovered a strange practice. Inside a
temple dedicated to the god Mars, they
witnessed, amazed, a ritual combat between
two naked men, wearing only a few pieces of
armor on their arms and legs.
These individuals clashed with swords,
eliciting cheers of joy from the faithful with
every wound they inflicted upon themselves.
These fighters deployed astonishing
techniques to prolong the confrontations and
deliver a spectacle worthy of divine
expectations. In a few years, these ritualistic
battles became very popular and multiplied.
Deaths were rare.
The fervor in combat was applauded more
than lethal efficiency.
 Yannis was fascinated by these men and
managed to forge a friendship with one of
them. Lustinus, that was his name, began to
impart his knowledge to Yannis. However,
as the weight of the years began to be felt,
Yannis proved to be a poor student.
Nevertheless, the teaching was not one-
sided, and Yannis, in turn, transmitted the
values of democracy, truth, justice, and
equality that inspired him.
Lustinus soon became a member of the
Fraternity, bringing the strength of his sword
to the small re-emerging group. Thus, on
some nights, a few could glimpse a masked
warrior moving from roof to roof, sword in
hand. In the morning, sometimes a senator
would be found tied in a public square. His
correspondence, displayed for all to see
beside him, revealing his misconduct and
betrayals.
The Fraternity of the Mask survived in
Rome for two centuries, and then its
members soon dispersed throughout the
entire Roman Empire until the 4th century.
They established a base led by a
Prytanis in every major city—
Alexandria, Narbonne, Massilia,
Lugdunum, Lutetia, Londinium,
etc. Prytanis is the term that
designated magistrates responsible
for coordinating life in the city in
Athens.
In memory of Yannis, all the Prytanes,
equal among themselves, decided to bear his
name. But over time, this name evolved and
took the form adapted to the spoken
language in each region to become Yannick,
Yan, Hans, Jean, John, Juan, Giovanni, etc.
In each city, the Prytanes were tasked
with gathering a small group of trustworthy
men and women, animated by the same
ideals of justice and equality, but equally
effective, relentless, and discreet.
The Middle Ages were a difficult period.
Wars, crusades, plagues, and famines, as
well as the excesses of the clergy and
religious intolerance, nearly toppled the
13
Mask again. But with the Italian
Renaissance, a slight breeze of progress
swept across Europe, and it was also a rebirth
for the Fraternity. Its members mingled with
remarkable scholars, philosophers, artists,
authors, actors who invented the Commedia
dell'arte, and master swordsmen who
perfected the art of wielding new, finer, and
more manageable swords.
A master armorer from Toledo provided
his "brothers" of the Mask with marvelous
blades. Unfortunately, the Spanish
Inquisition discovered its existence and
overcame the Mask in Toledo, then in
Madrid, finally in Barcelona, launching
a hunt as deadly as it was discreet across
Europe. Thus, becoming the first
adversary of the Fraternity, the entire
Inquisition agents deployed throughout
Europe were designated under the name
of the Brotherhood of the Sword.
How to play in a Campaign?
A campaign is a series of scenarios with a
common thread. Two perspectives seem
interesting to play. One about a character's
life, i.e., a few decades. The other, more
ambitious, from 1600 to the dawn of the
French Revolution. This implies several
generations of characters, who will succeed
each other within the framework of a filial
dynasty or another nature. The Mask as a
secret organization is the most obvious. The
question of passing the torch between each
generation will arise.
2 3 5 1 2
 It may even happen that a player is called
upon to take on the role of Master Yannis or
Master Jean.

The plot we propose allows playing all

character profiles; regardless of the era, 17th
or 18th century. The basics we provide
correspond to the state of the game universe
in 1600. Playing successively under Henri
IV, Louis XIII, Louis XIV, or even Louis
XVI will require adapting certain game
parameters: the gradual disappearance of the
sword nobility, the rise of the bourgeoisie,
corporations, and usurers.

Under Henri IV, military bodies are

almost non-existent; under Louis XIV, there
are garrisons in almost every city in the
Kingdom. A courtier is more interesting to
play under Louis XIV than under Henri IV.

Every decade that passes, regardless of

the monarch, you will have no difficulty
defining the evolution of the cost of living: it
increases all the time! And this continues
until the French Revolution. It begins with
the Paulette, introduced by Sully, and every
Minister who will succeed will face the ire of
all components of the people on this matter.
The War must be financed to expand our
borders...
The ideal is to play a situational scene,
with a group-involving combat, after a
collective session of character creation. This
will be your first session, the group's bond.
The Aleas card drawing system for character
creation should help generate common
personal stories between characters before
the game begins.
In the Kingdom of France and
Navarre, the Brotherhood of the
Sword firmly established itself at the
dawn of the 17th century with its
arrival at the court of Marie de
Medici in Paris. Several of its high-
ranking agents took positions within
the Queen's entourage. This branch
of the Brotherhood then adopted the
name 'The Chessboard,' as the
chosen sign of recognition among its
members was the reproduction of a
chess piece on the pommel of a
fencing weapon. This name was also
fitting because the leaders of that
time were in pursuit of a chess set
that once belonged to the son of
Héloïse and Abélard. Possession of
all the original pieces, scattered over
the centuries, would supposedly
provide the key to access a treasure.

14

The Sword
The Brotherhood of the Sword certainly
emerged under the impetus of Bernardo Gui
in 1310 in Toulouse. It first distinguished
itself in the pursuit of the Cathars. It is
probably around the same time that the
Inquisition discovered the first signs of the
existence of the Mask, some of whose
members had joined the communities. The
doctrine of this faith seemed compatible with
the principles of the Fraternity. However, the
Sword took time to truly perceive the nature
and designs of the Mask.
After the eradication of the "Good Men"
and "Good Women," the Brotherhood
focused its action on the lands of Spain and
strengthened further under the leadership of
Tomas Torquemada in his persecution of the
Jews. In Toledo, they plundered several
Jewish or supposed families of their
belongings in the name of the Church and the
Crown. The Marquis de Marambroz, leading
these actions, thus appropriated a colossal
fortune. One January night in 1515, a
masked man infiltrated his residence and
reached the Marquis's chamber. Under the
threat of a magnificently crafted rapier, the
latter was forced to write the written
confession of his misdeeds and malpractices.
Carrying the document, the masked man
disappeared into the night.
The confession reached the "Most
Catholic King," who only rebuked the chief
general of the Brotherhood for allowing
himself to be caught thus, at night. The
humiliated Marquis de Marambroz, but
whose power remained intact, immediately
set out to find the rapier and the man who
wore it at his side. He found him in Toledo
in the person of "Señor Juan," a master
armorer who, captured after many
adventures, eventually died under torture.
Not without revealing to him the existence of
the Fraternity of the Mask.
By cross-referencing this information
with those recorded in the Brotherhood's
archives, he concluded that this Fraternity of
15
the Mask constituted a real threat and had to
be annihilated.
The clues at his disposal led him to
France. Unfortunately, a recently crowned
young Warrior King fiercely guarded his
borders and even tended to extend them. His
name was François I, and he undertook the
unification of his kingdom, establishing
strict control over borders and foreign
nationals.
This new political situation severely
limited the action possibilities that the
Brotherhood usually had. Especially since it
quickly seemed evident that the Mask had
penetrated the inner circle of this young king
with humanistic inclinations. From then on,
the Brotherhood of the Sword set itself a dual
ambition: destabilize France and flush out
the members of the Mask.
After the death of François I, and with the
succession and religious wars they
ideologically, financially, and militarily
fueled for more than fifty years, they were on
the verge of success. Unfortunately for the
generals of the Sword, and against all
expectations, the small King of Navarre set
out to reconquer his kingdom by waging a
merciless war against the Catholic League
supported by Spain.
Despite the fortunes spent, the Sword
could not weaken him. Soon, it turned out
that support was reaching King Henri from
Italy, where some were plotting for the
Medicis to accept funding his war against the
promise of a new marriage and the
renunciation of his Protestant faith. The
Sword thus gained certainty that the Mask
was also present in Italy and in the entourage
of the new King Henri IV of France.
It was then decided to concentrate the
efforts of the Brotherhood on the
establishment of a scattered network of spies
in European capitals and in the proximity of
centers of power. The hunt continued. More
discreet than ever.
 An era of conspiracy
French society is violently unequal. The
last jealousies of a dying feudalism and a
royal power that is beginning to reach its
peak make France a respected but still
suffering nation from numerous calamities.
The vast majority of its population is in
profound misery. The Sword is behind
almost all conspiracies.
Mysteries and Secret Tradition
The Mask ostensibly respects all beliefs,
but its ideal has often led it to take an interest
in sorcery and to combat the Inquisition or
fanatics of all kinds. The Mask's natural
inclination for secrecy, coupled with its
obsession with discovering the truth, has
allowed members of the Fraternity to
develop certain affinities with the world of
mysteries and hidden knowledge. From
hunting "monsters" to defending a witch and
revealing deceptions, members of the Mask
have often faced incredible situations and
strange phenomena. Fraternity members are
free to believe what they want but are
obligated to remain a living question mark,
whatever happens. This spiritual stance leads
them towards a form of curious and
constructive skepticism, a mysticism of
reason that makes them interested in
religion, magic, science, and what some call
the forces of the mind.
Master Yannis and Monsieur
Jean
The Mask in France has mainly
developed in Paris, but its members find
bases or friends in all major cities. They are
only a large brotherly handful of men and
women from all walks of life, bound by their
secret ideal. In Paris, with the advent of
Henri IV, Monsieur Jean has managed to
integrate into the spheres of power. A
zealous secretary with multiple skills and
unwavering discretion, he has gained the
trust of the ministers and close advisers of
the King. His simple, fashion-resistant
16
clothes, humble attitude, small stature, and
slight baldness make him someone the
powerful do not notice. This gift of
invisibility allows him to be everywhere, in
all circles, in all discussions. And even if he
were to be noticed, Monsieur Jean, due to his
multiple functions, always has a good reason
to be there. Monsieur Jean is therefore aware
of almost everything. Every year, Monsieur
Jean awaits the arrival of Master Yannis in
Paris. The latter is the leader of a small
traveling commedia dell'arte theater touring
Europe to perform unpretentious plays in
which truth always triumphs, and justice is
always restored. But enlightened spectators
learn much more because they know that it is
through these plays that Master Yannis
transmits news and maintains the connection
between members of the Fraternity. During
the decade of peace during Henri's reign,
Monsieur Jean, with the tacit approval of
Sully, established a system of training and
recruiting small officials. This system would
ensure a minimum survival of the state
despite the troubles and potential changes of
government that one might fear.
Thus, Monsieur Jean also works very
ardently on his succession. The ethics of the
Fraternity forbid Monsieur Jean from
choosing members of his own descendants or
family to succeed him. They, in fact, remain
completely unaware of the existence of the
Mask. So, at the beginning of this century, in
the service of Queen Marie de Medici, there
is a young clerk baptized Jean, as
insignificant as he is helpful. Master Yannis
is also training his successor. Traveling
through major capitals, he has recruited a
small troupe composed of the best actors and
performers. Among them, he will find the
heir to the Tradition of the Mask.
Both of them avoid acting directly. Most
of those who serve the cause of the Mask are
unaware of it. This is also the case for the
majority of members of Master Yannis'
troupe. Sometimes, among those chosen to
triumph for truth and justice, some stand out
for their discretion, skill, intelligence, and
honesty. They are then contacted for other
missions and tested until they are offered to
join the Fraternity. Thus, Monsieur Jean and
Master Yannis will traverse this century and
the next, giving the impression to a few very
attentive observers of being immortal.
"Better the villain, better the
movie." - Alfred Hitchcock
Once you have set the general
background, the local context of your
Campaign, and your group of characters has
sufficient cohesion to form a Company, that
is, a group of individuals able to agree on
objectives based on common values, you
will need to forge Adversaries to match
them. Non-player characters who have their
own logic and objectives and are not always
antagonists. In a context of struggle between
secret organizations, always plan for three
levels of adversaries in your scenarios: the
henchmen, the "lieutenants," their direct
leaders, and one or more villains who are
their superiors and act in the shadows, as
much as possible.
The Capitan, french movie
17
Historical, Fairy, and Fantastic!
How is it possible?
We wanted to offer a game on a historical
basis because simulating a historical
universe starts with knowing its history. It is
always a pleasure to start writing a scenario
around a situation, with intuition and
documentary research, realizing that there is
sometimes no need to look far to find
references that fit perfectly with the plot that
will be proposed to the players. In this
matter, Wikipedia is our friend! We also
wanted to avoid going overboard with
special effects that would have eventually
led us into alternate history. That's why the
dramatic line of the Mask and the Sword is
made of a subtle relationship between a
historical context that holds up to a rupture
that confronts the characters with doubt,
myths, but above all, their own beliefs. A
chapter will be dedicated to explaining the
rule created to play this. But the principle to
remember is that in most scenarios, different
myths will be staged, but at the end of the
adventure, everyone can make their own
interpretation of what they experienced. For
example, if a werewolf hunt is organized in
the open countryside, and at the end, the
"beast" is shot, a rationalist will gather all the
clues to prove the "hoax." A superstitious
person will do everything to obtain silver
weapons. Thus, Fairy will provoke pleasant
experiences, and the Fantastic atmosphere
will confront the group with supernatural
monsters or perils.
Blank character sheet available for download : 18
PDF https://ouvaton.link/xsuRpq– ODT https://ouvaton.link/N8FBX4

Character
In this section, you will discover how to
create a character, what resources and
components allow them to act.
The character we have chosen as an
example on the left page will accompany you
throughout these pages. At the end of these
explanations, they will embark on an
adventure presented to you in the form of a
"choose-your-own-adventure" book.
This same story will then be developed in
a section dedicated to the Masque, allowing
you to bring it to life for a group of players.
The Use of Dice
Now you need to equip yourself with
rudimentary but essential gaming materials:
a copy of a blank character sheet found at the
end of the book in the game aids, a twenty-
sided die (d20), and four six-sided dice (d6).
The writing convention to indicate how
many dice to roll for a result is abbreviated
as follows:
1d20 and 3d6 mean rolling a twenty-sided
die and three six-sided dice successively.
Three, being a multiplier in 3d6, requires
adding the result of each d6, for example,
2+6+4 = 12.
For example, 1d20 yields a single result
on a die roll, ranging from 1 to 20.
You can also use the book you have in
your hands by referring to the bottom of odd-
numbered pages to read the result of one or
more dice rolls as needed. Quickly scroll
through the bottom of the right-hand corner
of the book and stop randomly to read the
result.
The triangle represents the result of the
twenty-sided die, and the four cubes
represent the results of the d6.
19
For example:
If I have to roll 1d20 and 3d6
successively, one page is enough for me.
Following the example above, the result
would be 19 for the twenty-sided die and 12
(4+6+2) for the three six-sided dice.
In the case where I have to roll 2 times
1d20 and 2d6, then 1d6, I take the d20 result
from one page, then the result from another
page, and on the same page, I read the first
three results of the d6, then the fourth, and I
have all the results I needed to achieve.
To get a result from 1 to 100 with a
twenty-sided die (d20), in other words, to
make a percentage roll, you need to roll it
once and read the units, from 0 to 9, to
determine the tens. Then roll it again to
determine the units. For example, a first
result of 19 gives 9 tens. A second result of
9 gives 9 units. Then add the units to the tens,
giving a result of 99. To get a result of 100,
you need to roll 0 for the tens and 0 for the
units. This type of roll will help you
determine the geographical origin of your
character.
Gaming Materials
A table screen to shelter the scenario and
its illustrations, as well as dice rolls
discreetly, is useful for the Masque. The
group can also use a large-format 3D map of
Paris; created in situ by Mérian or Visscher,
free of rights and accessible online.
A wipeable board and a few figurines
enhance the situations but are not essential.
However, provisions and drinks are a must!
If only to evoke the cuisine of the
Musketeers!
5 6 2 4 5
 Social Background Geographical Origin
During the period in which we play, the The geographical origin of your character
main determinant of the character you are should help you imagine their life context
going to create is their social background. before entering the game. Have they
However, we will consider that many events traveled? Why? Are there places that suit
may have occurred between their birth and them more than others? This chapter should
their entry into the game. The social clarify this aspect of their life before the
background that you will determine through game.
one or more dice rolls thus represents more
the social position that your parents or The map on the next page should help you
guardians occupied throughout your envision where your character has lived so
childhood. See page 31 for the nobility of the far, on both a small and large scale. Several
robe, the court (courtier), and the sword. pivotal years are mentioned. They allow you
to see that at the time, the concept of a state
1d20 Social Rank and Origin does not yet have a systemic value, and
1-2 Beggar borders do not yet constitute physical
realities, except in treaties.
Worker
3–6
Servant Most scenarios we have played in Masque
Peasant
and Sword are set in Paris and its
Farmer
7-10 surroundings. So, we have focused the
Artisan
following table on this gaming proposal, but
Lower feel free to change the origin balance of your
11 - 13
Middle Class group of characters. Why not create a group
Bourgeois of Bretons? Or Picards heading to Flanders?
Upper
14 - 15 It all depends on the local and historical
Middle Class
context you can bring. In this regard, the
16-18 1- 12 : Wikipedia free encyclopedia has been very
Nobility of the useful. Just by searching for the name of the
then Robe province where your character is from, the
roll dedicated article can provide you with
13- 20 :
the gaming or interpretative ideas based on a
Nobility of the
die Nobility name or place, which in turn may lead to
Sword
others through further research. Roll 1d20
Nobility of individually or for all if you decide to have
19-20 the same origin.
the Court
1-8 Ile de France - Paris
The player who will embody the 9-16 French Provinces
character rolls a 2 on the table. Therefore, 17-18 Other European Lands
the character was born into the lowest 19 East Indies - Asia
social stratum, among the Beggars, 20 West Indies - Americas
specifically in the Peasant category. She
notes "Peasant - Beggar" in the Origin Being from Île de France grants the skill
box, under the coat of arms at the top left Resourcefulness at level 4. From the East
of the character sheet. She starts Indies, it provides the talent Open Sea at
envisioning what he could be and decides level 3. From the West Indies, the skills
that she will play a young girl. She Whip or Lasso or Bolas at level 6 (Agi).
chooses a name for her character,
"Flavia," and writes it at the top of the
character sheet.

20
 French provinces at the beginning of the 17th
century and main sites of military engagement:

Frecnh victories
French defeats

Starting from a result of 17, your flank. It will begin to expand within its
character is automatically a foreigner. This is current boundaries during the reign of Louis
different from characters from the provinces XIV.
table below.

Early 17th-century Europe cannot be

envisioned like contemporary Europe.
France is missing its entire Northeastern

21
 It is, moreover, this monarch who will Result of the d100: 51. Flavia hails
inaugurate the first accurate mapping of his from the Canton of Basel in present-day
kingdom, thus introducing Europe to a Switzerland. The player notes this in the
concept that did not exist until then: the Relations section of the character sheet.
notion of borders. This transformation will She crosses the Alps to reach Paris with
continue until the end of the 18th century. her three uncles. Hired by a diplomatic
officer, they are mercenaries and join
French Provinces the Swiss Guard attached to the House
of the King.
0-5 Picardie
6-10 Flandres Artois
The Swiss Cantons have been added to
11-15 Champagne
the list of Provinces, even though they are
16-20 Bourgogne not part of the Kingdom of France, due to
21-22 Nivernais their proximity and because the natives
22-23 Berry speak, among other languages, French. From
24-25 Orléanais 91, "French from" indicates that the
26-27 Maine character was born abroad but is originally
28-32 Normandie from the Kingdom of France.
33-37 Bretagne
38-39 Anjou Regions of Europe
40-41 Touraine
42-43 Poitou 1-3 Pays Bas
43-44 Marche 4-6 Rep. of the United
45-46 Bourbonnais Provinces
47-48 Lyonnais 7-20 Holy Roman Empire
49-50 Bresse – Bugey 21-25 The Duchy of Savoy's
50-51 Cantons - Suisse 26 Duchy of Milan
52-53 Dauphiné 27 Republic of Venice
54-58 Languedoc 28 Kingdom of Naples
59-60 Avignon 29 Order of Malta
61-62 Provence 30 Papacy
63-67 Languedoc – Roussillon 31-33 Duchy of Tuscany
68-70 Navarre – Béarn – Bigorre 34-36 Genoa
71-80 Guienne, 37-41 Duchy of Lorraine
Gascogne, Armagnac 42-52 Kingdom of Spain
81-82 Auvergne 53-57 Kingdom of Portugal
83-84 Limousin 58 Irlande et Pays de Galles
85-86 Angoumois 59-60 Kingdom of Scotland
87-88 Saintonge 61-70 Kingdom of England
89-90 Aunis 71-72 Kingdom of Denmark
91-93 French from 73-74 Kingdom of Sweden
Nouvelle-France (Canada) 75-76 Circle of Austria
94-98 French from 77-81 Kingdom of Poland
Antilles 82-86 Muscovy and Russian
99-100 French from Empire
Indes - Asie 87-88 Crimean Khanate and
Circassians
Being from a French Province grants the 89-94 Ottoman Empire
Talent "Terroir" at level 3. 95-00 Sherifat of Marrakesh

22

For each entry in the table, here are
chronologically some historical context
elements and their effects.
The young Republic of the United
Provinces was only recognized by France in
1596 and by Spain in 1648. In the south of
the United Provinces, the country of the
Generality (including present-day Zeeland
and North Brabant) formed a strategic buffer
between the Spanish Netherlands to the
south (future Belgium) and the Protestant
and Calvinist Netherlands to the north led
by Amsterdam (Pays Bas).
- Gain of the Negotiation skill at level 3,
Legal Affairs, and
Navigation at level 1.
The Holy Roman
Empire, or the Roman-
Germanic Empire, is a
political gathering
provinces and, from 1648
onwards, states that sees itself as the heir to
the Roman and Carolingian empires. Its size
Europe at the beginning of the 17th century
and composition have constantly evolved
throughout the ages.
- Gain of the Living Language skill at
level 4 and Medieval Fencing at level 1.
The Duchy of Savoy's dynasty had a
rough start to the century with the War of
Savoy, which resulted in the Treaty of Lyon
to its disadvantage and to the benefit of
Henry IV, a month after his marriage.
- Gain of the Climbing and Mountain
Survival skills at level 4.
The Duchy of Milan has been a
possession of the Spanish Habsburgs since
1535 and will endure until 1706.
- Gain of the Geography and Foreign
Languages skills at level 3.
of
The Republic of Venice expanded by
annexing various territories and commercial
outposts along the coasts of the Adriatic Sea,
7 2 4 6 1
23
in the Eastern Mediterranean, and Northern
Italy.
An expansion based on maritime trade,
coupled with its remarkably stable political
system that lasted nearly a millennium, made
it a major political player. However, in this
century, it loses territorial possessions, and
its patrician elites gradually shift towards a
more local economy.
- Gain of the Negotiation skill at level 4
and Disguise at level 1.
Indeed, during the 17th century, the
European economy will continue its shift
from the Mediterranean to Northern Europe,
with the increasing influence of major
maritime and colonial powers.
The Kingdom of Naples is attached to the
Crown of Spain, but its leaders enjoy relative
local autonomy.
- Gain of the Living Language skill at
level 3, Legal Affairs at level 1, and
Cooking at level 3.
The Order of Malta or the Order of Saint
John of Jerusalem is composed of knights,
following the tradition of the hospitaller
crusaders.
undertake four "caravans," four privateering
expeditions, during four consecutive years in
Malta. However, they often receive
permission afterward to serve their original
sovereign without taking the vows required
to become a brother.
The central institutions of the grand
magistracy benefit from privateering,
transforming European commanderies into a
system of benefices that allows the
aristocracy to place its younger sons. These
sons are often admitted to the Order in
childhood to secure better positions in the
"race for commanderies."
Thus, there are few knights who complete
their entire careers in the Order. Instead,
there is a significant rotation of novices who
come to undertake their "caravans" and then
serve their king, often in the navy.
Prominent French admirals of the 17th
and 18th centuries, such as Tourville or
Suffren, all started their careers within the
Order.
- Gain of the Navigation and Leadership
skills at level 3.

In 1571, the Order distinguished itself at

the Battle of Lepanto, where the Holy
League fleet, commanded by Don Juan of
Austria, destroyed the Ottoman fleet.

After Lepanto, the danger in the

Mediterranean no longer comes from the
Ottoman war fleet but from the "Barbary"
corsairs of North Africa.

The Order once again engages in

privateering, a corsair war that, from its
original counter-attack nature, quickly
becomes a means for the knights to enrich
themselves through seizing cargoes, but
especially through the slave trade, with
Valletta, the capital of the archipelago
founded in 1566, becoming the primary
Christian center.

The Order then enters a period of The Clement pope

significant changes: novice knights must

22
 The Papacy has been embodied since
1592 by Clement VIII, born Ippolito
Aldobrandini (1536-1605).
He is an intelligent, pragmatic, and
determined man—an astute politician. Cruel
towards his adversaries, he presides over the
trial and execution of Giordano Bruno, as
well as the parricide Beatrice Cenci and her
family. Deaf to public opinion, he refuses to
grant clemency to the young girl. The
women of the Cenci family have their heads
severed by an ancestor of the guillotine, and
the boyfriend has his head crushed. In this
affair, the desire for the Cenci family's
wealth in favor of the Aldobrandini family
seems to have weighed more than moral
scruples.
He provides men and money to Rudolf II
to support his Long War against the
Ottomans in Hungary. Indeed, the Pope has
his personal army.
With Henry IV, he contemplates an
alliance of all Christian powers against the
Turks.
- Gain of the Theology skill at level 4 and
Persuasion / Rhetoric at level 1.
Este Armoiries
En 1598, Clément VIII annexe Ferrare et
Comacchio. La Maison d'Este, établie à
Ferrare, s'installe alors dans le duché de
Modène, créé en 1452 par l'Empereur pour
elle.
23
Ferrara, April 1602.
The old man reads a letter
addressed to him from the Court of
France with one hand and sips a
fruity aroma coffee from Paraguay
with the other.
The woman speaking to him is
the superintendent of the Queen's
Household, Anne d'Este. A
granddaughter of Louis XII, she is
also the widow of the Duke of
Guise. Her plea is written in
impeccable Italian.
- "Undoubtedly, she thinks that
by addressing me in my native
language, she will better strike a
chord."
He puts down the letter and
brings the coffee to his nostrils and
lips, holding the cup with both
hands. He thinks back to his
afternoon meetings with the
Dominicans, which did not yield
results.
The Commander remains
steadfast in his positions, for
theological reasons! And the fact
that he believes Anne d'Este, with
age, tends to lose her skills as a
leader of the Catholic Holy League.
She complains about the Jesuits and
intrigues in the Queen's entourage.
And she calls for the intervention of
the Holy See.
- "The Jesuits! They are
everywhere and go everywhere.
How many of them are there? Ten or
twelve thousand?
Anyway, I can't do anything to
put them in their place until I settle
this conflict they have with the
Dominicans."
- "Cinzio! My nephew! Who
could you send to Anne d'Este to
help her contain the chaos that the
Medicis are causing at the Court of
France?" An middle-aged man, in
cardinal purple, crosses himself and
rises from a prie-dieu. He nervously
twists his cappa magna between his
hands and reflects...
8 3 5 1 2
 From a modest but strategically located
territory, the D'Este, simultaneously vassals
of the emperor and the pope, managed to
establish one of the most important and
enduring noble dynasties in Italy. They
continuously forged alliances, from
generation to generation, with the leading
princely and royal families of Europe, each
alliance more prestigious than the last.
The Grand Duchy of Tuscany,
established in 1569, succeeded in existing
and enduring in an unstable peninsula,
thanks to its diplomatic, economic, and
cultural dynamism. While its alliance with
Henri IV helped reduce the influence of
Spain within its borders, it ultimately proved
fruitless. The Grand Duke then rekindled
relations with the Habsburgs of Austria...
- Gain of the Etiquette and Geography
skills at level 3.
Philippe IV
Genoa, from 1550 to 1650, is prosperous
and allied with Spain. The Genoese are the
main bankers of the Crown of Spain, until
the bankruptcy of Philip II, and this alliance
will persist until 1684 with the bombardment
of the city by the French fleet. In the 17th
century, the Republic supports two
victorious wars against Savoy.
- Gain of the Negotiation skill at level 4
and Legal Affairs at level 2.
In 1542, the Duchy of Lorraine becomes
"free and non-incorporable" within the Holy
Roman Empire. It will suffer greatly from its
location, between the East of the Kingdom of
24
France and the Holy Roman Empire,
exposing it particularly to the devastations of
the Thirty Years' War.
- Gain of the Geography skill at level 6
and Forest Survival at level 1.
The Kingdom of Spain, a powerful ally
of the Habsburgs of the House of Austria,
initiates a political and economic decline in
the early 17th century. The victory of
Lepanto in 1571, the peak of Spanish
hegemony over the Atlantic and the
Mediterranean, is already distant, and rising
maritime powers are increasingly
challenging the Spanish. The inability to
supply its troops and establish itself in the
United Provinces in 1604, followed by the
failed invasion of England, is the first
setback that the new Monarchy installed in
1598, with Philip III, will face. It marks the
first stage of a gradual collapse of Spanish
possessions outside the Iberian Peninsula,
punctuated by wars throughout the century,
on its soil, overseas, in the Netherlands, and
in Franche-Comté, with the Kingdom
coming out defeated each time. Royal power
is weak, and governance is entrusted to
favorites. Philip IV, who succeeds him in
1621, benefits from the strengthening of
Habsburg preeminence in Europe, but
history will also remember him as a poor
sovereign. However, perhaps the greatest
patron and collector of his time.
- Gain of the Etiquette skill at level 4 and
Modern Fencing at level 1.
The Kingdom of Portugal, with the
dynastic union of the Spanish and
Portuguese monarchies from 1580 to 1640,
shared a common fate with the Crown of
Spain, experiencing similar economic
setbacks on both land and sea.
- Gain of the Negotiation and Etiquette
skills at level 3.
Ireland, Wales, and the Kingdom of
Scotland live in the shadow of the Kingdom
of England, ruled by James I, who was
initially King of Scotland, and whose reign
will continue until his death in 1625.
- Gain of the Etiquette and Foreign
Language skills at level 3.
 The Kingdom of Denmark and Norway
is governed by Christian IV from 1588 to
1648. A cultured, refined, and ambitious
man, both in maritime and military affairs.
He will successfully reform his army and
defense system. He will create an East India
Company and will be the initiator of the first
war with Sweden.

The Kingdom of Sweden is led by

Charles IX, whom he has been regent since
1599. He will be crowned king in 1604 until
his death in 1611, leaving his son Gustav II,
aged sixteen, a war against Denmark,
Poland, and Russia.
- Gain of the Etiquette and Foreign
Languages skills at level 3.

In 1512, the Emperor of the Holy Roman

Empire reorganizes the Imperial Circles,
sub-divisions of territories, homogeneous for
military defense and taxes, by creating the
Circle of Austria, which encompasses all
the hereditary territories of the Habsburg
dynasty, including the Archduchy of Austria
itself.
- Gain of the Etiquette skill at level 4 and
Legal Affairs at level 1.

The Kingdom of Poland is an

aristocratic federal republic formed in 1569
from the Kingdom of Poland and the Grand
Duchy of Lithuania. It is governed by an
elected King and also covers present-day
Belarus, Ukraine, Latvia, and part of the
westernmost region of Russia.
- Gain of the Marchandage skill and
Etiquette at level 3.

In Muscovy, born in Kiev, within the

Russian Empire, the new Romanov
dynasty's main concern is to restore order
and military security to the country. With its
main enemies, the Republic of the Two
Nations and Sweden, being in conflict,
Russia will take advantage of the opportunity
to sign a peace treaty with Sweden in 1617.
The Polish-Russian War will begin in 1605 Siège de Vienne par les Ottomans
and end with the Treaty of Deulino in 1618.
- Gain of the Commandment skill and
Alcohol Resistance at level 3.
9 4 6 2 3

25
 La Bataille de Lépante, 1571
The Crimean Khanate and the
Circassians, ancestors of the Cossacks, are
allies of the Ottomans. Scattered peoples of
horses and steppes, they embrace Sunni
Islam from the 13th century. The Crimean
Tatars are feared and hated for their frequent
and devastating raids into Ukraine, Russia,
and Moldova.
Until the 18th century, they engage in the
slave trade of Slavic, Moldavian, or
Circassian slaves with the Ottoman Empire
and the Middle East. The word "slave"
comes from the word "Slavs." The port of
Kefe Caffa was one of their main slave
markets. Eventually, they fall under the
power of the Russian Empire.
- Gain of the Equestrian skill at level 3
and Acrobatics at level 1.
The Ottoman Empire
The death of Suleiman the Magnificent in
1566 marks the end of the Ottoman golden
age. The Portuguese entry into the Indian
Ocean diverts a significant portion of the
Indian trade towards the Atlantic, and
Ottoman expeditions against Goa and
Muscat fail to dislodge them.
26
However, Levant trade resumes at the end
of the 16th century.
In Southern Europe, a coalition of states
aims to defeat the Ottoman Empire at sea, as
they cannot do so on land. In 1571, the Battle
of Lepanto sees the destruction of over 250
Turkish galleys. But it's a victory without a
lasting impact, leaving the Turkish power
bases untouched.
The Ottoman grand vizier told a Venetian
minister during negotiations: "By taking
Cyprus from you, we cut off your arm. By
sinking our fleet, you cut off our beard." In
1573, the reconstituted Ottoman fleet
compels the Venetians to peace, allowing the
Sultan to redirect his ambitions towards
North Africa.
The Ottoman borders hardly change
between 1566 and 1683. Wars end in
stalemates, and the victories of Suleiman the
Magnificent appear as a glorious past. In the
Danubian regions, the Empire faces the rival
power of Austria.
The Long War against Austria (1593-
1606) demanded significant human
resources from the Ottomans. Their
population, numbering thirty million
inhabitants, allowed them to sustain
extensive war efforts, but the economic and
technical lag compared to the West is
beginning to be felt.

- Gain of the Archery and Running skills

at level 3.

Sherifat of Marrakesh

After the expulsion of Muslims from

Spain at the end of the first decade of the
17th century, the massive arrival of new
populations revitalized the region.
Privateering, first against Spanish interests
and then throughout the Mediterranean,
became the main economic activity. Goods
and slaves flowed along the coasts. A
network of caravan routes carried this wealth
far into the interior, fueling trans-Saharan
trade.

- Gain of the Negotiation and Desert

Survival skills at level 4.
Attributes
Your character is defined by five major
characteristics with scores ranging from 1 to
20:
Vigor (Vig): Expresses strength and
endurance. A Vigor of 17 or higher increases
the severity of damage, resulting in an
additional checkmark for each melee
injury/fatigue inflicted.
Mind (Mnd): Composed of reasoning and
memory. Determines the capacity for
calculation, abstraction, and learning.
Senses (Sen): Used for actions involving
the perception of the immediate
environment.
Movement (Mov): Enables proficiency
in all areas of motor skills, manual dexterity,
and physical agility.
Disposition (Disp) characterizes the
character's inner resources and
psychological resilience. It encompasses the
strength of their spirit, determination
(courage and initiative), and empathy
(intuitive psychology, interpersonal skills).
To establish your attribute scores, roll
three six-sided dice (3d6), consistently
discarding any "1s" (resulting in scores from
6 to 18). This process will determine both the
physical and psychological attributes of your
character.
Flavia begins the game as a member of
the Commedia dell'arte theater company,
introduced in the game aids at the end of
this book.
The player who has chosen to portray
her agrees with the Game Master that she
will specialize as a tightrope walker within
the troupe.
Therefore, she assigns the highest score
she rolls, an 18, to the Movement attribute
and leaves the fate of the other scores to
chance, as she doesn't currently have a
more specific idea about the priorities for
her character composition.
10 5 2 3 4

27
 The distribution of results is done by
choice in each of the attributes up to the fifth The player registers "Acrobat" in the
and final dice roll. Each attribute Archetype on the character sheet, even
corresponds to a bonus/penalty that will though Flavia's parents do not have this
apply to your skill scores: profession, it is the dominant aspect
chosen to define the character's abilities at
the beginning of her adventures.
Attribute Score Skill Bonus
She also notes "Acrobat" in the
5–6 -1
Occupation to indicate that she intends to
7–9 0 start the game within the same archetype.
10 – 11 +1
She specifies the starting age as 16.
12 – 13 +2

14 – 15 +3

16 – 17 +4 The average of minor attributes must be

equal to the score in the major attribute.
18 – 19 +5

20 +6 You can vary the scores for each of these

Major attributes are made up of two or
more minor attributes that can vary when
refining the character's abilities.
For example, Strength is more related to
physical prowess, Endurance to resistance
to effort and recovery capacity.
attributes and apply the bonus/penalty in the
dedicated table as follows:
No score can be higher than 18. The
bonus/penalty table goes up to 20 because it
is possible to progress beyond 18 with the
experience gain system.

Good Vision is useful for Shooting,

Hearing for eavesdropping, Taste and
Smell for Cooking.

Dexterity involves everything done with

the hands or fingers, such as picking a lock
or repairing a clock. Agility expresses bodily
ease and is essential for Dance, Acrobatics
for Climbing or horseback riding.

Memory will help remember someone,

their coat of arms; Reasoning allows skill in
Gaming, Sciences, and Mathematics.

Strength of soul and determination is

linked to courage, will, and character
assertion. Empathy allows approaching
animals without frightening them or gaining
sympathy from an audience.

28
 Origin Archetype
The player believes that Flavia is more
Soldier, laborer, acrobat,
enduring than strong, so she lowers her
Beggar sorcerer, vagabond, rogue,
Strength score to 10 and increases her
sailor, monk.
Endurance to 14. She places the
corresponding bonuses next to each score. Soldier, laborer, acrobat,
Worker
The same goes for Reasoning, as well as sorcerer, vagabond, rogue,
- Servant
Memory, which increases significantly, sailor, monk, servant.
reaching its maximum for character creation: Soldier, laborer, farmer,
18. Unable to go beyond with Dexterity and entertainer, acrobat, sorcerer,
Agility, she copies the Movement score. For Farmer
vagabond, rogue, sailor,
the Senses, she decides to increase Sight and - Artisan
actor, servant, valet, monk,
Smell. Since Mood is her lowest score, she freethinker.
decides not to adjust the minor attributes to
avoid losing bonuses. Soldier, laborer, farmer,
entertainer, acrobat, sorcerer,
Lower
vagabond, rogue, sailor,
Archetype Middle
Class
actor, servant, valet,
Now it's a matter of choosing from the merchant, monk, freethinker,
table opposite and the skills table, a career dilettante.
archetype in which the character has been Soldier, laborer, farmer,
immersed. Whether it's that of their parents entertainer, acrobat, sorcerer,
or a profession they have themselves vagabond, rogue, sailor,
Upper
practiced, the Archetype serves to determine actor, servant, valet,
Middle
the Skills. merchant, monk, musketeer,
Class
officer, businessman, artist,
Nobility comprises three categories: freethinker, scholar, priest,
dilettante.
Robe Nobility: It's a nobility of position Soldier, farmer, sorcerer,
or office, bought and hereditary. vagabond, rogue, sailor,
Sword Nobility: Acquired nobility on the actor, merchant, monk,
battlefield. Robe
musketeer officer, officer,
Court Nobility: This becomes the norm Nobility
businessman, artist,
wherever monarchs manage to develop a freethinker, scholar, priest,
centralizing power. It's a Nobility of courtesan or courtier.
networks and favorites, as it involves
obtaining the favor of the Suzerain and the Soldier, farmer, sorcerer,
most influential figures at court. vagabond, rogue, sailor,
actor, merchant, monk,
The Commoner is neither bourgeois nor Sword musketeer officer, officer,
noble. They are a proletarian, living on their Nobility businessman, artist,
salary. freethinker, scholar, priest,
sword noble, courtesan or
The Rank score, a social origin, is noted courtier.
separately from the Archetype because, Soldier, sorcerer, vagabond,
while the former is definitive, the latter can rogue, sailor, actor,
evolve: Court merchant, monk, musketeer,
Nobility officer, sword noble,
businessman, artist,
freethinker, scholar, priest.

11 6 3 4 5

29

Saltimbanque, Juggler, Acrobat
You are drawn to the art of the stage and
the atmosphere of the street. The freedom
and pleasure of impressing passersby.
Applause and cheers may not replace bread,
but they compensate for the fact that it's often
stale.
Monk
Study... Silence... Meditation... Spiritual
awakening... The search for a form of
wisdom and bliss in the love of God. Unless
you are simply seeking tranquility and access
to certain rare books. God and the Mass
being more of a folklore to which it's
appropriate to sacrifice a bit of your time.
The price to pay, in a way, for simple yet
unchanging comfort.
Courtesan, Courtesan
The Court and its splendors! That's your
goal. Living alongside the greatest, even the
greatest. Power, wealth, pleasures, beautiful
music, and fine clothes – that's all that
matters.
30
Noble of the Sword, Gentleman
The glorious past of a noble family. A
fortress, a dungeon, lands, and peasants to
protect, coat of arms dating back to the time
of the crusades. A motto that constitutes the
honor of the family. Honor that must be
preserved. This birth gives you rights but
also duties, including serving the King on the
battlefield. The only tax you'll pay is the tax
of blood.
Priest
Whether for the love of God and your
neighbor or for the power that the Church
provides its servants, the robe seems to you
the best means to achieve your goals. Study,
wisdom, and faith, or perhaps rhetoric and
manipulation. You have surely chosen your
path. Unless it's a blend of both.
Actor, Peddler
It's all about pleasing. Seduce with words
or gestures, whatever is essential is to show
or tell what is expected of you. A crowd
under your charm, and you can sell them
clouds or please the King, and then the doors
of the Great World will open to you.
Merchant, Artisan
(Social class 8-15)
A shop, a trade, apprentices, workers.
You often have to get your hands dirty
yourself. The ideal would be to see your
talent recognized by the nobility, invent a
cake that pleases the king, decorate the
entrance of a palace, and your fortune would
be made.
French Guard, Musketeer
(Social class 10-17)
You join this elite corps directly serving
the King. You have the vocation to become
a complete soldier. You learn the art of war,
fencing, musketry, and horsemanship.
 Representative of the king's power and Soldier
authority, a certain demeanor is also (Social class 6-10)
expected of you. You're going to become a foot soldier.
The front line is for you.
Scholar Less prestigious than the King's
(Social class 11-19) Musketeers, this career reveals the true
"Knowledge is power, knowledge is facets of war. Surviving and having a good
strength." This could be your motto, unless time, that's all that matters! Death is a
it's more like "to make known is to bring companion with whom you've learned to live
forth" and "knowledge without conscience is in harmony...
only the ruin of the
soul." Servant, Valet,
Lackey
Sailor (Social class 3-
(Social class 4- 10)
18) Serving isn't
The open sea, always valorous,
the breath of but serving the rich
adventure, the call and powerful has
of unknown lands, certain advantages.
or simply fishing. It's mainly about
The sea and the making oneself
ocean may indispensable.
represent a hope
for freedom, a For those not
sense of infinity well-born, living in
and absoluteness. the shadow of a lord
allows access to a
Officer, Civil certain comfort. It's
Servant also useful to be so
(police, justice, insignificant and
Social class 11- thus appear
19) invisible to some,
The law is me! allowing you to go
And order... anywhere and hear
That may be in your dreams. The law is a lot of things...
the King's, but the King has delegated to you,
through an officer's position, the Gypsy, Witch, Wizard, Astrologer
responsibility to enforce it. Will you abuse it (Social class 1-19)
or triumph in an ideal of justice? Palmistry, enchantments, curses,
creatures of the night... When God or science
Thief, Gentleman of Fortune can do no more, it's always you that people
(Social class 1-15) end up turning to.
Survival is essential... By any means
necessary. If it can be legal, all the better, but You know the secret mysteries passed
if it's illegal, it's not a problem. It's often down orally from generation to generation,
more profitable, they say. Killing someone? or you invent them magnificently. The result
is the same. Others believe in your power.
That's a different kind of job. We need to
see... who? How much does it pay?
12 1 4 5 6

31
 Over time... it's hard not to believe it
yourself (see the chapter on magic and
sorcery).
For the nobles, the position of court
astrologer, half advisor, half magician, was
highly coveted (there was even a college of
astrology), but Louis XIV put an end to it
towards the end of his reign.
Worker, Farmer, Artisan
(social class 3-10)
You have so little that it's almost nothing.
But you know how to work hard, you have
courage, and you're not helpless. You have
gold in your hands. You'll have to figure out
how to transform it, if all these lords don't
steal it from you afterward.
But one thing is certain, without you, they
are nothing.
Dilettante Bourgeois
(social class 11-15)
You have time. A lot of time, and to
overcome boredom, you become passionate
about anything and everything. Whether
openly or in secret, your passions, as sudden
as they are fleeting, spice up your life and are
a source of adventure.
The Court is still far from your current
milieu, but who knows? Duchesses
sometimes look for companions.
Artist
(social class 11-18)
It doesn't matter what it is, as long as it's
beautiful!
Courtier
(social class 16-20)
To cross the circles of power to approach
the center, the King! And after that, who
knows...
32
Bourgeois, businessman
(social class 11-15)
Everything has a price. Even the
Kingdom of France. You just have to be able
to afford it.
Meanwhile, you make your capital grow
and protect your interests. It's also about
finding new markets, new lands, new
inventions to commercialize at the highest
possible price.
Freethinker, pamphleteer
(social class 7-16)
Philosopher, sharp and critical mind,
sometimes rebellious, you reject dogmas and
prioritize reason. You may oscillate between
provocation, impertinence, and reflection,
and wisdom, but unlike the scholar who
seeks knowledge for its own sake, you seek
to change the state of things.
Vagabond
(social class 1-10)
On the roads, from village to village, you
follow the wind. You are as free as the air.
This freedom comes at a cost, loneliness,
and hunger..
The Dragonnades
The King's Dragons are soldiers, not
peaceful scaly creatures sleeping on a
treasure. With the Edict of Nantes in 1598,
the Huguenots (Protestants) obtained
legitimacy from King Henri IV, allowing
them to prosper for decades in the Kingdom.
However, with the assassination of the King
in 1610 by a fanatical Leaguer (Catholic),
two cultural markers would gradually
decline and disappear:
- The spirit and values of Chivalry within
the Nobility's body,
 - The Reform movement, which would
never regain the aura it might have had under
this reign. When Henri IV had the Edict of
Nantes voted in Parliament, he expressed
himself: "I ask you to register the edict that I
have granted to those of the religion... I am
king now and speak as a king and want to be
obeyed... Just do what I command you or
rather what I ask you. You will not do it only
for me, but also for you and for the good of
peace... There should be no distinction
between Catholic and Huguenot, but all
should be good French... I am a king and
shepherd who does not want to shed the
blood of my sheep but wants to gather them
with gentleness and not by force..."
In the 17th century, the Huguenots would
never exceed 20% of the French population
in number. Yet, they were often the majority
in representation among the elites of the
Kingdom, both in cities and provinces and in
the capital. Most Princes were Catholics, and
it is against them that Richelieu and then
Mazarin would develop centralized power
and European policy, capable of curbing the
greed of neighboring states by bringing the
French nobility to heel.
Thanks to these two statesmen,
diplomatic geniuses with an iron fist in a red
velvet glove, that of the cardinal's purple, the
two reigns that followed would see the
King's power increase. Gradually, the
ultimate project of Royalty would be
achieved: Absolutism, holding a Molossus in
check, feared by young and old, the
centralized State.
Louis XIV would carry this project to its
climax by creating the Palace of Versailles,
trapping the nobility, transforming the last
"lords" into courtiers. "In July 1682, the
Assembly of the clergy addresses the
Protestants with a "Pastoral Warning": "You
33
must expect misfortunes incomparably more
frightening and more disastrous than all
those that have brought your revolt and
schism until now." For two years already, the
Dragonnades were working wonders. The
method was not new. The monarchy had
used it several times to open the wallets of
recalcitrant taxpayers or to reason with
rebellious peasants.
This system, simple, brutal, and
abominably effective, consisted of lodging
soldiers - most often foreign mercenaries -
with the inhabitants and turning a blind eye
to all the excesses and abuses they could
commit looting, fires, torture, rape. When the
"dragonnés" had submitted, the troops
changed their quarters, and so on until an
entire country was "pacified" or obeyed the
will of the King. Dragonnades had already
been experienced in Poitou when Protestant
communities resisted the destruction of their
temples. But this time, from the 1680s, after
the peace of Nîmes, which freed the army,
Minister Louvois convinced the King to
extend the process on a larger scale.
Officially, the Dragonnades do not exist. By
transmitting his instructions to the
intendants, Louvois recommends them not to
order any brutality in writing against the
Huguenots..."
Excerpt from Jean Martheilhe, Memoirs
of a Galley Slave of the Sun King, at
Mercure de France.
And the Adventure in all this? Richelieu,
Mazarin, and the entire Protestant elite who
will leave in groups to neighboring
countries, enriching technical and scientific
progress in free territories like the
Netherlands or Switzerland, are a source of
inspiration for a game master and useful
resources for a group of adventurers unafraid
of political and religious intrigues.
13 2 5 6 1

The player decides that Flavia
follows her uncles to Paris, who are
mercenaries joining a regiment of
Swiss Guards. This decision stems
from a broken heart and a conflict with
her parents that is yet to be defined. She
believes that, in order not to rely
entirely on her uncles who look out for
her, she independently learns the trade
of a performer (saltimbanque). This
means she practices crossbow shooting
and the art of tightrope walking to
perform in public during the journey, in
taverns, and on squares. And thus, earn
some coin...
Abilities Value
Everyone develops a minimum
proficiency in certain areas. There are seven
skills in total, serving as abilities developed
during childhood and youth. They do not
progress with experience since they are
directly linked to the character's experiences
before entering the game. A character who
changes social origin during the game will
not alter the scores of their skills.
Physical: This pertains to the condition
and physical training. It encompasses all
actions involving the physical form of the
individual undertaking them.
change, surpass potential barriers of
understanding, whether cultural or linguistic.
The ability to comprehend an unknown
foreign language is assessed through this
skill.
Cleverness: It encompasses
resourcefulness, adaptability, the ability to
"sense" situations, harmonize with the
environment, and use it to advantage. It also
involves the capacity to divert attention or
objects from their usual use in an intuitive
and spontaneous manner.
Creativity: This is inventiveness and
imagination. It's the way of projecting into
the future, envisioning things, sounds,
colors, feelings, and expressing them to
evoke wonder, or at least admiration! It also
involves conveying personal views through
artistic works: drawings, models, stories,
music, etc.
Abilities are a component for determining
your scores in the associated competencies.
Once the Archetype is chosen, all that
remains is to transcribe the Skills into the
dedicated section on the character sheet.
Also, note its title in the top left corner of the
character sheet.

Combat: It represents combativeness,

mastery of aggression, space, reaction time,
serving both attack and defense.

Technical Skill: It involves the ability

to manufacture, build, disassemble, repair
things using hands and tools.

Studies: This gauges the ability to stay

focused for an extended period on a subject,
learn, apply intellectual methods, and
conduct research in books.

Communication: This relates to

sociability—the ability to establish
connections with others, induce behavioral

34
 Habileté
Archetype / Skills Physique Combats Études Communication Astuce Créativité
technique
I THE JUGGLER
Performer 5 3 3 1 3 3 2
(juggler, acrobat)
II THE HIGH PRIESTESS
Monk, knowledge and
precision-related professions, 2 3 5 5 2 2 1
alchemist, herbalist, jeweler,
perfumer...
III THE EMPRESS
2 3 2 2 5 3 3
Courtesan (Court Noble)
IV THE EMPEROR
4 4 2 3 4 2 1
Noble of Sword
V THE POPE
1 2 2 5 5 3 2
Priest
VI THE LOVERS
3 2 3 2 4 5 1
Servant, valet, lackey
VII THE CHARIOT
Bourgeois, Merchant-Trader, 2 3 1 4 5 3 2
Artisan
VIII JUSTICE
Officer, Civil Servant (police & 2 4 2 4 3 4 1
justice, taxes
IX THE HERMIT
3 2 2 2 5 4 2
Actor or Peddler
X THE WHEEL OF
FORTUNE
4 4 3 1 2 5 1
Thief, dilettante, Gentleman of
fortune
XI STRENGTH
5 5 4 1 1 3 1
Soldiers
XII THE HANGED MAN
Bourgeois, businessman, 2 2 2 3 4 3 4
Swindler
XIII DEATH
4 5 2 3 2 2 2
Musketeer, Dragons (elite unit)
XIV TEMPERANCE
2 1 2 4 5 3 3
Bourgeois dilettante
XV THE DEVIL
Witch (Bohemian, Sorcerer, 2 2 3 4 3 3 3
Astrologer)
XVI THE TOWER
3 3 3 2 3 4 2
Worker, Farmer, Artisan
XVII THE STAR
1 1 4 5 4 2 3
Scholar, Guild Master
XVIII THE MOON
1 2 3 4 3 2 5
Artist
XIX THE SUN
2 3 1 3 5 3 3
Noble, Courtier
XX JUDGEMENT
1 3 2 5 4 2 3
Free thinker, pamphleteer
XXI THE WORLD
5 4 5 2 1 2 1
Sailor, Journeyman Worker
XXII THE FOOL
4 2 3 2 2 4 3
Vagabond

14 3 6 1 2

35
 A description of each career is provided
on page 31. Several designations may be in
use and only serve to specify a chosen path:
Thief and Gentleman of Fortune, Bourgeois
Dilettante, Dilettante (living off one's
income), Witch, Bohemian, Sorcerer,
Astrologer...
You will notice in the previous table a
correspondence with the Major Arcana of the
Tarot de Marseille. This will become
significant later with the drawing of Alea
cards, which will finalize the character
creation and enhance the game with an
optional rule.
Simply remember that each relevant Tarot
card represents a general and symbolic
context, related to the profession, akin to
what one's astrological birth chart could be
or the patron saint of the guild. This marking
can also be helpful if you're uncertain about
which archetype to choose: take the 22 cards
of a tarot deck and draw them to see what is
suggested to you!
"When I drink claret wine,
Friends, everything spins around,
So from now on,
I drink Anjou or Arbois.
Let's sing and drink,
Let's make war on this bottle,
Let's sing and drink,
My friends, let's drink then.

The good wine has made us happy,

let's sing,
Let's forget our troubles, let's sing.
While eating a fat ham,
Let's make war on this bottle.

Let's drink well, there, let's make

war on this bottle.
While eating a fat ham,
Let's make war on this bottle.

Let's drink well, my friends, let's

clink glasses,
Let's drink, let's empty our glasses.
While eating a fat ham,
Let's make war on this bottle.

Tourdion

1459 The Time of Maximilian I (King of

Rome 1486 and German Emperor 1493) and
Mary of Burgundy: Jordi Savall · Anonymous
· Hespèrion XXI · La Capella Reial De
Catalunya"

Flashing Blades is a Anglo-Saxon swashbuckling role-playing game that was translated

into French in the 1980s under the title "Les Trois Mousquetaires" ("The Three Musketeers").
Unfortunately, the Anglo-Saxon culture is very evident in the game, without managing to
accurately capture the French culture. In homage to this "Grand Ancien," we have adopted
its location outline on the character sheet. Another game worth mentioning in the influences
of swashbuckling role-playing games is "En Garde!," a play-by-mail, turn-based role-playing
game that originated in the late 1960s.

36
 Womanizer, Don Juan, Casanova (such a
General Traits reputation will attract or repel the opposite
sex)
Before delving into Talents and Skills that Liar, scammer (such a reputation can
will detail everything you can do, we will hinder the character's trustworthiness)
explore the character sheet through
Reputation, Relationships, Income, Honest man or man of honor (such a
Lifestyle, and Experience. reputation commands respect)

These Traits have in common a range Wise, scholarly (such a reputation

from 1 to 5 in the form of points/checkboxes. commands respect)
If you lose more points/checked boxes than
you have, erase all your crosses/checks. You Fearless (who is afraid of nothing)
cannot go into negative in your general traits
(checked boxes). Braggart ("he talks more than he
accomplishes"). Etc.
Reputation
Permanent Effects of Reputation
Reputation influences the reaction of non-
player characters (NPCs) to the player ❑❑❑❑❑ Foreigner.
character (PC), so the Masque (Game
Master) can make a 1d6 test roll under the ❑❑❑❑ Unremarkable, unknown
PC's Reputation to determine if the NPC outside the neighborhood (or village) of
knows the PC "by reputation." The
residence.
reputation of PCs will evolve based on their
exploits and behavior, at the discretion of the
Masque. ❑❑❑ Unknown outside the city (or
nearest city) of residence.
A reputation is encapsulated in a word
and should be noted in front of the ❑❑ Noteworthy, unknown
Reputation score: outside the native region or residence.
Swordmaster (for a character who often
>> +1 in Communication.
excels with a sword and has rarely been
defeated)
Not cumulative with any possible
Violent, bloodthirsty, or butcher (such a Relationship bonus.
reputation makes the character feared)
❑ Celebrity, known throughout
Beauty, fatal, mysterious, or cold (such a the country.
reputation will attract or repel suitors)

Cunning, crafty (such a reputation makes  Internationally renowned

NPCs wary) celebrity.

Tenacious (for a character who never >> +2 in Communication.

gives up, such a reputation commands
respect) Replaces the +1, not cumulative with any
possible Relationship bonus:

15 4 1 2 3

37
 Roll a 1d6 each time the character reaches advantageous result prevails, especially if it
this stage. On a 5 or 6: gain one Prodigy point is a consequence of a Shadow card draw.
related to the Reputation title.

Every time he goes out, he is recognized

on the street. No roll is needed for NPCs if
they can notice him: it's automatic!

Being recognized by an NPC: the player

character (PC) can be recognized by an NPC
if the Game Master succeeds in a 1d6 test
under the Reputation score. 1 is always a
success, 6 is a failure.

To determine Reputation when the

character starts the game, take the most
advantageous score between the Archetype
and the Origin, in the two tables below.

Special case: If the player chooses the

Archetype during the random card draw (see
corresponding chapter) and it differs from
the Origin, for example, a Noble becoming a
Beggar or Vagabond, the Game Master takes
the initiative. They can decide that the less

Initial
Origin
Reputation
❑❑❑❑❑ Beggar
Worker -
❑❑❑❑
Servant
Peasant
Farmer -
❑❑❑
Artisan
Lower
❑❑
Middle Class
Upper Bourgeois Flavia discovers with amazement the
❑❑
Middle Class vastness of Paris. Her uncles have come
here a handful of times for business, but
Robed they don't really know the city. They
❑❑
Nobility remain strangers in a foreign land. It's
Sword only with the safe-conduct and the letter
❑❑❑ of recommendation provided by the
Nobility Noble
recruiting officer, and by enlisting in their
Court service at the Louvre, that they settle into
❑❑ their new life.
Nobility
38
 Archetype Initial Reputation
Performer (juggler, acrobat) ❑❑❑❑❑
Monk ❑❑❑
Sword Noble ❑❑❑
Priest ❑❑
Actor
❑❑❑
or
❑❑❑❑❑
Peddler
Middle-class, Merchant, Artisan ❑❑❑
Musketeer, Dragons (elite unit) ❑❑❑❑❑
Scholar ❑❑❑❑
Sailor ❑❑❑❑❑
Officer, Official
❑❑❑
(police & justice, taxes)
Rogue, Gentleman of fortune ❑❑❑❑❑
Soldier ❑❑❑❑❑
Servant, valet, lackey ❑❑❑❑❑
Witch
❑❑❑❑❑
(Bohemian, Wizard, Astrologer)
Worker, Farmer, Artisan ❑❑❑❑
Dilettante Bourgeois ❑❑❑
Artist ❑❑❑❑
Noble ❑❑❑❑
Courtier ❑❑❑
Bourgeois, Businessman ❑❑❑❑
Freethinker ❑❑❑❑
Pamphleteer ❑❑
Vagabond ❑❑❑❑❑

Cost of Reputation Actions  Can be exchanged for 1 

Reputation points can be used to perform
certain actions. They are then lost until the
character accomplishes a great feat or a
remarkable action.
If you have a good reputation, for
example, ❑❑❑, and during the game
or via an Alea card, an event gives you a +1
❑ in bad reputation, your reputation
becomes ❑❑❑❑. If you return to a
neutral reputation ❑❑❑❑❑, then each
new checked box will change the nature of
your reputation, which can be either good or
bad. A reputation as a swindler is generally
positive or neutral with the underworld and
negative with any other population group.
Relationship point.
 Allows for an automatic success in a
short communication action: convincing a
decision-maker, successfully vouching for a
third party..
 Grants automatic success in a long
communication action: conducting
negotiations, successfully concluding a
diplomatic treaty, spreading a rumor in a
city.
 Can have a rebound effect of 1
Reputation point on a third party.

16 5 2 3 4
39
 Gain of Reputation  When the character experiences a
downgrade from Noble to Bourgeois.
Situations allowing an increase in the
score:  When the character experiences a
downgrade from Noble to Peasant.
 The character raises their social class
from Peasant to Bourgeois.

 The character accomplishes a feat on

the scale of a city.

 The character accomplishes a feat on

the scale of a region.

 The character accomplishes a feat

talked about on the Kingdom's scale.

 The character raises their social class

from Lower Middle Class to Noble.

 The character raises their social

class from Peasant to Noble.

+ 1  only if 1  Prodigy is spent and

corresponds exactly to the action undertaken
and successfully completed in public.
Example: Using a Heroism Prodigy point
to save a victim in extremis from a burning
house, in front of an amazed crowd, earns 1
 at the end of the session.
Loss of Reputation
 Each time the Lifestyle becomes
higher than the Income. Reputation =
spendthrift.
 For each judicial conviction leading to
imprisonment.
 When the character experiences a
downgrade from Bourgeois to Peasant.
 For each judicial conviction leading
to the galleys or Exile.
Once equipped with their supplies,
including a magnificent uniform
embroidered in the colors of the House
of the King and the Papacy, as well as
two gleaming halberds, our Swiss
guards take up residence in a spacious
ground-floor room rented on Rue aux
Fers, opposite the Cemetery of Saint-
Innocents. It's spacious enough to turn
it into a living space framed by two
bunk beds. They persuade the landlord
to allow Flavia to occupy a maid's room
in the attic.
From that moment on, she often
finds herself alone for long days during
her uncles' shifts at the Louvre Palace.
Since her Reputation is null, there is
nothing to note in the dedicated box on
the character sheet.

40
 The Prodigies
"He was a prodigy in the art of vanishing
when things went wrong..."
Prodigies correspond to destiny or
heroism points found in other role-playing
systems.
They define an area in which the character
can perform feats or remarkable actions.
The player determines the type of
circumstance in which their character is
likely to shine and "excel." As time passes
and games unfold, a character's reputation
will be influenced by the prodigies they
accomplish. More than just a character trait,
this entry on the character sheet expresses
the character's way of being.
Everyone starts the game with 1 Prodigy
point. In terms of gameplay, spending 1
Prodigy point allows an automatic and
exceptional success regardless of the action
taken. Additionally, during the current action
phase, be it combat, pursuit, negotiation, etc.,
the character gains a bonus to all rolls equal
to their score in the used prodigy.
Here are some examples of prodigies:
Acrobatics: If the character acts like an
acrobat, with agility and physical prowess.
Honor: If the character acts to defend
their honor or that of a weaker person. See
the corresponding Talent.
Honesty: See the corresponding Talent.
Charm: If the character acts to seduce
someone.
Fervor: If the character acts to defend
their religious beliefs or in the name of their
religion.
Heroism: If the character acts against
their own interests but for a good cause.
Action must be physical and non-martial.
There are no prodigies for Fencing or
Combat!
Survival: If the character acts to get
themselves out of a tight spot (direct and real
danger concerning them).
Luck: If the character acts based on a
chance circumstance (gambling, searching,
any other random choice that proves
judicious).
Discretion: If the character acts in the
shadows and without witnesses.
Genius: If the character acts for the
purpose of invention or creation.
Effect of Prodigy on Skills
When the Prodigy can be, it is attached to
a secondary skill, such as Acrobatics, for
example. Thus, if a character has a base score
of 13 in their Acrobatics skill and has the
corresponding prodigy, they can increase
their skill by as many prodigy points as they
have checkmarks.
If they lose checkmarks during the game,
their score decreases accordingly.
The acquisition and recovery of these
points are entirely at the discretion of the
Game Master...
However, one can consider that:
- Points spent during the game are fully
replenished for the beginning of the next
game.
Example: A character uses their score of 4
checkmarks in the Honor prodigy to defuse a
confrontation between a group of Cardinal's
Guards and their group. They spend one point,
automatically succeed in their Etiquette test,
then succeed in other tests in Eloquence,
Leadership, and Communication with a +4
bonus to their d20 results. They manage to send
away the most dangerous opponent, but
another player then initiates combat between
the two groups. Moving into another action
phase, the character can no longer use their
bonuses in this prodigy and updates their
current score, which is now only 3 points until
the end of the game.
17 5 2 3 4
41
 - A long action or a particularly well-
played feat by the player may be rewarded
by the Masque with a new prodigy point: the Create here your own Prodigies as well
player immediately regains their spent point as those invented by your players to
and can start the next game with a score one increase the number of possible choices :
point higher. Depending on the experience,
the player and the Masque can also create a
new category of prodigy that the character
embodies, starting at 1.

The player creating the character

Flavia suggests to the Masque to create
a prodigy that is specific to her.

By imagining what skill she could

have developed to practice and start her
career as a performer, she describes
this: "Flavia is a tightrope walker.

I imagine she tried crossbow target

shooting while balancing on a wire. So,
she must have developed the ability to
shoot at any target while in a state of
static balance!?"

The Masque agrees and suggests

naming this new prodigy "Agile Aim,"
specifying that it can only be used in
situations where Flavia is in balance
but with any type of weapon.

For example, she can precisely

shoot (cf. Precise Shot) with a horse
pistol without the horsemanship
penalty.

42
 Relationships levels in the game. Penalties are not taken
into account. Only relationships favorable to
The people who share your daily life are you are counted for this purpose. It's during
important. They influence your decisions the game that you can suggest to the Masque
and biases. To characterize this, you will to add, for example, your archenemy at #-4
assign a relational level (#) to each important Hate, but this adversity will never diminish
person in (or for) your life, like this: It goes your Disposition potential.
without saying that the members of the
Company (the characters of other players) Example: Disp 13 = 3 Friends X 3 + 1
must all be included in this section! Love X 4
All characters start the game with one
Penalty Sentiment Bonus Sentiment Relationship box Each lost box can only be
regained through gaining new relationships.
#-4 #+4
Hatred Love
 
#-3 #+3
What is spent does not replenish from one
Discord Friendship game to another.
 
#+2
#-2  Antipathy Sympathy Permanent Effects of

#-1  Distrust #+1 Sympathy Relationships
#0 Indifference #0 Indifference
❑❑❑❑❑ Solitary: -1 in
Communication when dealing with anyone
of higher social status or origin. Loss of one
With a Disposition (Disp) score of  in Earning.
10, Flavia has a level 3 relationship
with each of her uncles. So, 3 X 3 = 9 ❑❑❑❑ Homebody: Besides family,
Disp. She has 1 point remaining, which no one knows you have friends.
she invests in getting to know
Mathilda, a neighbor visited by ❑❑❑ Sociable: When you go out,
numerous clients for whom she you encounter at least one person who
performs sewing work. Mathilda also appreciates you.
turns out to be the housekeeper of a
small company of Italian theater actors. >> +1 in Communication. Not cumulative
They sometimes come to rehearse with a possible Reputation bonus.
comedic scenes and acrobatic
performances in the Cour des Épées. ❑❑ Networker: Your support
network extends beyond your close circle.
You can even get recommended for services.
During character creation, it's possible to ❑ Influential Person:: -1 
lose checked boxes. You cannot lose more Earnings.
boxes than are available. For example, if you
have 1 checked box and you are told that you >> +2 in Communication. Replaces the
lose 3, erase the one you have. You become +1, not cumulative with a possible
a Solitary (see below). Reputation bonus.
The modifier (bonus/penalty) of  Deus ex machina: You have
relationship level affects your ability to get the ability to make and break careers and
something from the said person. You start reputations. + 1  Standard of living.
the game with your Disposition (Disp) score
to represent the number of people with
whom you can maintain useful relationship 18 6 3 4 5

43
 Cost of Relationship Actions
❑❑❑❑ Favor: You receive a favor
from someone who can help you.
Effect: + 1  Earnings or +1 
Experience or+1 Nerve. Long action.

❑❑❑ Protector: A personality

protects you and looks after your interests.
Or you are yourself the protector of a
beneficiary. Effect: + 2  Earnings or +2 
Experience or +2 Nerve. Long action.

❑❑ Change of Life: You

progress or regress by one rank in social
origin. Example: Beggar > Worker, Servant.

❑ Conspiracy: Loss of one

Reputation point for the targeted person or
 of Nerve if it's an attack or an
assassination attempt executed by third
parties. Long action (1d6 months) at the
discretion of the Masque. If the plot is foiled,
Relationship points are still lost.

❑ Return to Grace: The

targeted person progresses by one rank in
social origin or avoids a fine and/or
imprisonment.

 Disgrace: You can block the

social ascent of a person or make them
regress by one rank in social origin.
Example: intervene with a decision-maker to
slow down or cancel the acquisition of a title
or noble charge.

 Mercy: The targeted person

avoids the death penalty or a downgrade in
their social origin.

44
 Experience Points (XP)
Each adventure successfully completed
by the Company is a feat. Each feat deserves
and justifies the gain of one experience point
for all participants. Several sessions can
unfold without real feats or decisive victories
over adversity (e.g., investigative scenario).
The gain can be deferred at the Masque's
discretion. However, one can count 1 point
per action scene or key actions (1 to 3 points
for a short adventure, 4 to 6 for a "feature-
length" scenario, and up to 12 points for a
Campaign). The maximum number of
cumulative points is 6.
How to Allocate Experience
Points?
Skills:
-  = 1 new level 1 skill.
-  = 1 additional level in a skill.
- Prodigy = number of experience points
equal to the score to be achieved, up to 5 .
- Reputation = number of experience
points equal to the score to be achieved +1,
up to 5 .
- Relationships = number of experience
points equal to the score to be achieved, up
to 5 .
- Talents:    allow gaining a second
level 1 talent, 5 points a third, and 6 for
subsequent ones.
-   = +1 level in a talent of your
choice.
- Attribute: against     and a
successful roll of 1d20 equal to or higher
than the target score = +1 in the attribute. If
the roll fails, the player loses 1 experience
point. They can retry as long as they have 5
boxes to spend, a maximum of two times.
Faith:  = + or - 1d6 points.
45
Benefiting from Stroke of Luck
During the game, when a player rolls a
natural 1 or 20, they can learn from this
exceptional success or failure. To do this,
they can roll 1d20 on the skill or talent used
(excluding Combat skills) to increase it by 1
level. This means that to increase a skill to
13, they must roll 14 or higher.
In the case where the roll leading to the
"natural" exceptional result was made using
a prodigy point, the player can also roll 1d6
on the Experience score to increase it by 1.
This means that a player with 0 experience
points would automatically pass the d6 test,
and a player with 3 XP would need to roll 4
or higher with 1d6 to increase their
Experience score by 1.
Flavia is starting the game and
therefore has no experience points. It is
the Alea Cards that will allow her to
review her life before entering the
adventure. This way, she can enhance
her character sheet based on her
experiences. Her player plans to
improve her Reputation and
Relationships when the time is right.
19 1 4 5 6
 Earnings Standard of living
Permanent Effects of Earnings
During character creation, the player can
❑❑❑❑❑ Destitute. You own nothing. mark a number of boxes equal to Earnings,
or fewer, as they see fit.
❑❑❑❑ Poor. You only have a few
personal belongings. ❑❑❑❑❑ Frugal. You count your
pennies.
❑❑❑ Comfortable. You own
property. ❑❑❑❑ Reasonable. You indulge in
small extras but stay within your budget.
❑❑ Wealthy.
❑❑❑ Comfortable. You don't
❑ Rich. mind spending. You can spend 25% more
than you earn.
 Filthy Rich.
❑❑ Princely. You love luxury.
You can spend 50% more than you earn. +1
Earnings according to Social  Reputation when this threshold is reached.
Origin
Earnings Origin ❑ Lavish. You go overboard.
You can spend 75% more than you earn..
❑❑❑❑❑ Beggar +1  Relations when this threshold is
reached. +1 Studies or +1 Supply Bonus,
❑❑❑❑ Worker - Servant Peasant which is a usable item at +1 in equipment.
(Manant) All used equipment is considered of
❑❑❑❑ Farmer - Craftsman superior quality.
❑❑❑ Petty Bourgeoisie
 Extravagant. You squander.
❑❑ Upper Bourgeoisie Bourgeois You can spend 100% more than you earn. +1
social rank. For example, Beggar > Worker.
Nobility of the
❑❑❑
Robe
Nobility of the Noble
❑❑❑
Sword
Living above your Lifestyle
❑❑ Court Nobility
= Lifestyle > Earnings : In 1d6 months, the
character is ruined and suffers severe
consequences, at the discretion of the
Flavia starts her life in Paris with almost Masque.
no Earnings and a Standard of living that is
primarily dependent on that of her uncles. To decrease the Lifestyle, simply remove
The few street performances she has the corresponding number of boxes in
attempted recently have not yet allowed her Income.
to improve her daily life. Therefore, she
does not fill in any boxes for these two items
at the moment.

46
 Talents
At creation, the character benefits from a
special talent based on their career. This
determines a field of expertise and
essentially gathers a range of "many strings
to their bow" in a specific domain. The
implementation of a talent generally
constitutes a long action.
That means the character dedicates
several hours or days to do nothing else. The
Masque may determine that the result may
take additional time to materialize. Even if
the character has rejoined their company and
the results are slow to come.
For example, the characters have just
arrived in an unfamiliar city. One of them
uses the Corporation talent to quickly meet
someone who can guide them and possibly
help them settle. The talent is used when no
skill or attribute can substitute for it, in an
unusual context or as a reinforcement for an
attribute or skill test under appropriate
circumstances. The difficulty level for a test
may then decrease by 1 every 4 talent levels.
In some situations, it will be used like a
gift, a special power, or even a skill. It then
develops like a normal skill. The character
has 4 levels to put into a talent chosen from
those proposed in the table on the following
page, based on their Archetype. With
Experience, the player can choose new
talents outside their character's archetype.
They add an attribute bonus, noted in
parentheses.
Artist (Disp) : +1 every 3 levels to creativity
skills. +1  Relations every 5 levels.. +1 
Reputation or +1  Earnings.
Moral Authority: Encourages people to
make a personal decision thinking that it
aligns with a doctrine they adhere to.
Guaranteed Respectability (equivalent to
Reputation + 1  every 4 levels) auprès de
personnes de même obédience. with people
of the same persuasion. The character gains
+1 every two levels in persuasion
(boniments) & rhetoric. A successful test
allows them to confer a box of Nerve to their
entourage 1d6 times per game. The character
also gains one contact per level among
intellectuals and men of wit.
Clientele (Disp): Allows obtaining all
desired entries and favors at Court: +1 
Relations per 3 levels. The character's
archetype becomes: Courtier. A successful
test allows knowing or finding an
intermediary who can facilitate a meeting.
The character gains +1 / 2 levels in Etiquette
and Gossip, and the character also gains 1
additional contact (in specific circles) per
level.

Talents are not associated with aptitudes.

Talents bring different bonuses depending
on the number of levels, excluding any
potential bonuses. That is, the total with the
attribute bonus is only used for rolls on the
difficulty table.

20 2 5 6 1
47
 Archetype Possible Talents
Tumbler, juggler, acrobat Showmanship – Marginality – Magnetism – Verdancy

Monk Magnetism – Verdancy - Local Knowledge

Scheming – Demeanor - Honesty – Clientele –

Noble, Courtesan
Wardrobe

Sword Noble Officer Training – Honor – Honesty – Renown

Priest Magnetism – Honesty – Clientele – Moral Authority

Actor, peddler Magnetism – Showmanship – Clientele – Wit

Bourgeois, Merchant Local Knowledge – Scheming – High Seas – Guild

Musketeer Officer Training – Honor – Terroir – Verdancy

Scholar Honesty – Magnetism – Demeanor – Renown

Sailor High Seas - Verdancy - Warrior

Officer, Civil Servant

Scheming – Honesty – Clientele – Wardrobe
(police and justice, taxes)

Rogue Marginality - Verdancy - Scheme

Renown (related to a feat of arms) – Local Knowledge

Soldier
– Verdancy - Warrior

Servant, valet, lackey Scheming – Local Knowledge – Verdancy

Gypsy, Witch, Wizard Scheming – Mediumship – Esotericism - Magnetism

Proletarian, Worker, Farmer, Local Knowledge – Verdancy – Guild – Renown

Artisan (linked to a masterpiece or famous project)

Dilettante Bourgeois Scheming – Demeanor – Wit – Wardrobe

Magnetism – Clientele – Renown (linked to a work) –

Artist
Demeanor

Noble, Courtier Scheming – Demeanor – Wit – Clientele – Wardrobe

Bourgeois, Businessman Scheming – Demeanor – Guild – Wardrobe

Freethinker, Pamphleteer Demeanor – Wit – Clientele

Vagabond Scheming – Marginality - Terroir – Verdancy

48
 Guild (Rea) : The character has
connections among various trade guilds
(weavers, tanners, blacksmiths, etc.). A
successful test allows them to obtain
information about general principles, modes
and channels of production, and the sale of
goods and services. They gain one contact
per level with different guilds. They also
gain a +1 bonus per level in the skills Legal
Affairs and Bargaining.
Elegance (Sense): Allows the character to
always have that personal fashion touch that
makes all the difference! +1 in Persuasion
and Acting every 3 levels. +1 in Disguise
every 8 levels.
Esotericism, Rituals, and Spells (Mind):
The character has access to ancient, hidden,
and secret knowledge that allows them to
mobilize forces beyond the understanding of
the uninitiated. The application of this
knowledge is shrouded in mystery.
Whenever the character encounters
something mysterious, the Director can have
them take a test to obtain more information.
The character also adds a temporary +1,
every three levels, to all their skills when
attempting an act perceived as supernatural
or miraculous by the layman.
Wardrobe (Mov or Mind): Allows
having a wardrobe suitable for the
circumstances. +1 in Disguise and Stealth
every three levels.
High Seas (Agility, Dexterity, or Mind):
The character has lived on a boat. A
successful test provides information about
the navy (specialized term, characteristics of
a ship, major maritime routes...). The
character gains +1 every two levels in two
skills among swimming, geography, and
technical skills. A boating test (boat, barge,
raft) is possible with this talent.
Warrior (Sense or Mov): The character
is a warrior... Having experienced more than
one battle, they have also lived through war
and will live through it again. It has left its
mark: they lose one point in Mood right from
the start. Mastery of a combat weapon
49
through learning related techniques is
insufficient to be a dangerous opponent.
Therefore, it will be considered that a person
who has truly experienced war, familiar with
the life of an army in the field, mass killings,
"efficiency above all," masters the art of
fighting better than a technical master of
arms. They learn to view the opponent as an
enemy; their technique is based on instinct
and survival. The character gains a +1 bonus
every three levels in all combat skills as well
as in the skills of first aid and gunpowder.
Every three levels, the character suffers a
wound that leaves a scar (define the location
with the D20 in the usual way).
Officer Training (Mind): Knowledge of
uniforms, ranks and staff officers,
companies, their weaponry, and military
strategies. The character gains +1 every two
levels in leadership, +1 Reputation every
three levels, and +1 every three levels in a
combat skill.
Honor (Disp): Being a man or woman of
one's word, trusting and applying moral
principles to the letter. Cultivating and using
moral rigor to help someone or resolve a
difficult situation. Automatically gains 1
point of Honor Prodigy and 1 Reputation
every 4 levels. Each use of a dishonest skill
loses 1d6 levels. At 0 levels, the talent is lost.
Gains a Reputation as a person of honor.
1 3 6 1 2
 Honesty (Disp): Automatically enjoys a
reputation for honesty, +1 in Reputation
every 4 levels. His word is readily trusted,
and he is always favored as a trustworthy
witness. Additionally, being affable, the
honest man or woman knows how to be
polite and courteous in all circumstances,
always being discreet when necessary and
making any conversation nonetheless
attractive.
+1 to the difficulty level of Scheming or
Gossip against the character, every 4 levels.
Scheming (Disp/devious/Astuteness): It's
necessarily a long-term action (duration at
the discretion of the Masque). You know
how to manipulate people in your circle.
Blaming someone else for your actions,
gaining various support to plot against
anyone who might stand in the way of your
ambitions...
If the test is successful, it allows
modifying one's own reputation or someone
else's by +1 or -1 box. +1 every 4 levels in an
Astuteness skill.
50
Charisma (Disp/Creativity):
The character exudes a particular,
unsettling, or hypnotic aura on people
(Mesmerism). His reputation is inevitably
related. The character gains +1 every two
levels in two communication skills. A
successful test allows evoking an emotion,
pain, or relief in a targeted person.
Demeanor (Disp min. 15 and etiquette
min. 9; / Comm.): Having an impeccable
physical and mental appearance. Exerting
fascination on an audience by simply being
present. The character imposes a penalty of -
1 every two levels against any scheming
directed against him. The character enjoys a
necessarily good reputation. The character
gains +1 every two levels in etiquette.
A commoner must have an Intelligence of
14 to acquire it.
Marginality (Mov or Disp / devious /
Cunning): The character has lived with
criminals and/or brigands. A successful test
allows gaining information about the
environment (secret codes, slang...). The
character gains +1 every two levels in two
Cunning skills or in locksmithing. The
character acquires a contact in the
underworld every 4 levels.
Mediumship (Disp / Technical skill):
The character has a special gift that allows
predicting an upcoming event, sensing the
presence (beneficial or malevolent) of a
person, or contacting the spirits of recently
deceased individuals. Specify the nature or
the method used (cards, palmistry,
pendulum, deceased animals, intense
concentration, visions, "flashes," etc.).
Renown (Disp): The character is easily
known and recognized. They gain 1
Reputation point for every 3 levels in this
talent (rounded down). This renown is linked
to a specific event in which the character
distinguished themselves. This early
recognition allows the character to progress
more quickly.
 Showmanship (Mov or Disp) :
Entertainment - The character has lived
among actors and performers. They also
know how to organize a village festival or a
high-society evening, captivating an
audience. They gain +1 every two levels in
two skills among acrobatics, throwing
weapons, singing, acting, and music
(performer).

Local Knowledge (Mind or Disp): The player chooses the talent

Knowing a specific region and its "Spectacle" for Flavia. Between Mood
inhabitants, landscapes, legends, hidden and Movement, Movement is the best
corners, and unusual places. A successful
attribute for the entertainer. She
test also provides general information related
designates it as the reference bonus,
to agriculture and farm work. The character
facing this new talent. She starts at level
gains +1 every three levels in botany,
cooking, and first aid. Upon acquiring the 4 in this talent, to which the Movement
talent, they receive +1 in legal affairs, attribute bonus is added, reaching a score
bargaining, +1 in Vigor, and +1 in mastery of 9.
of a local weapon. A direct relationship gains
+1. With level 4, she can therefore
achieve a score of +1 in 4 skills or +2 in
Wit (Mind): This ability, inspired by the 2 skills. She chooses Throwing and
movie "Ridicule," allows shining in society Acrobatics as follows :
while subtly mocking one's victim with well-
chosen remarks. The action must be "played"
to be effective, only using dice as a last resort
(roleplaying, as the Anglo-Saxons say). The
character gains +1 every two levels in
Ridicule and Fine Arts. A well-timed witty
remark during the game can immediately
earn a Reputation point. A successful test can
modify the victim's reputation. Beware of
retaliation.

Verdancy (Vig): The character gains +1

in all physical skills (except carriage driving)
and a permanent point of stamina every 4
levels. So, progression occurs one point at a
time, except at creation where progression is
as many points as needed. They gain a life
expectancy in additional years equal to their
Vigor score. Any age-related penalties are
shifted accordingly. The rule regarding
character aging can be found at the end of
this book.

51

Skills
The Archetype is linked to the social
origin; it expresses the character's parents'
occupation or their profession before
embarking on the adventure. The Occupation
box on the character sheet indicates the
Career that the character currently pursues.
At creation, it's the chosen Career that
Niv. Don't forget to develop your dodge
skill!
Attention, the maximum score allowed
at creation is 18.
Unskilled Skills
Skills in which you have not acquired a
base level are unskilled. This means that if
the Masque asks you to make a test in a skill
in which you have no mastery level, you
must roll the die only under the
corresponding aptitude, without adding any
bonuses.

Example: If Flavia had no level in

Acrobatics, she would have to roll the die
under the Physical aptitude, without her
Agility bonus, in this case, with a base of 5
on the action resolution table.

All skills marked with an asterisk (*)

defines the skills. They are rated from 1 to 20
cannot be tested without at least one level of
(1 = novice, 20 = grand master) and consist
mastery. Without a level score, if a test is
of the base level, which evolves with
required, failure is automatic.
experience, an aptitude bonus, and, if
applicable, an attribute bonus. A character
You will find the complete list of skills
played only once for an introductory session
will be allocated 72 + 4d6 levels to distribute based on aptitudes and attributes after the
among all skills. The player chooses and following example:
distributes the skills as they wish. In any
case, no skill can exceed a score of 18 with
or without bonuses. They do not draw Alea
cards; the character is ready to play.

Campaign Play : A campaign is a

series of scenarios. This means that this
creation mode corresponds to evolving the
character over a long period. The player
chooses from the table on page 55, a basic
skill at level 6, 2 skills at level 5, and 3 skills
at level 4.
The player then has 9 levels to distribute
among "hobby" skills. They can choose them
outside the chosen Career/Occupation or
strengthen skills up to a maximum of 6
points/base level per skill. For example, they
can buy 9 new skills at level 1. These scores
are noted under Level (Niv) in the formula.
Experience additions are also recorded in

52
 Example: Martin, a vagabond laborer,
decides to be armed to live in a city. For the
talent of his choice, he chooses Riding. As a
"hobby," he chooses to train in brawling,
adding 2 points. He loves his native
countryside, adding 1 point. He learned to
swim in the lake near his home (+1 point).
He started learning the basics of reading and
writing (+1 point), and he won't let insults go
unanswered (+1 point).
- Local Knowledge (talent) + 4 +1 non-
applicable Mind 10 = +1 : 6
- Resourcefulness + 6 + 3 disp 12 = + 2 : 11
- Craftsmanship (wood) + 5 + 5 dex 14 = +
3: 13
- Brawling + 5 +2 + 3 agi = 12 = +2 : 12
- Bargaining + 4 + 3 hum 12 = + 2 : 9
- Riding + 4 + 4 emp 13 = + 2 :10
- Swimming + 4 +1 + 4 vig 15 = + 3 : 12
- Reading and writing 0 +1 + 1 esp 10 =
+1 : 3 during their adventures, they may
- Mockery 0 +1 + 3 hum 12 = +2 : 6
- Dodge 0 +3 + 3 Agi 12 = + 2 : 8
Result: Martin will be relatively
resourceful, but above all, he is a skilled
worker. He can defend himself in brawls,
makes a very decent rider, and knows the
countryside and its inhabitants well. He is
capable of negotiating provisions at a good
price. If he falls into the water, he will always
manage, but he knows the alphabet only to
decipher simple phrases. His spelling and
syntax are lamentable. He is outspoken but
not yet as quick-witted as a street kid from
Paris.
Flavia's player chooses the skill Climbing with
a base of 6 points, Juggling / Sleight of Hand
at 5, Throwing at 5, where she already has 2
levels, bringing her to a score of 13. Then
Stealth and Resourcefulness at 4, and finally,
Training at 4, with the specialization Taming
(wild animals, such as wildcats and large
predators), which brings her to a score of 10.
The Man or Woman of the
Renaissance
There is a type of character who is
the heir of the great discoveries, the
cultural and artistic effervescence of
the previous century, but also of the
declining chivalrous ideal under
François 1er and living its last
moments at the Court of Henri IV. A
type of man and woman eager to move
forward, to explore the world, to study
new sciences, to invent, to innovate.
In short, a pioneer who relies on noble
values to defend and transmit.
This character is recognized by the
fact that they perceive the Talents of
Honesty and Honor as their own.
They have a Mind or Disposition
equal to or greater than 18. If they
have not acquired these characteristics
have drawn the corresponding Alea
card "Man or Woman of Honor" when
creating the character or obtained the
2 talents and a score of 18 thanks to
random cards.
When this is the case, the
character's abilities all become a
score of 5. If they lose one of the two
mentioned Talents or if their Humor
or Spirit attribute falls for any reason
below the score of 18, they revert to
the Ability values of their last Career.
Each time they create a
masterpiece, an exceptional work (1
time/year max.), invent a remarkable
technique or object, they gain 1
Prodigy point, at the discretion of the
Masque.
They automatically gain the
Teaching or Inventing skill at level 6.
3 5 2 3 4
53
 Skills acquired by archetype
Careers / Archetype Acquired Skills List
Juggler, entertainer, Acrobatics – Resourcefulness – Throwing Weapons – Stealth – Climbing –
acrobat Juggling & Concealment or Training

Monk, Nun Reading and Writing – Liturgy – Theology – Latin & Greek – Craftsmanship -
One of your choice
Noble, Courtesan Etiquette – Fine Arts – Games – Reading and Writing – Gossip and Rumors -
Languages
Sword Noble Fencing - Etiquette – Riding – Reading and Writing – History - Command

Priest Reading and Writing - Etiquette – Faith – Liturgy – Latin & Greek - Languages

Actor, peddler Boniment – Comedy – Games – Mockery – Fine Arts - Disguise

Bourgeois, Merchant Reading and Writing - Appraisal – Bargaining – Etiquette – Legal Affairs – One
of your choices
Musketeer Fencing – Firearms – Gunpowder – Brawl – Riding – Reading and Writing

Scholar Reading and Writing – Latin & Greek – History – Sciences (x 2) – Languages -
Teaching
Sailor Navigation – Geography – Swimming – Gunpowder – Alcohol Resistance –
Brawl
Officer, Civil Servant Reading and Writing - Appraisal – Gossip and Rumors – Etiquette – Legal
police & justice, taxes Affairs - Command

Rogue Stealth – Resourcefulness – Climbing - Bargaining – Brawl - Raillery

Soldiers Fencing – Firearms – Gunpowder – Brawl – Gunpowder – Alcohol Resistance

Servant, Valet, Lackey Gossip and Rumors – Cooking – Driving – Etiquette – Resourcefulness - Stealth

Gypsy, Witch, Wizard Liturgy – First Aid – Science - Botany – Stealth – Lying - Inventing

Worker, farmer, Artisan Craftsmanship – Resourcefulness – First Aid – Bargaining – Brawl – One of
your choice
Dilettante Bourgeois Gossip and Rumors – Lying – Cooking – Sewing – 2 skills of your choice
(excluding physical or combat)
Artist Reading and Writing – Art Practice – Appraisal – Fine Arts – Clientele – One of
your choice
Noble, Courtesan Etiquette – Fine Arts – Games – Reading and Writing – Gossip and Rumors –
Legal Affairs
Bourgeois, businessman Reading and Writing – Legal Affairs – Languages – Appraisal – Geography –
One of your choice
Freethinker, pamphleteer Reading and Writing – History – Sciences – Literature - Fine Arts – Gossip and
Rumors - Inventing
Vagabond Stealth – Survival – Climbing – Pickpocket – First Aid - Lying

54

List of the most common skills
After each attribute name, you will find a
list of associated skills. For each skill, the
attribute bonuses to apply are provided along
with a description. When separated by a "/",
the more advantageous score of the two
prevails.
Note on deceptive skills: They are
prohibited for the honorable person and the
honest person.
The player portraying Flavia chooses
Equitation (Riding) as the first "hobby" skill,
mastering it with a score of 7 (1 level +
Ability 5 + Mood 10, so +1). Then, she
selects Swimming and Carriage Driving.
While not impressive scores, they suffice to
navigate through challenges.
Riding
PHYSICAL
55
Acrobatics (Agi): Leap, cling, and swing
from the chandelier in the grand hall of the
castle or perform a perilous somersault over
your assailants from the large table, landing
behind them.
Carriage Driving* (Emp): Steer a
carriage or a cart through the crowded streets
of Paris, sometimes requiring heroics.
Running (Agi + Vig) /2: Run swiftly and
continuously, on roads or through fields. The
average speed is 6 to 10 km/h for 3 or 4
hours. In case of a foot chase, the player can
make tests under running instead of Agility
or Endurance. If successful, they can manage
their effort and gain an extra length (see the
chase chapter).
Riding (Emp): Mastering a horse that is
getting agitated, making it jump over a
hedge...
Climbing (Agi): Climb trees, scale a
wall.
Throwing (Emp): Useful in combat but
not limited to it—hit far, accurately, and on
target.
Swimming* (Vig): Know how to swim,
fast or for a long time.
Alcohol Resistance (Vig): Drink and
keep drinking without fear of collapsing
dead drunk, or even waking up with a
hangover.
 TECHNICAL SKILLS
Craftsmanship (Dex)*: Enables one to
make a living from their production.
Knowledge of the corresponding Guild
(Forge, leatherworking, tailoring, etc.).
Cooking (Taste + Dex) / 2: Prepare a
meal for a large gathering, replicate classic
recipes. Some have made a name for
themselves with just a sauce...
Gunpowder and Cannons: (Dex + Mind)
/ 2*: Weapons, cannons, grenades, and
barrels are handled with this skill. Allows for
efficient handling of explosives without
taking too many risks. A successful test
enables reloading in one initiative action.
Music (Interpreter) (Dexterity / Hearing +
Dex) / 2*: If successful, allows the audience
to gain 1 point of Faith.
Navigation (Mov + Rea) / 2*: From
simple coastal navigation to piloting a
galleon. For warships, it is essential to have
the Officer Training Talent. It is likely that
the Game Master will also call for
Leadership checks whenever the navigator
relies on a crew.
First Aid (Mind + Emp / 2)*: Apply a
bandage, reset a dislocated shoulder.
Locksmithing (Dex)*: Know how to
manufacture locks and, of course, know how
to pick them.
Her player decides that Flavia learned
lockpicking while she was still in Geneva.
Indeed, she had to get her first love out of a
tight spot. An apprentice at the printer Paul
Estienne, he allegedly printed, without
informing his master, a French translation of
the Fama Fraternitatis. With her lover on the
run, she had to sneak into the workshop at
night to retrieve the copies incriminating her
boyfriend and make them disappear.
56
STUDIES
Legal Affairs* (Mem): understanding of
law and economics. Navigating bureaucracy.
Botany* (Mem): knowledge and use of
plants.
Appraisal* (Emp): knowing the market
value and condition of rare objects or pieces.
Geography* (Mind): Knowledge of
regions and capitals in Europe, the Orient,
and the New World, as well as major
communication routes.
Greek & Latin* (Mem): essential for
deciphering ancient scrolls and grimoires.
Mastered with a score of 18, this skill also
allows for translating Arabic and Chinese
writing.
Medicine & Surgery* (Dex+Emp) /2:
diagnosing and determining the remedy.
Closing a wound, removing a bullet,
amputating a leg, etc.
History* (Mem): knowledge of major
events from the past few centuries and
legends.
Read & Write* (Emp): Between 1 and 4,
the character decrypts a message and can
write a few simple words. Between 5 and 9,
the character can read and write normally.
Starting from 10, they are comfortable with
books and quills. They can quickly search for
information in a book, transcribe a complex
text, or take notes under rapid dictation.
Liturgy (Mem+Hum/2): expression of
faith, knowledge of all readings, prayers, and
rituals constituting a worship service, as well
as their implementation.
Theology* (Esp): understanding of the
texts and doctrines of the main Christian and
Jewish currents.
 Sciences (Esp): Specify your specialty or
specialties:
• Biology & Natural Science
• Astronomy – Astrology
• Alchemy
• Mathematics and Physics
Her player believes that Flavia
learned to read and write, and she is
somewhat proficient in foreign
languages. To explain this, she
envisions that Flavia's uncles
recovered some books they intended to
sell during the pillages resulting from
their mercenary profession. Since none
of them could read, they enrolled
Flavia in a school run by a Calvinist
pastor and funded by Geneva printers.
It was in these classrooms that she met
Friedrich, her boyfriend, among a
diverse group of nationalities of
printing workers and servants of the
master printers.
57
COMMUNICATION
Belles Lettres* (Mem): Familiarity with
popular authors, classics...
Boniments/Rhetoric (Disp): Technique
involving praising the merits of something in
a way that persuades someone to think like
you.
Singing (Emp + Hearing) / 2: 1 success
allows the audience to gain 1 Reputation.
Comedy (Emp): The art of acting in
comedy.
Command (Disp): To command, lead
people (leadership). Impose or inspire
respect. Invent a tactic or combat strategy.
Everyone has their style, authoritarian or
liberal, as long as people follow.
Etiquette* (Mind): Rules, customs &
traditions of the original social category
(peasant, bourgeois, nobles). At court,
someone unfamiliar with etiquette risks
being ridiculed or simply thrown out. Also
used to know the latest fashions and trends.
A critical failure in Etiquette generally
results in the loss of one Reputation point
with characters of the same social rank.
Languages* (Esp): To manage when it
comes to speaking with a foreigner. ND
depends on the proximity to the native
language. Example: Chinese = ND Heroic.
Bargaining (Disp): To lower or raise
selling prices in your favor.
Gossip & Rumors (Mem) disloyal: To
find out everything about someone or to
whom to tell a secret so that someone else
eventually finds out..
5 1 4 5 6
 Mockery (Emp): A well-crafted and
well-delivered insult lowers the Reputation
of the targeted person by one point and tends
to annoy them considerably (-1 ND on their
next action)!
CUNNING
Smuggling (Mind), Dishonest: This is the
counterpart to Legal Affairs. Finding or
bringing value to what can only be sold
illegally.
Training (Emp)*: Choose a specialty
(+2). Falconry, hunting, taming (dominating
a wild animal)...
Resourcefulness (Hum): Urban survival,
finding something to drink, eat, information,
or a place to sleep...
Disguise (Emp): Taking on the look and
appearance of someone.
Stealth: (Movement + Emp -2)
Discretion, concealment, tailing.
Games (Esp): Knowing the rules of a
game, detecting a cheater, devising a strategy
to win.
58
Juggling & Sleight of Hand (Dex)*:
Using dexterity to give the illusion of
animation or the appearance and
disappearance of objects.
Survival (Disp): Similar to
resourcefulness but outside of cities, specify
the environment (forest, desert, winter,
mines...).
Pickpocketing (Dex), Dishonest: Cutting
purses, snatching bags and baskets from
ladies.
CREATIVITY
Architecture, Engineering* (Rea): The
talent of builders and inventors.
Fashion Sewing* (Emp + Dex -2):
Creating sumptuous dresses, setting and
undoing fashion trends.
Teaching (Emp): Long action. Allows
once per session to increase another
character's skill by one level. This can only
be done with skills mastered from level 6
onwards. This means that the Aptitude and
Attribute bonuses are not taken into account.
To teach a new skill unknown to the other
character, it must be mastered at level 10.
Inventing (Esp): Long action. Once per
session, the character can introduce a
technical or theoretical innovation that
allows them to create an object with a
permanent bonus of +1 to its use. Never
twice in a row on the same type of object and
effect. This means that if they create a +1
sword, they won't create another one or
improve the existing one.
Literature* (Hum + Esp -2): A love
letter, a devastating pamphlet, or a play that
will still be performed four centuries later—
France has triumphed in this field.
Lying (Emp + Mem-2): The ability to
make anyone believe anything. The more
outrageous...
Music* (Composer) (Hearing):
Composing a catchy tune that all the kids in
Paris will sing along to, an opera with a
political message, or the tune the King will
dance to at the next ball.
Painting, Sculpture* (Dex + Hum -2):
Creating lifelike sketches, knowing the
techniques and styles in vogue.
COMBAT
Archery /Bow and Crossbow (Sight +
Hum)/2: It includes all projectile weapons
like arrows or bolts.
Firearms (Sight + Hum)/2: It's common
for these weapons to jam or even explode.
Firing in humid weather always poses a
problem: the powder becomes less reliable,
or even unusable.
Throwing Weapons (Str + Agi)/2: Knife,
stone ball, tomahawks, javelin. Anything
sufficiently weighted and sharpened to be a
throwing weapon. Throwing a chair
constitutes a Feint action in Brawl and
Wrestling.
Brawl & Wrestling (Combat / Vig):
Kicks, punches, or grappling, throwing, and
restraining bare-handed, with a blunt
instrument (club, stool, mug), or a dagger.
Modern Fencing (Mouv): With the
rapier, saber, or foil, striking, thrusting, etc.
Medieval Fencing (Agi + Str)/2:
Handling longswords, polearms, shields. It
also includes moving in full armor.
Dodge (Agi): This skill is very useful for
avoiding ambushes. Dodging often
constitutes the last resort.
59
Gunpowder: See Firearms and
TECHNICAL SKILL.
Throwing: See Throwing Weapons and
PHYSICAL.
Mockery : See COMMUNICATION.
Combat Techniques
Learning combat allows the character to
acquire specific combat techniques. Thus,
for each martial skill, the character can excel
in several techniques. They cannot master
them all from the outset of the game. The
acquisition of these techniques depends on
the character's training and their mastery of
the skill (number of levels in the skill,
without Aptitude and Attribute bonuses).
The player has three points
remaining for Flavia's "hobbies" out of
the 9 allowed. She chooses Archery
and Crossbow, as without it, she
wouldn't be able to perform her
tightrope act with crossbow shooting.
Then, she selects Brawl and Wrestling
to defend herself in case of aggression
and always come out honorably in the
numerous brawls triggered by
customers in the cabarets. Finally,
Dodge, to achieve full proficiency in
both combat situations and acrobatics
performed for a show.
6 2 5 6 1
 Combat Styles, Fencing Schools
The player chooses a combat style or
fencing school for their character,
determining which techniques they excel in
– acquired for free, independent of skill
levels. Once a character becomes renowned
for their dueling skills, it's likely their style
is known to other duelists, requiring a
reputation check. Fencing styles can only be
chosen if the Fencing skill is acquired.
French Style: Stable posture, vigilant
eyes, confident steps, facilitating parries and
dodges, but attacks less frequently. The left
hand is used, which can be replaced by any
object that fits in the hand (stool, hat,
candlestick, etc.).
> Left hand, counterattack, and body
feint.
Italian Style: Fast steps, lightning-fast
attacks. Prioritizing energy and surprise
sometimes comes at the expense of a good
guard.
> Lunge, counterattack, and feint.
Spanish Style: A latecomer,
incorporating principles from the previous
two styles but canceling out their
advantages.
> Left hand, lunge, and reflex parry.
Street School: Not a fencing style but
an education in brawling. Generally learned
at a young age, it can be a guarantee of
personal survival.
> Low blow, counterattack,
takedown.
Old School: Some started here, not
necessarily novices, but are considered
amusing old-timers. This school allows
proficiency with ancient weapons and
provides a good foundation for medieval
fencing.
> Shield, charge, and strike.
Flavia is going to master the Street
School. She could have been taught the Old
School by her uncles, but the frequent
tavern brawls she witnessed during their
travels lean her more towards this style.
Thus, she acquires Low Blow,
Counterattack, and Takedown. However,
she only benefits from one mastery level: a
score of 6 but at level 1. Therefore, she
cannot acquire an additional technique at
the moment. As soon as she reaches the 2nd
level, using the Experience system, she will
be able to purchase a new technique.
Handedness / Right handed
Roll 1d12 for the right arm and 1d6 for the
left. The d12 corresponds to the right arm,
the d6 to the left. Depending on the
superiority of one die over the other, you are
right-handed or left-handed. In case of an
even result on both dice, you are
ambidextrous. In case of an odd result, reroll.
This is of fundamental importance for
fencers: ambidexterity allows a natural
mastery of the two-weapon combat
technique of medieval fencing and the left-
hand technique of fencing. Of course, one
must master the relevant skill before
mastering the technique.
The player rolls the dice: the d12 shows
a 4, and the d6 shows a 1. Flavia is right-
handed.
Mastery of Techniques
For each range of several basic levels in a
skill, the player can choose an additional
and
combat technique combinable in the relevant
field. Next to the technique's name is the
difficulty level to consult on the action
resolution table: ND = difficulty level.
Heroic = ND Heroic / Diff. = ND Difficult
VD = ND Very difficult / Avg = ND
Average
60
  Brawl and Wrestling 1 tech. / 2
levels. 
Arm Lock – Immobilization / Diff. / a
hold that immobilizes the opponent. This
technique can also be used to free oneself
from an immobilization.
Low Blow / Diff. / Very painful and
dishonest strike. A blow to the stomach or
face that stuns the opponent, causing them to
lose all actions for this initiative round.
Blinding with a sufficiently obscuring object
is possible. For example, a cape, sheet, sand,
not a hat or gloves, but a bowl of hot soup
are objects that can blind.
Ram's Blow / Avg. / Charge to the
abdomen or chest with the head forward.
Throws the opponent to the ground.
Unstoppable but evadable.
Fall Grab / Diff. / Counteraction against
a throw, immobilization, or ram blow that
offers the possibility of dragging the attacker
into the fall. Loss of initiative for both
protagonists.
Bear Hug / TD / Action that turns a
successful immobilization into a
strangulation.
Throw / Diff. / A grip that unbalances the
opponent and allows them to be thrown (over
their back, over a table, over the railing, etc.)
and make them fall.
Counterattack / Allows a simple attack
in response to a parried or exceptionally
dodged attack or a failed combat technique.
The ND is equal to the ND of the opponent's
failed attack.

High Kick / VD / Jumping kick reaching

the head.

Anvil / Avg. / a blow with both fists from

top to bottom. The opponent must be at least
one head shorter or lower, or on the ground.
The opponent can be stunned.

Strangulation / Avg. / Neck grip that, if

maintained, causes a cumulative loss of 1
fatigue point per successive grip action (1st
action 1 pt, 2nd action 2 pts, 3rd action 3 pts,
etc.)

Feint / VD / A move that cancels a

possibility of parrying. The opponent must
use two parry actions (or one or two reflex
parries if they don't have enough actions left)
if they want to parry (only one test). In case
of a feint failure, the attacker's next parry ND
is increased by 1.

Guard and Footwork: offers protection

by a guard: -1 ND on Dodge. Or to be always
in motion: +1 ND/opponent/4 levels,
meaning a level 12 allows imposing a
penalty of 1 ND on 3 opponents in front.

61
  Fencing 1 tech. / 2 levels
Attack – Parry, Secret Move / Diff /
Knowledge of a secret move that allows
parrying or using it for an attack. See the rule
concerning secret moves on Game
Mechanics chapter. Real or invented, it must
be given a name. A secret move must be
preceded by two successful actions allowing
the opening to place it. This skill develops
separately and cannot exceed the score of the
reference combat skill (see combat).
Left Hand / Grants the ability to use a
left-hand weapon: dagger, cloak, or fabric
wrapped around the arm. Parrying with a hat,
a chandelier, or any other improvised and
credible object can only be done once. See
the details on Game Mechanics chapter.
Butterfly / Diff / Attack from right and
left (drawing a butterfly). Allows making a
sweeping attack on two opponents in the
same motion. In case of a butterfly failure,
the attacker's next action ND increases by 1.

Masterstroke / Heroic / Non-lethal but Reflex Parry / +1 to ND per successive

humiliating blow. Same effect as taunting reflex parry within the limit of only one
but additionally, the "master" automatically heroic reflex parry. Allows an additional free
gains 1 courage point and Reputation if there parry.
are witnesses. The character must have
successfully performed at least one difficult Counterattack / Allows delivering a
action without being countered in the simple attack in response to a parried or
previous round. exceptionally dodged attack or a failed
combat technique. The ND is equal to the
Disarmament / Attacker's ND +2 / Parry ND of the opponent's failed attack.
action that, if successful, allows wrapping
the opponent's weapon and disarming them.
Feint / Very Diff. / A cutting blow that
cancels a possibility of parry. The opponent
must use two parry actions (or one or two
reflex parries if they don't have enough
actions) if they want to parry (only one test).
In case of a feint failure, the attacker's next
parry ND is increased by 1.

Lunge / Avg / Lightning-fast attack after

a step forward where the attacker lunges,
adding their weight to the strength of their
arm. +1 damage square.

Iron / Attacker's ND +1 / Parry action

that, if successful, blocks the blade, allowing
to get closer and follow up with a Brawl and
Wrestling action with a -1 bonus to ND.

Striking while Drawing / Diff. / Allows

delivering a blow while drawing (grabbing
or picking up a weapon) in the same action.
If the action fails, the blow does not land, but
the weapon is drawn. If the action
catastrophically fails, the weapon remains
sheathed or stays in place.

62
  Firearms 1 tech. / 2 levels 
Quick Loading / VD / Allows reloading
the firearm in 3 combat actions.
Dual Wielding Shot / Allows shooting
twice in one action. +1 to the ND of each
shot.
Blind Shot / Hér / Allows shooting
without seeing or looking at the target.
However, the target must be physically
reachable.
Shooting while Drawing / Diff. / Allows
delivering a shot while drawing (grabbing or
picking up a weapon) in the same action. If
the attempt fails, the shot doesn't land, but
the weapon is drawn. If the action fails
catastrophically, the weapon remains in the
sheath or attached in place.
Mounted Shot / Grants the ability to
shoot without having to make a riding test
when the character is on horseback.
Precise Shot / Provides the opportunity to
use an action to aim. Reduces the ND of the
shot due to distance by 1 or allows applying
a modifier of + or - 1 to 5 to the location roll.
Without firearms (matchlock, wheel
lock, or flintlock weapons), it is necessary
to spend 1 full Initiative to reload a weapon.
Moving while carrying a loaded weapon is
dangerous!
63
Protections
Each checked box allows for canceling
the corresponding injuries and fatigue.
To simulate wear, metal resists for the
same location up to 5 checks, while leather
resists up to 3 checks.
Attention: Mobility penalties (Speed =
Spd) accumulate but do not count in
combat; however, they are crucial in
pursuits.
Full Plate Armor ❑❑ Medieval type,
protects everything except the head. Spd -5.
A minimum Stamina of 9 is required for
proper movement. Penalty to Sensory tests:
-3. Loss of ❑ Fatigue per hour worn.
Bascinet ❑❑ : Protects the head.
Penalty to sensory tests – 1.
Metal Bracers ❑❑ :
Protects the arms. Spd.-1.
Chainmail Shirt ❑❑ : Medieval type,
protects the chest and abdomen. ❑ for arms
and legs. Spd -3. A minimum Vigor of 9 is
necessary. Loss of ❑ Fatigue every 2 hours
worn.
Cuirass ❑❑ : Metal breastplate,
protects the chest and abdomen. Speed -2.
Leather Cuisses ❑ : Protects the legs
Spd.-1.
Scarf and Hat ❑ : Protects the head.
Both must be worn together.
Leather Vest ❑ : Protects the chest,
abdomen, and arms. Spd -1.
Helmet ❑❑❑ : Protects the head. Spd -
1. Penalty to sensory tests – 3.
Metal Greaves ❑❑ : Protects the legs.
Spd -2.
Leather Breastplate ❑ : Protects the
chest and abdomen. Flavia wears a Leather
Vest.
8 4 1 2 3
  Medieval Fencing 1 tech. / 2
levels. 
Whirling Attack / Avg / Forceful attack
with a two-handed weapon that allows
attacking up to 4 opponents engaged in close
combat. If the first opponent dodges or
parries (considered as a deflection), the
second must then parry or dodge in turn, and
so on until the blow finally lands with a
bonus of +1 to damage. Only an
extraordinary success in parrying can block
the attack. If the attack test fails, the attacker
is off balance and offers an opportunity for
counterattack to opponents.
Secret Move - Attack - Parry / Diff /
Knowledge of a secret move that allows
parrying or using it for an attack. See rules
regarding secret moves.
Shield / allows the use of a shield (see
rules regarding shields).
Feint / TD / Strike that cancels a
possibility of parry. The opponent must use
two parry actions (or one to two reflex
parries if they have insufficient actions) if
they want to parry (just one test). In case of
a feint failure, the attacker opens their guard
and offers an opportunity for a counterattack
to the opponent.
Iron / +1 to ND / Parry action that, if
successful, blocks the blade, allows closing
in on the opponent, and chaining a Brawl and
Wrestling action with a -1 bonus to ND.
Butterfly / Diff / Attack from the right
and left (drawing a butterfly). Allows
delivering a sweeping attack to two
opponents in the same movement. In case of
a butterfly failure, the attacker exposes their
flank to one of the 2 opponents who benefit
from a counterattack.

Two-Weapon Fighting / allows two

simple attacks or a simple parry plus a simple
attack simultaneously. In this case, the two
action dice do not add up. For each failure in
each of the two tests, the attacker loses one
action die. This technique does not work
with classical fencing weapons and/or with
the left hand, for which other rules apply.

Blind Combat / VD / allows maintaining

 Throwing 1 tech. / 3 levels
relative effectiveness in a blinding
environment: darkness, smoke, intense light,
Accurate Throw / difficult / allows using
sun in the eyes. No aiming or feinting is
an action to aim. Reduces the ND of the
possible, all techniques are VD. Does not
throw by 1 due to distance or allows applying
counter a blinding Low Blow.
a modifier of + or - 1 to 5 to the location roll.
Charges / Avg / forceful attack requiring
Quick Throw / very difficult / allows
a few steps that adds 1 to the weapon's
throwing two light weapons in a single
damage and knocks down the opponent
action. Two d20 rolls are necessary.
unless they succeed in a Stamina test ND
Avg.
Blind Throw / heroic / allows shooting
without seeing or looking at the target.
Disarmament / Diff / Attack action
However, the target must be physically
targeting the weapon and the hand holding it,
reachable (possibility of an arched shot,
if successful, the opponent must pass a
adding an effect to the throw, or playing with
Stamina test ND Diff or lose their weapon.
rebounds).

64
  Archery 1 tech. / 3 levels. 
Swift Armament / VD / Allows
reloading a crossbow in 2 combat actions or
nocking an arrow and shooting with a bow in
one action.
Strike while Loading / Heroic / enables
delivering a melee strike with the arrow's tip
and loading the weapon in a single action
(very effective when combined with "Swift
Armament").
Mounted Shot / allows shooting without
modifiers while mounted on a horse.
Blind Shot / Heroic / enables shooting
without seeing or looking at the target.
However, the target must be physically
reachable (possibility of an arched shot).
Precise Shot / Diff. / allows using an
action to aim. Reduces the ND of the shot
due to distance or allows applying a modifier
of + or - 1 to 5 to the location roll.
 Dodge 1 tech. / 2 levels. 
Acrobatic Dodge / ND of the attack +1 /
obligation to use the acrobatics skill for this
dodge, allowing the character to move by
65
jumping to reach a more advantageous
position otherwise inaccessible. A penalty of
7 to opponents trying to hit during the turn.
The character cannot do anything until the
next turn.
Reflexive Dodge / ND of the attack +1
and +1 to the ND for each successive
reflexive dodge within the limit of only one
heroic reflexive dodge / Provides an
additional free dodge.
Total Dodge / TD / If the combat
environment allows (impossible if cornered),
a large circular or backward movement that
protects the character during the round: a
penalty of 7 to opponents trying to hit. A
character in a total dodge situation cannot do
anything in the round. Ideal for escaping a
fight.
Body Feint / TD / a dodge that, if
successful, allows a counterattack or a free
action (excluding combat techniques).
Rolling Tumble / Diff. / Dodge during
which the character moves, rolls to the
ground, gathers themselves, and moves
again. Allows taking cover if the
environment permits and being unreachable
until the end of the turn. If the test fails, the
character is considered on the ground and
offers an opportunity for a counterattack to
their opponent.
With 7 levels in Throwing, Marie, the
player, has two techniques to choose for
Flavia. She decides on Quick and Blind
Shot. In Archery and Dodge, she doesn't
yet have enough levels to choose a new
technique. However, she can still dodge
normally and shoot the crossbow with
her skill. Her Prodigy point will be
useful to ensure success in challenging
crossbow shots.
9 5 2 3 4
 Ressources
Every day, we have a potential for action
that varies based on our physical condition,
level of fatigue, and morale. We draw from
this reservoir of energy to perform actions
that go beyond the ordinary. These actions
often lead to extreme situations where one
must adapt and improvise in the moment.
Most of these resources are represented
on the character sheet by checkboxes.
Depending on the attributes and the
information in the table at the bottom of this
page, the goal is to mark the unnecessary
boxes.
Example: Flavia has a Strength score of
12 and a Disposition score of 10.
Therefore, she has 2 available boxes for
Injuries, Fatigue, and Nerve.
There are several sets of boxes preceded
by a number ranging from -5 to +1. From -5
to -1, these represent penalties that apply
when all the boxes in a set are checked. In
Nerve, 0 is the normal state for a character.
Example: Thus, if Flavia loses one
point of Nerve and then another, she will
mark them in the 0 series, like this:
◼◼. If she loses a third one, she will
have to mark it in the -1 series, like this: -
1: ◼◼❑.
Once a series is activated by a checked
box, the penalty applies to all the character's
dice rolls. If multiple penalties are activated
in Fatigue and Injuries, these are cumulative.
However, for each new action undertaken,
the player can attempt a Moderate difficulty
Endurance check with the mentioned
penalties applied. If successful, only the
highest penalty applies. For example, Spirit -
1, Fatigue -2, Injuries -3. If successful, a
penalty of -3. If unsuccessful, a penalty of -6
applies to all rolls. This way, the player
simulates the character's efforts to stay
afloat.

This chapter
Fatigue provides a brief
Attribute Score Injuries Speed description of the
& Nerve
various entries in the
low 3-5 ❑ ❑ 4 Resources section at
the bottom left of the
average 6-8 ❑ ❑❑ 5 character sheet. The
management of each, in
fairly good 9-12 ❑❑ ❑❑ 6
terms of actions, is
good 13-15 ❑❑❑ ❑❑❑ 7 detailed in the chapter
dedicated to damage
very good and injuries in combat
16-18 ❑❑❑❑ ❑❑❑❑ 8
or the use of the Mask.

66
 In the face of urgency, we always have a
limited margin of initiative and movement... (Disp + Mov) /2 Initiative bonus
That's what we'll explore here: 5-6 -1
Speed 7-9 0
10 - 11 +1
The Speed score is read in the table on the 12 - 13 +2
previous page, in the Speed column, based 14 - 15 +3
on the Movement attribute. The unit is 16 - 17 +4
"length." Thus, a character with a Movement
score of 14, starting to flee, begins with a 18 - 19 +5
lead of 7 lengths. This movement 20 +6
corresponds to a fast run. It is not a
"movement speed" as exists in some games
Flavia has a Movement of 18 and a
but a way to assess the conditions from the
Disposition of 10. This results in a score of
start of a chase to its conclusion. We will see
14 on the initiative bonus table. Therefore, a
later that armors impede movements and
bonus of +3.
impose penalties on the character's speed.

With a Speed score of 18, Flavia starts

with an 8-length lead. However, her
leather vest hinders her running.
Protections subtract 1 to 5 points from
speed, depending on the bulk they
represent (full armor = -5). See the section
In the formula defining initiative
on protections for details later. Therefore,
above, the Weapon Modifier depends on
Flavia moves at a speed of 7 when she
the weapon used. It is a bonus or penalty
wears her vest.
that ranges from -2, -1 to +1, +2,
depending on the wielded weapon. Refer
to the table of injuries by bladed weapon
Initiative further. Flavia generally uses a dagger,
both in melee and for throwing, giving her
Initiative primarily serves to coordinate a bonus of 1. When she uses the crossbow,
combat actions among multiple adversaries. this bonus disappears, reducing her
It is further detailed in the Actions Chapter initiative to 14.
in the Initiative Roll section.

Initiative bonus: It determines the Faith

number of actions a player can undertake in
a sequence. The initiative bonus adds to the
base initiative, which is 12, and is read on the
following table by averaging (Mood +
Movement) / 2.
(MIND OR DISP) This particular
resource reflects the strength of the
character's beliefs, whether they be religious
or mystical, including superstitions.

It is a resource that can enable the

character to resist moral or spiritual attacks.
It is also the ability to impose one's
worldview or convert others. Additionally,
faith creates a dependence on religious codes
and superstitions prevalent at the time.
Finally, when confronted with phenomena

10 6 3 4 5
67
presented as supernatural, faith determines
the character's reaction.
Faith is determined with 4d6, and the
player can choose to keep the three best
results or the three lowest. Moreover, the
player can choose to subtract the character's
Spirit bonus or add their Mood bonus. The
minimum remains 1, and the maximum is 20.
Faced with a supernatural phenomenon, the
faith test is conducted with a difficulty
defined by the Mask. The player specifies
how the character receives the phenomenon:
neutral, threatening, or beneficial.
Flavia rolls 4d6 and gets 4, 6, 1, 3.
She chooses to keep 4+3+1=7 and
subtracts 3, her Mind bonus = 4.
Injuries
(Vigor) Indicates the number of injuries
the character can withstand and the penalties
that result before falling unconscious or
dying (without immediate care). The
notation L:1, M:2, G:3 is a reminder to keep
in mind the number of checkboxes based on
the severity of the injury:
Light (L) = ❑,
Moderate (M) = ❑❑,
Severe (S) = ❑❑❑.
Fatigue
(Endurance) Number of hits, glasses of
alcohol, kilometers, hours of staying awake
before the character faints. Fatigue is based
on endurance with a penalty system similar
to injuries.
Nerve
(Disp) indicates the morale of a character
in the general sense. It evolves based on the
happy or unhappy events in their life. It
increases with each extraordinary success
(see action resolution) or successful heroic
action. However, the player can sacrifice 1
Nerve point to cancel a penalty caused by an
68
injury or fatigue until the next injury or the
end of the fight. The mask can also lower the
character's Nerve if they commit blatant
cowardice or in the case of a particularly
traumatic event.
The bonuses and penalties apply to
Disposition, varying the bonus/penalty
and affecting talents and skills, as well as
Initiative.
At the beginning of the game, the
character's Nerve is at 0. No checkboxes are
marked. When the character loses points,
they erase the marked checkboxes in positive
if any, otherwise, they mark checkboxes
starting from zero or negative. Conversely,
when they gain points, they erase the
checkboxes at zero or negative starting from
the last marked one; otherwise, they mark
checkboxes in positive starting from the first.
This way, they raise or lower their "Nerve
gauge."
Be careful! : A player can sacrifice the
Nerve points of their character only if they
are in positive or at rank 0. To sacrifice a
point in the negative, the character must
succeed in a mood test, difficult for rank -1
and heroic for rank -3. The number of
checkboxes to darken for Injuries, Fatigue,
and Nerve is determined on the table on page
66.
 Location

This silhouette will help the player

identify where their character has been
injured and the number of injuries a body
part can sustain before becoming unusable.
The number of boxes is the same for all: a
severe injury = ❑❑❑ incapacitating the
corresponding limb or organs. When the
head, chest, or abdomen suffers a severe
injury, a dice roll for an Endurance test with
a Medium difficulty is required. If the test
fails, the character falls to the ground and
loses consciousness. The silhouette used is a
tribute to the American role-playing game
FLASHING BLADES "The Three
Musketeers," released in 1984.

69 11 1 4 5 6
 Alea Cards
To finalize a character who will play in
the campaign, you need to draw cards. For
this, use a deck of 78 cards, including the 22
major arcana/trumps and all the minor
arcana, from a Tarot deck. There are now
hundreds of thematic tarot decks. Just make
sure your tarot respects the structure of the
Marseille Tarot.
Each drawn card describes a slice of life,
a period of 4 to 7 years, more or less happy,
that has brought wealth and experience to the
personal story of the hero or heroine you are
going to embody.
These cards are either of Light, meaning
well-lived in the character's journey, or of
Shadow, or "reversed," meaning poorly
experienced, even handicapping.
Each new character is entitled to draw a
"free" Light alea card. Then, they can draw
up to (20 - their highest score in attributes)
more cards. Thus, a character with the
highest attribute score of 18 can only draw
two additional cards.
But for each additional card after the first,
they must draw another and refer to its
"reversed" meaning. These are called
Shadow cards. It doesn't matter if the player
reveals them upside down or right side up;
we know that these cards correspond to the
reversed interpretation.
These cards assign bonuses/penalties to
attributes, talents, skills, and resources. If
one of these cards results in exceeding a
score of 18 in any of the attributes, then the
player must discard that card, without
applying its effects, and draw another.
Thus, exceeding a score of 18 in an
attribute can only be achieved through the
use of experience points. Each color of the
tarot corresponds to several life domains:
70
Flavia's highest attribute being 18,
Marie can draw an initial Light card. She
can then draw, one after the other, two
more Light cards. For each Light card,
she must draw a Shadow card. So, a total
of 5 cards: 3 Light cards and 2 Shadow
cards. She can also choose to stick with
the first Light card to avoid the penalties
of a Shadow card. However, she decides
to draw only one additional Light card,
and consequently, a Shadow card as well.
This results in:
+ King of Wands, for benefiting from
quality education,
+ 10 of Wands, for her studies in a
reformed Swiss school,
- The Magician, corresponding to the
accusation by her boyfriend of stealing
forbidden books, which she indirectly
had to endure.
- Wands represent power, ideas,
knowledge, soul strength, faith, travel, and
learning.
- Pentacles (Denier) symbolize money,
artistic or scientific creations, and material
possessions.
- Swords signify physical strength,
physical condition, trials, and adversity.
- Cups, or Chalices (or crown), represent
family, prestige in the community,
appearance, and emotional affairs. The
values of the cards in ascending order are:
- The numerical cards from 2 to 10, also
known as The Numbers.
- The Court Cards (honors): Page, 11,
Knight, 12, Queen, 13, King, 14.
- The Ace, 15, always has a positive
meaning. It is never a Shadow card, even if
drawn reversed.
 - The Major Arcana or Trumps are
stronger cards linked to a specific archetype.
The cards will provide you with elements of
history, a personal background, and
influence social standing, attributes,
abilities, fortune, skills, morale, and
surroundings...
If Reputation, Relationships, Income,
Lifestyle do not have checked boxes and a
penalty applies, another alternative penalty
must be chosen since these resources cannot
go into the negative. The interpretation of the
cards occurs in a dialogue between the player
and the Mask based on the player's vision for
the character and elements (locations,
situations) related to the adventures the Mask
wants the character to experience.
If the card indicates a bonus in a blank
entry on the character sheet, it means that by
doing so, you "activate" and thus gain that
entry, skill, or talent.
Starting Age: To simulate the time spent
for each random event, your character will
start the game at a minimum age of 12 plus 3
years per Light random event card.
Five so far are the ages
And there are six herbs that
In the cauldron the dwarf will stir ...
Seven are the suns, seven are the moons
Eight fires are lit in May
There are nine around the fountain
The girls dancing to the moon ...
Only one is death
Nothing else, nothing more ...
And ten vessels came
Bringing us the war from afar
Eleven warriors are back
When there were three hundred leaving ...
Only one is death
Nothing else, nothing more ...
And on the path that time has taken
Five so far are the ages
And there are twelve months that
Day by day, always
Scoring goes
And twelve again are the signs
That you can read in the sky
War between them they declared
This one that I sing to you will be the end
Only one is death
Nothing else, nothing more ...

The Number Series Then the trumpet will sound

We will have fire and thunder, rain and
Interpreted by Angelo Branduardi, with wind
lyrics by Etienne Roda-Gil, this song from The series of numbers is over
the 1980s serves as a beautiful inspiration for
the theme of a Masque and the Sword For the one you know that there is no
campaign, utilizing the symbolism of cards series:
and the esoteric language of the time. Only one is death
And two oxen
Tell me, what do you want me to sing to And three parts
you? Four stones
Sing me some numbers the series Five ages
Until today I learn it And you are the herbs
Only one is death Seven are the only ones
Nothing else, nothing more ... Seven moons
Two oxen tied to the cart Eight are the fires
And there are three parts of the world And nine girls
Four stones of Merlin But ten vessels
Who sharpen the swords of heroes Eleven the warriors
Only one is death Twelve signs
Nothing else, nothing more ... Twelve months
Death is unique
And on the path that time has taken Always the mother of pain

12 2 5 6 1
71
 Numbers and Figures 3 - SHAPING

+1 Technical Skill or +1d6-2 in Disguise

or Forgery or 2d6-4 Sculpture

Worker, Craftsman:
+1  Reputation

Witch, Monk:
+1 skill Occultism, Rituals, and Spells

Shadow: CONTROVERSY
-1  Reputation or -1  Relationships

4 - ON THE ROADS

+2 level Geography,
+2 level Driving or Navigation,
+1 level Survival or +2 Faith,
+1 level Running or Climbing.

Vagabond, Juggler, Peddler, Sailor,

Worker:
+1 damage box with a Baton,
+1 Brawl and Wrestling.
 ---------- Wands ----------  Shadow: -1  Reputation or -1 
Earnings and -1 Endurance or -1 Senses.
ACE – CREATIVE GENIUS

Talent: CRAFTSMANSHIP level 4

Artist: 1d6-3 Reputation or 1

Prodigy Genius

Juggler, Scholar, Freethinker: +1d6

level or 1d6-3 new skills at level 1 in
Creativity, Cunning, or Studies.

Other career: +1  Nerve or +2 level

skills Reading & Writing.
5 - LIBRARY
2 - EAR
+2 Read and write and literature; 1
Juggler: +1 Sense bibliophile contact (#1)
or +1  Income or  Reputation
Other career: +1d6 skills Music or one or +1d6 level Talent Esoterism
in Creativity and Technical Skill.
Priest, Monk, Witch, Officer, Official:
Shadow: DEAF +1 in 1d6 Study skills
or -4 Senses

72
 Courtier, Scholar, Freethinker,
Pamphleteer: Guest of a Salon, +1
Relations.
Shadow: DAMNED SCIENCES
You are involved in or a victim of
research or experiments that have caused you
to lose mental and moral health. Or an
investigation, a learning process, has caused
the character to withdraw into himself.
-1  Reputation or -1 Emp or -1 Will
6 - MAJOR WORK
+2 Craftsmanship; 1 worker contact (#1);
+1 Vigor.
Worker, Craftsman:
+1 Corporation Talent
+1 Cooking, Music, First Aid.
Thief, Sailor, Vagabond: +1 Cooking or
Music or First Aid.
Shadow: CONSTRUCTION
ACCIDENT
-2 Vigor or -2 Will or resulting phobia:
vertigo, claustrophobia... or minor physical
handicap (e.g., limp) or minor aesthetic
handicap (scar on the face, missing finger...).
7 - GOURMET
+2 Cooking; 1 worker contact (#1);
+1 Senses.
Servant: +1 Craftsmanship, Botany,
Appraisal, Boniments.
Shadow: FAMINE & PLAGUE
The character undergoes a health
calamity.
-1  Relations or -2  Income and
-2 Vigor or -2 Senses
8 - EXPATRIATE
+2 Geography and foreign languages;
+1 Read/Write, 1 combat skill
73
1 epistolary contact (#1); + 1d6 level
Talent Territory of the host territory.
Shadow: PRIDE AND PREJUDICE
The character isolates himself socially of
his own accord or suffers from prejudices.
-1 Communication
or -2  Relations and +1  Lifestyle
9 - RELIGIOUS INSTRUCTION
+1 Will; + 4 Theology, Liturgy; + 1
Read/Write, Greek/Latin; +3 Faith
Priest, Monk:
+1d6 level Moral Authority Talent
Shadow: EXCOMMUNICATION
-2  Reputation or -1 Relations and
-1 Earnings and
1 social rank
1 Faith; 1 Relations to #-3 of an equal
social rank before excommunication.
The latter can only be lifted by a return to
normal in this relationship.
10 - IDEOLOGICAL TRAINING
+2 Will; +1 Theology or Liturgy, History
or Sciences, +1 Faith; +1d6 level Talent
Moral Authority or Demeanor or Honor or
Honesty
Shadow: BETRAYAL
-2  Relations or -1 Disp.
2 6 3 4 5
 JACK - FAITHFUL FRIEND KING - TUTOR

+1 friend #3; +1d6 levels in one or two +1 Wits; +1d6 Faith

skills in two Abilities among +1 Maintenance Talent or 8 levels
Communication, Cunning, Creativity, Etiquette
Combat. +1 Studies
+1  Relations
+1 Reputation Shadow: Religious Fever or Conspiracy
Or +6 level Talent Honor or Honesty Conspiracy. Author or victim. Accused of
a crime. -2 Empathy; +1d20 in Faith
Servant: -
+1d6 Etiquette, Speech. Religious Careers or Wizards:
-1  Reputation
Shadow: RIVAL Your character must earn 4 Faith points or
-1  Reputation or reach a score of 18. Otherwise, it remains
-1  Income or Relations and blocked at a maximum of its Empathy
- 1 Vigor or Wits or Disp. Bonus, Reputation, and Relations.
And 1 Rival #-2 A character with +4 in Empathy can have,
for example, a maximum of 2 Reputation and
KNIGHT - NEW FRIEND 2 Relations slots. Or 1 and 3, 4 and 0, etc. All
surplus slots acquired before this draw
+ 1 friend #1; +1 Empathy or Will disappear to reach this maximum.
+1  Relations This "curse" persists until the character
+2 level Foreign Languages, Riding earns the Faith points necessary to unlock
this situation.
Soldier 3-10, Officer 10-19: -
+1 social rank through military Courtier, Scholar, Freethinker,
promotion. See social rank table, Pamphleteer:-1 Reputation; your
Peasant > Bourgeois > Noble. character has a Lifestyle one level higher
than their Income and therefore lives beyond
Courtier, Scholar, Freethinker, their means.
Pamphleteer:
+1  Relations, +1 Literature

Shadow: BAD NEWS

-2  Relations or -2  Earnings
and - 1 Empathy or Will

LADY - CONSCIENCE DIRECTOR

+1 Disp; +1d6+2 Faith; +1 Talent related

to the personality of the conscience director,
+1 Prodigy Honesty or Honor or Heroism,
+1 level in a communication skill.

Religious Careers, Scholar, Official: +1

Moral Authority Talent.

Shadow: UNPRINCIPLED
-1 Mood
-1  Reputation

74
  ---------- Pentacles ----------  Officer, Musketeer: +1 Heroism Prodigy

Vagabond, Acrobat, Witch: +2

Endurance

Merchant, Businessman: +1 Bargaining

Official: +1 social rank (table on page 16)

Noble, courtier: Arranged Marriage.

+1  Earnings, +1 Etiquette

Shadow: GAMBLING DEBT

-1  Reputation and Income
and – 1 Wits

3 - HERITAGE

+2  Earnings
+1  Reputation

Shadow: INHERITANCE CAPTURE

-2  Earnings and -1  Relations

Or -1 social rank, see rank chapter.
1 Rival #-2
ACE - FORTUNE
4 - ESTABLISHMENT
Elegance Talent level 4
+1  Income, Reputation, and Relations
Merchant, Businessman, Courtier: +1 social rank, see rank chapter.
+2  Reputation and Earnings
Noble of the Sword: TITLE
Bourgeois, Noble: +2  Earnings You gain a new title, lands, and associated
income: +1  Earnings
Others: +1 hunting and legal affairs
+1  Earnings
+1 Valuable item Scholar: PRESTIGE PENSION. You
publish a work that opens the doors of a
2 - VERDANCY Parisian Salon: +1 Reputation or Income.

Soldier: PROMOTION. You become an

+1 in Disp. or Vigor or 4 levels Terroir
officer or subaltern officer, for non-nobles.
Talent and +1  Reputation
You get a second weapon and a horse, in
addition to your usual kit.
Noble of the Sword:
+1 Hunting, Racing, Riding
Officer, Musketeer:
PROMOTION. Your salary now allows
Scholar: +1 Wits
you to have a valet, Relation #1, a weapon,
and a ceremonial costume, in addition to the
Soldier: +1 Muscle
usual kit.

75 14 4 1 2 3
 Vagabond, Acrobat, Witch: HIDEOUT.
You benefit from a hidden, secure hideout
not too far from your residence, where
you've stashed money, a weapon, and
personal belongings.
Selling the hideout yields +1  Earnings.
+1 Juggling – Sleight of Hand.
Merchant, Businessman: You establish
a foreign counter or a lucrative business
relationship with another
businessman/woman, far from your place of
residence. +1 Foreign Languages or Legal
Affairs.
Official: You live in the premises of your
Administration, which you manage, and in
apartments as spacious as your social origin.
+1 in History or Appraisal.
Noble, Courtier: ARRANGED
MARRIAGE. +1  Earnings, +1 Etiquette
Shadow: BANKRUPTCY - DISGRACE
-3  Earnings
-1  Reputation
-1 social rank, see rank chapter.
or
Victim of blackmail:
-1  Relations,
-1  Earnings,
As long as you haven't neutralized your
blackmailer, you are limited to a maximum
of one available box in Reputation,
Relations, or Income.
6 - HOSPITALITY
+2  Relations
+1  Nerve
Soldier, Musketeer, Officer:
Rapier, +1 level in Fencing
Craftsman, Journeyman, Worker,
Vagabond, Wizard/ess:
+1 Craftsmanship, +1 Teach or Invent.
Artist: +1  Earnings, +1d6 Painting &
Sculpture or +2d6 Music
Servant: +1 Gossip and Rumors, +1
History or +1 Cooking, +1 Etiquette

5 - SECRET BASE

Safe and discreet lair. Selling the secret

base yields +1  Earnings. If it is pooled
with other Alea cards from other players,
they can be combined, at the Mask's
discretion.
Thus, the secret base becomes that of the
entire Company (group of characters). But
everyone must agree.

+1 Sleight of Hand, +1 Stealth

Noble: 1 servant Relation #2 acts as the

guardian of this hideout.

Shadow: CRIME ECONOMY

Criminal Entrepreneur - Unscrupulous
Your character starts a criminal enterprise
that could bring in income. – 2 Emp or Str or
End.
+ Draw a Light card that corresponds to
La Vérité sortant du puits,
the benefits this new activity brings. par Édouard Debat-Ponsan (1847–1913)

76
 Shadow: SCAR Shadow: CALAMITIES
-1  Reputation - 1 Main and/or second residence
-1 Disp. - 1 Vig or -1  Nerve
Or
Victim of a forger 10 - MASTERPIECE
-1 Sense
+2 Social rank
7 – COLLECTION - DILEMMA +1  Earnings; +1  Reputation
+1 Talent Corporation
+2 Evaluation
+1 Bargaining Shadow: POPULAR VENGEANCE
+1  Earnings or  Relations - 2  Reputation; -1  Earnings
- Talent with the highest score blocked in
Rogue: LARCENY - +1  Earnings and progression by experience until the character
Reputation - +1 Stealth, Pickpocketing, reaches three boxes in reputation.
Fencing.
VALET – MASKED VALET
Shadow: HOSPICE
-1  Earnings or -1  Relations and - 1 In a difficult moment in your life, you
Vig encounter the Masked Valet. He offers to
nullify the effects of a shadow card you
8 - FORTUNE AND LEGACY drew. In exchange, you become indebted to
+3  Earnings the organization he serves: THE MASK.

Craftsman, Worker, Musician, Street Or

Performer, Vagabond, Witch:
LEARNING, +8 in a skill of your choice. PRIVATE RESIDENCE
+1 Main residence, Private residence
Officials: SEARCH, +1 Legal Affairs; +1 +1  Earnings; +1  Reputation
Reputation; +1 Stealth; +1 Juggling &
Pickpocketing; +1 Read & Write; +1 Bourgeois, noble, courtier: +1d6
Leadership domestic staff with Relation #2

Shadow: DISINHERITED Servant: +1 Gossip and rumors, +1

-2  Earnings History or +1 Cooking, +1 Etiquette
- 1 Social rank
Courtesan: WEALTHY LOVER
9 – PARTY – FREE CONSCIENCE +1 Social rank; +1 maid servant with
Rel.#3, +1  Earnings; +1  Reputation
+1 in Disp. or Esp
+1 Main residence Shadow: FIRE
Bourgeois, noble, courtier: -1  Earnings; -1  Relations; Your
+1 Second residence home and all your books and papers have
been destroyed. Perhaps you lost loved ones?
Scholar, free thinker: +1 Mockery, +1 Accident or criminal act?
Gossip and rumors
CAVALIER – MASKED KNIGHT
Religious: +1d6 Faith
In a difficult moment in your life, you
Courtesan, Street Performer, encounter the Masked Knight.
Sorcerer/ess, Vagabond: +1 Lie or Bluff

15 5 2 3 4
77
 He offers to nullify the effects of a
shadow card you drew. In exchange, you
become indebted to the organization he
serves: THE MASK.
Or
Testament
+ 1 Horse, +1 Riding
Your notary or a letter found under the
floorboards makes you the universal legatee
of an illustrious ancestor. +1 Reputation,
+2  Earnings, +2 Legal Affairs; +1 Read &
Write.
Merchant, Businessperson:
COUNTER - +1  Earnings - +1 
Relations
Official: King's Mail - +1  Reputation,
+1  Earnings or +1  Nerve.
Servant: +1 Driving carriages
Shadow: RUIN
-1  Reputation; - 2  Relations
You lose all your  boxes in Earnings
and all your acquired goods until now.
LADY – MASKED LADY
In a difficult moment in your life, you
encounter the Masked Lady. She offers to
nullify the effects of a shadow card you
drew.
In exchange, you become indebted to the
organization she serves: THE MASK.
Or
LADY-IN-WAITING
+1  Reputation; + 1  Earnings; +1
Etiquette
+ 1 FAVOR, someone powerful (social
origin 19 or 20) owes you.
Female characters: +1d6 Talent
Elegance or Wardrobe or Honesty or
Machinations.
Noble, male courtiers, military: +1
Talent Maintien (if prerequisite acquired) or
+1 Talent Honor.
Or ARRANGED MARRIAGE. +1 
Earnings, +1 Etiquette
Servant: +1 Music, +1 Etiquette
Rogue : Arranged Marriage.
+2  Earnings, +1 Legal Affairs, +1
Etiquette
Or IDEAL SON-IN-LAW, +2 
Reputation, +1 Etiquette, +1d6 Talent
Elegance or Wardrobe or Honesty or
Machinations.
Catholic or Protestant male religious:
CONFESSOR/PASTOR - + 1d6 Talent
Moral Authority.
Scholar, free thinker, official: SALON
– an influential lady opens her salon to you.
+1  Reputation and Relations, +1 Gossip
and rumors, +1 History and Geography.
Courtesan: SALON – you open a salon,
+2  Relations, +2  Reputation.
Other: +1 Nerve or 1d6 Faith.
Shadow: FATAL BEAUTY
-1  Reputation; -2  Earnings; -1 
Relations; -1  Nerv or - 1 Mind.
KING – MASKED MAN
In a difficult moment in your life, you
encounter the Masked Man. He offers to
nullify the effects of a shadow card you
drew. In exchange, you become indebted to
the organization he serves: THE MASK.
Or NOBLE HOUSE +1  Reputation; +
1  Earnings; + 1  Relations, +1
Etiquette, +1 Social rank
+1 Talent Renown
Noble, courtiers, thieves, military,
males: +1d6 Talent Renown
Female characters: + 1  Earnings; + 1
 Relations, +1 Etiquette
Shadow: FACTION
-2  Reputation, -2 FàD
Portrait de Baldassar Catiglione
78

Baldassar Catiglione Portrait
The Book of the Courtier,
by a Man of the Renaissance.
"Belonging to a noble Lombard family,
Baldassar Castiglione was born in 1478 near
Mantua. At a very young age, he received in
Milan the comprehensive education in
military, social, and humanistic matters typical
of Italian gentlemen: he learned Latin and
Greek and acquired the literary, philosophical,
and rhetorical culture that would permeate The
Book of the Courtier. At the same time, he
frequented the court of Ludovico il Moro,
Duke of Milan, which was the most brilliant in
Italy and whose splendors were overseen by
Leonardo da Vinci. In 1499, the death of his
father brought Castiglione back to Mantua,
where he began his career as a courtier in the
service of Francesco II Gonzaga, Marquis of
Mantua, and husband of Isabella d'Este. He
undertook several diplomatic journeys and,
during one of them, discovered Rome with
admiration.
It was there that he met the Duke,
Guidobaldo de Montefeltro."
Introduction to Gabriel Chappuis' version
(1580) by Alain Pons, Ed. Gérard Lebovici,
Paris, 1987.
History does not reveal what Guidobaldo
disclosed to Baldassar when he took him to the
catacombs to visit the remains of a clandestine
theater. This theater had belonged to a
brotherhood of artists, adjacent to the gladiator
district, beneath the Colosseum.
"After obtaining his release from Francesco
Gonzaga in 1504, Castiglione entered the
service of Guidobaldo and, from 1508, of his
successor, Francesco Maria della Rovere.
Court life in Urbino inspired his masterpiece,
The Book of the Courtier. In the service of his
new lords, he embarked on numerous journeys
in Italy and abroad (England, France). In 1513,
he was in Rome as the ambassador of Urbino;
a familiar figure at the papal court, he
associated with the circle of intellectuals
gathered around Pope Leo X: poets like Pietro
Bembo, but also artists like Michelangelo and,
especially, Raphael, with whom he formed a
close friendship. Raphael created a marvelous
portrait of him, now exhibited at the Louvre."
79 16 6 3 4 5
 The Book of the Courtier,
by a Man of the Renaissance.  ---------- Sword ---------- 
“Widowed in 1520, he took minor orders
and concluded his career in the service of the
Church. In 1525, Pope Clement VI entrusted
him with diplomatic missions to Spain,
serving as a pontifical legate at the court of
Charles V (who, it is said, had three bedside
books: The Bible, Machiavelli's The Prince,
and The Book of the Courtier). Castiglione
died in 1529 in Toledo without revisiting Italy.

The Book of the Courtier, the result of 15

years of work and published in Venice in
1528, a few months before the author's death,
enjoyed immediate and enduring success, as
evidenced by dozens of reprints and
translations into all European languages. It
became the prototype for the "courier
manuals" that proliferated throughout Europe
later. Structured as Platonic or Ciceronian
dialogues, the work consists of a series of
conversations held during soirées among
courtiers, under the presidency of the Duchess
of Urbino, Elisabetha Gonzague. Her husband,
Guidobaldo de Montefeltro, being bedridden
due to illness. These elegant and lively AS - TOLEDO BLADE
discussions aim to portray the courtly man:
intelligent, well-born, well-built, skilled in +1 Strength; +1 Excellent quality blade
arms, a master of conversation, respectful of +1 to dice roll.
ladies, versed in letters and arts. The "perfect +8 Warrior Talent or +4 Officer Training
courtier" represents the ideal man as Talent or +4 Honor Talent or +4 Wit Talent.
conceived by the Renaissance courtly world. Military: +1 Fencing
Beggars and Rogue: +1 Brawl and
This realm of nobility, courtesy, and Wrestling
refined elegance seems far removed from Others: +1 Mockery
Machiavelli's "wicked courts," and historians
have often emphasized the antithesis between 2 – DUEL STRATEGIST
Castiglione's "idealism" and the "realism" of
The Prince's author. Beyond its literary +1 Reputation; +8 in Fencing or Brawl
qualities, The Book of the Courtier is a and Wrestling; +1 Mockery
testimony of considerable historical and Shadow: DUEL
sociological importance about the -1  Reputation; -1 Vigor or Humor; -1
aestheticization of life among the elites of the Nerve
time. Castiglione presents the doctrine of
sprezzatura, a nonchalant ease concealing all
3 – BARBARIAN – OPEN WAR
laborious effort, distinguishing the perfect
gentleman—a studied ease borrowing the
A conflict erupts or a foreign individual,
appearance of spontaneity, constituting the
warrior, or military person takes a liking to
supreme art of the courtier, an art that
you or offers you protection.
"conceals art and shows that everything done
All of this is beneficial to you.
and said came effortlessly and almost without
thinking." Ibid.
80
 +1  Earnings; +1 friend; +1 Foreign
Languages, +1 in a main attribute of your
choice.
Military: +1  Relations; +1 in a combat
skill of your choice.
+1 exotic weapon with +1 to the dice roll.
Shadow: BARBARIANS
-1 Vigor - +1 Foreign Languages
Religious: CRUSADE
-1 Humor - +1d6 in a combat skill; + or -
1d6 Faith
4 – THREE MUSKETEERS
+1  Relations - +1  Reputation - +1
Brawl and Wrestling
+1 piece of armor of excellent quality,
protecting from an additional square.
Military: +1 Fencing
Noble Swordsmen: +1 Medieval Combat
Upper Middle Class, Nobles, Courtiers:
CLOSE GUARD: +1 confidant, good
fencer (15 in Fencing) Rel. #2, ready to help
you and possibly be your bodyguard on
occasion.
Others: +1  Relations
Shadow: FORCE HERMITAGE
- 1  Relations, -1  Reputation, -1 Mov
5 – JOURNEY AND OUTDOOR LIFE
+1 Vigor, +2 in the following skills:
Running, Swimming or Climbing,
Geography.
And
MILITARY CAREER
+1 Brawl and Wrestling, +1 Gunfire, +1
Fencing, +1 medieval combat, +1  Nerve.
Shadow: SECLUSION
You have experienced a long period of
confinement or hesitation: -1 Vigor or
Humor, and this Attribute cannot progress in
experience until you have invested 3
points/cases in it, mixed or not, among
Earnings, Nerve, Faith.
6 - STREET SCHOOL
You lived with street kids. A contact Rel.
#2 in the Court of Miracles and +1 Humor,
+2 Resourcefulness, +1 Acrobat or Lie, +1
81
Climbing or Running, +1 Bargaining or
Gossip and Rumors, +1 Mockery or
Boniments, +1 Comedy or Evaluation, +1
Disguise or Games, +1 Pickpocket or
Stealth, +1 Brawl and Wrestling or
Throwing Weapon.
Civil servant: +1 Marginality Talent
Shadow: ROGUE
-1 Disp., -1  Earnings, -1  Reputation
7 – PRECIOUS TACTICIAN
+1 Mind, +1 Gunfire
Or SHARP EYES, no detail escapes you.
+2 in sight
Scholar: +1 Science, +1 Evaluation, +1
Fine Letters, +1 Mockery, +1 Firearms.
Religious, sorcerer/s: +1 Theology, +1
Liturgy, +1 Persuasion & Rhetoric
Domestic, worker, artisan: +1d6
Throwing, +1 Stealth, +1 Brawl and
Wrestling
Nobles, courtiers, freethinkers: +4
Games
Rogue: +1 Games, +1 Command, +1
Firearms, +1 Navigation
Shadow: WAR WOUND:
-2 Endurance, and the Vigor Attribute
cannot progress in experience until you have
invested 3 points/cases in it, mixed or not, in
the levels of a skill of your choice, Grit,
Faith.
-2 Running
8 – HIDALGO'S FORTRESS
The figure of the Hidalgo is that of the
impoverished minor nobility, burdened by
taxes and forced into military careers to
survive.
+2 Willpower, +2  Reputation; -1 
Earnings
+1 Nerve; +1d6 Faith; +1d6 Honor Talent
Rogue, Gentleman of fortune:
+1 Renown Talent
Or BARRACKS
+1 Games, +1 Reading and Writing; +1
Fine Letters; +1 Firearms; +1 Mind
17 1 4 5 6
 Female characters, Scholars, 10 – OLD SCHOOL
Freethinkers, religious:
+1 Scheming or Magnetism or +1 Vigor: +1 Brawl and Wrestling; +1d6
Mediumship Talent. Medieval Fencing with the corresponding
heavy weapon.
Shadow: MARAUDER
-1 Humor; -2 Income Or FENCING HALL
+1 Mov; +1 Medieval Fencing and 5
pieces of equipment, weapons, or
protections, of your choice.

Military: BATTLE COMPANION.

+1 Friend Rel. #3, +1 Relations, +1
First Aid, +1 Firearms, +1 Officer Training
Talent.
Bourgeois: +1 old footman Rel. #3
mastering Medieval Fencing with a score of
15.
Noble Swordsman: +1 Medieval
Fencing; +1 old mansion with shield bearing
your coat of arms, halberd, sword and two-
handed axe, flail, full knight's armor...

Shadow: TRADITIONS
-1 Vig or Disp.

Or -1 Grit and Fear of firearms

Or Executioner's Mark: Fleur de Lys
branded with a hot iron on the back, arm,
9 – TOURNAMENT TENT chest, or shoulder.
MILITARY CAMPAIGN

+2 Endurance, +1  Reputation; +1 
Earnings; +1  Relations; -1d6 Faith; +1
Games; +1 Firearms, +1 Fencing or Brawl
and Wrestling

Peasant - Bourgeois:
LONG MARCH - You are accustomed to
long journeys, +1 Geography, +1 military
weapon
VALET – SQUIRE ZEPHYR
Noble: +1 Command; +1 Geography; +1
Fine Letters; +1 Officer Training Talent; +1 +2 Agility, +1 Gossip and Rumors, +1
Horse Lying,
+1 Raillery, +1 Fencing, +1 Talent,
Shadow: MILITARY CAMPAIGN +1 Riding
-1 Vigor or Mou or Sen
Or -2 Grit and Fear of Fire Domestic: +1 Talent Wardrobe or Honor or
Honesty or Deportment.
+1 Etiquette, +1 Command,

82
+1 carriage driving
Shadow: SWORD VALET
-1 Mind or Disp.
A secret society, THE SWORD, has harmed
your integrity, damaged your ideas and
interests. You found yourself in the wrong
place at the wrong time and witnessed a
crime committed in their name. You were
forced to keep silent and swallow your anger.
Knowing your enemy's name is the
beginning of their destruction...
KNIGHT - CHEVALIER
+1 Mou, +1d6 Riding, +1 Carriage driving,
+1 Fencing, +1 Medieval Fencing
Peasant: +1 Etiquette, +1 Brawl and
Wrestling
Bourgeois: you become noble by receiving a
Knight title through entry into a noble house,
by royal decision.
Noble: +1 Honor Talent
Shadow: SWORD KNIGHT
-1 Mind or Humor
A secret society, THE SWORD, has harmed
your integrity, damaged your ideas and
interests. You intercepted a message or its
messenger, preventing a crime. They found
out, and you paid for it. Knowing your
enemy's name is the beginning of their
destruction...
DAME – JEANNE THE PIOUS
She is a thoughtful, idealistic, and
determined woman who won't hesitate to
enter the fray.
+1 Sensibility, +1  Relations, +1 Rel. #2
influential woman, +1 Fencing, +1 Brawl
and Wrestling,
Female characters: +1 Firearms, +1 Grit,
+1  Reputation, + or - 1d6 Faith, +1
Magnetism Talent.
Witch, Bohemian, Nun:
+1 Mediumship Talent.
Noble: +1 Favor from a high-ranking woman
at court, holding a position in the King or
Queen's House.
83
Thief, Scholar, Artist, Artisan, Worker: +1
 Earnings.
Shadow: SWORD LADY
-1 Mind or Humor
A secret society, THE SWORD, has harmed
your integrity, damaged your ideas and
interests. You intercepted a message or its
messenger, preventing a crime. They found
out, and you paid for it. Knowing your
enemy's name is the beginning of their
destruction...
KING - MASTER OF ARMS
+1 Agility, +1 FàD, +6 Fencing, +1
Firearms, +1 Command, +1 Moral Authority
Talent, +1 Teaching
Noble, thief, military, bourgeois:
+1 Officer Training. +1 Etiquette.
Occasional service of a master of arms,
Rel. #2, with a level of 15 in Teaching.
Female characters: +1 Deportment or
Scheming or Moral Authority Talent, +1
Throwing, +1 Brawl and Wrestling,
+1 Raillery, +1 Etiquette, +1  Earnings, +1
 Reputation, +1  Relations.
Scholar, freethinker, artist: PATRON +2
 Earnings, +1  Reputation
Official, Businessman, Merchant: +2 
Relations,+2  Earnings.
Peasant: +1 Throwing, +1  Earnings,
+1 Terroir or Renown or Verdancy or +1d6
Training (Taming wild animals).
+1 secret trick at +1 on the dice roll
Shadow: SWORDSMAN
-1 Sensibility or -1 Mou
A secret society, THE SWORD, has harmed
your integrity, damaged your ideas and
interests. You identified a leader or
lieutenant of the organization, but for now,
they are untouchable with the resources and
local situation you have. Knowing your
enemy's name is the beginning of their
destruction...
18 2 5 6 1
  ---------- Cups ----------  3 - CHILDREN

+1 Humor or Mou, +2  Relations, +1

Dodge, +1 Gossip or +1 Running, +1
Acrobat or +1 Climbing, +1 Comedy or +1
Lying

Shadow: SUPERSTITION
-1 Disp. or Mov or -1  Nerve and Fear
of popular folk characters (wolves,
vampires, witches, ghosts...)

4 - MARRIAGE

+2 Memory, +1  Relations, +1
Income, +1  Nerve
Noble: +1  Reputation - +1 
Relations
Street Performer, Merchant, Peddler: +1
 Earnings

Shadow: DECEPTION
-1 Mind or Humor
or -1  Nerve and JEALOUSY = you
AS – GENIUS OF THE ARTS lose 1  Nerve each time you are betrayed.
+2 Empathy, +6 Artist Talent,
+2  Relations, +1d6 Faith, +1 Painting 5 - YOUNG LADS
and Sculpture, +1 Music
Artist: +1 Nerve or Disp. + 1 Vig or Senses, +1  Relations, + or -
Craftsman (artisan): +1 Craftsmanship, 1d6 Faith, +1 Clientele or Elegance Talent
+1  Relations
Courtier: +3 Clientele Talent
2 – CLUB AND INN
Bourgeois: +1Reputation,
+1 Fine Arts
+3 Odor, +1  Reputation -
+1  Relations - +1 Alcohol Resistance -
Peasant: +1  Nerve, +1
+1 Games - +1 Gossip and Rumors
Resourcefulness
Peasant and Bourgeois: INN
Noble: +1 Etiquette, +1 Fine Arts
+1 Brawl and Wrestling, +1 Throwing
Domestic: +1 Stealth
Noble: CLUB
+1 Legal Affairs - +1 Bargaining
Shadow: LIE
-1 Vig or Senses, -1  Relations
Shadow: CLUB AND INN
Or
-1 Sense or -1 Mou, -1  Reputation
RELIGIOUS FANATIC, +2d6 Faith, -1
Disp.

84
 6 - WRECK
A place or being from the past resurfaces,
opening up possibilities.
+1 Humor or +2 Memory; +2 
Relations, +1  Earnings, +1 History, +1
Evaluation,
+1 Carriage driving
Shadow: GALLEYS - BETRAYAL
-1 Disp or Vig, +2  Relations,
-1  Earnings, -1  Nerve, -1d6 Faith
7 - SPECTACLE
+1 Agility, +4 Performance Talent,
+1  Reputation, +1  Earnings,
+1 Boniments, +1 Throwing, +1 Dodge,
+1 Invention, +1 Fashion Sewing,
+1 Juggling & Sleight of Hand, +1
Comedy.
Shadow: PLOTTING
-1 Mov or Senses, -2  Relations,
-2  Earnings, -2  Reputation,
-1  Nerve, -1d6 Faith
8 – SEDUCTION
This card allows you to acquire the
Seduction skill at 1d6 levels. The applicable
bonus is Humor. It is a communication skill.
Each successful roll in a situation with an
NPC earns 1 level in Relations that can only
be used in the desire to advance this
relationship. For example, I have 1 level in
Relations, and I start with a #0 with an NPC.
I can use the Relations level I already have
to advance the Relationship to #1; then I
need to succeed in two Seduction rolls to
advance the Relationship to #2, then 3
successful rolls to reach #3. Finally, 4
successful rolls to achieve total mastery of
the emotional bond at #4. If I gain Relations
points between two attempts, I can use them
to avoid additional dice rolls to reach the
higher level. For example, 2 successful rolls
+ 2 levels to reach #4. The relationship can
evolve over several game sessions. A critical
failure in a Seduction roll always regresses
the relationship by one or more levels (#). A
85
relative failure has no consequence, but the
successes/invested levels are lost and must
be regained at the current level of the
relationship to make a new attempt.
Seduction can also bring a relationship back
to 0 or into positive territory if it is negative.
Shadow: CAROUSAL
Addiction: you must frequent cabarets,
gaming halls, social events, in short, any
place dedicated to celebration and pleasure.
At the beginning of each session, roll 1d6.
This is the number of events you must attend
in the next month. Otherwise, you gain +1 
Lifestyle.
-1 Endurance, +1  Standard of living,
-1  Earnings,
-1  Reputation, -1  Nerve, -1d6 Faith
Acquiring the Social Grace Talent
negates this Shadow unless it is already
possessed.
9 OPEN SEA
+6 Open Sea Talent, +1 Swimming,
+1 Throwing, +1 Brawl and Wrestling,
+1 Firearms.
Shadow: Pirates and Sea Creatures
Aquatic Phobia: your body immersed in
water; you lose all your faculties. You lose -
1  Nerve every 1d6 rounds of immersion.
Roll again for each loss of Grit.
-1 Mov or -2 Endurance, -2  Nerve.
10 NEW WORLD
+1 Geography, History, Languages,
Survival related to the visited region,
Firearms and cannons. Choose 1 random
event from the following list:
- You own a Mine or a Trading Post in
the New World: +1 Earnings at the
beginning of each session.
- Exotic weapon: you master one of these
weapons at +1d6 levels: whip, boomerang,
bolas, lasso, blowgun.
- Exotic trained animal and +1 Animal
Training: monkey, parrot, bird of prey,
rodent, dog. Wild animals like wolves,
felines, snakes, saurians, insects cannot be
20 4 1 2 3
trained and would not be accepted in the gain 1 Relation or Reputation per successful
society of the time. and consummated seduction.
- 1d6 levels Esotericism, Rituals, and
Spells: You have been in contact with an Shadow: The Commander
ancient tradition and initiated into its secrets. An influential man has harmed your
- 1d6 levels Open Sea: You have reputation rightly or wrongly, in a matter
completed a long sea crossing. related to his family. You gain a reputation
- 1d6 levels Warrior: Being at war is no as a Libertine. The next time you have
longer a secret for you. contact with the judicial authority, whatever
- 1d6 levels Officer Training: You are the charge, you will be at least imprisoned in
now familiar with military discipline and the Bastille if you are a man, or in a convent
strategy. if you are a woman. To cancel this
reputation, you must accumulate and spend
Shadow: Old Wound 1d6 points categorized in Reputation and/or
Lose 2 Vigor. Relations and/or Earnings.
You brought back from the New World a
reminder that regularly haunts you: an exotic
disease, a debilitating injury when it
awakens, or you have become a drug addict,
at best an alcoholic. At the beginning of each
session, roll 1d6: 1-2: the old wound
awakens, you lose 1 level of Fatigue or Grit
each time you roll a 13 on a d20, regardless
of the test.

VALET - DON JUAN

Your character is a seducer and gains +1

Reputation as a seducer, as well as the
Seduction skill (see previous page) at 1d6
levels. The Don Juan is a narcissistic
seducer, not really in love with their
conquests but rather satisfied with
themselves: they gain 1 Grit per successful
and consummated seduction.

Shadow: The Incubus

He is young, he is beautiful, he is proud,
and he was the instrument of your downfall.
-2 Disp. You will need to accumulate and
spend 5 Nerve points to recover these 2
points.
CAVALIER - CASANOVA
Your character is a seducer and gains +1
Reputation as a seducer, as well as the
Seduction skill (see previous page) at 1d6
levels. The Casanova is a seducer truly in
love with their conquests but fickle: they
DAME
1 Talent at 1d6 levels of your choice
among: Elegance, Wardrobe, Honesty,
Mediumship, Performance
And 1 option among the following:
Muse
+1 in Humor or Sensibility.
Artist = +1 in an artistic skill

86
 Salon
Noble female character: You host a
Salon. +1 in Humor or Sensibility. +1 in
Talent Renown or Wit or Performance,
+3 Reputation, +1 Relations, +1 Lifestyle
Noble male character: You are a regular
at a salon of intellectuals and artists.
+1 in Talent Clientele or Moral Authority
or Artist.
Chaperon
Beggars, rogues, lackeys: You gain the
protection of an influential woman. +1 in
Humor or Sensibility. +1 Relations, +1
Reading & Writing, +1 Etiquette, +1 Fine
Arts, +1 Theology.
Court Lady
Noble female character: +1d6 levels in
Talent Clientele, +1 Humor, +1 Etiquette, +1
Raillery, +1 Invention.
Using the Invent skill as a courtly
art.
A courtesan wishing to gain a +1
bonus to all her Etiquette and Presence
rolls, for example, by using the fan she
has learned to use in a unique way,
must first succeed in a test higher than
her score in the highest skill covering
the domain. For example, she has a
score of 12 in Etiquette and rolls a 13
on the d20. She succeeds. She then
needs to test to use a new way of using
her fan, which will be noticed and
become somewhat her trademark. Of
course, the bonus only works with the
unique item that was used for the
invention. It does not work with
another item of the same nature or
purpose. A gentleman could use a
tobacco pouch in the same way, a
lackey, a protocol livery, etc.

Noble male character: You gain a Favor

from an influential Lady at Court.

Your social status advances to the higher

rank indicated by the table on page 16. For
example, the upper middle class becomes the
robe nobility.

Lady-in-Waiting

Female character: +1d6 levels in Talent

Intrigues, +1 Lying, +1 Reading and
Writing, +1 Fine Arts, +1 Games, +1
Etiquette, +1 Cooking, +1 Comedy, +1
Boniments, +1 Gossip and Rumors, +1
Teaching, +1 Resourcefulness, +1 Mockery.

Shadow: The Succubus

She is young, she is beautiful, she is

proud, and she was the instrument of your
downfall. -2 Disp. You will need to
accumulate and spend 5 Nerve points to
recover these 2 points.

19 3 6 1 2

87
 KING – THE FISHER KING
1d6 levels in 1 Talent among: Artist,
Moral Authority, Honor, Honesty.
And 1 option among the following:
Hunter
1d6 levels in Riding, Survival, Throwing
+1 level in Taming, Stealth, Sleight of
Hand, Bow and Crossbow, Firearms, Dodge
Games
2d6 levels in Games, +1 Lie,
Juggling/Sleight of Hand, Raillery, Income
Chivalry
1d6 levels in Riding, Medieval Fencing,
Throwing,
+1 Riding, History, Liturgy, Theology,
Belles Lettres, Singing, Taming, Literature.
Shadow: Minor Impairment
Choose 1 handicap from those proposed.
They do not entail any penalties other than
what is indicated.
Lame: This handicap prevents you from
running.
Mutilated: one-eyed, false nose, one ear,
one finger less.
Hunchback: your hump brings you luck.
Draw an additional Light card.
88
Henri IV, the Last Knight
King
In France, François I is known for
having been a knightly king. Henri IV
maintained the values of chivalry in
his environment and court, but the
practice of knightly arts such as
tournaments and other martial feats
was beginning to fade during his
reign. All the monarchs who followed
were first statesmen before being a
personification of the noble among
nobles, even though absolute
monarchy continued to be exercised
under the reputation of "divine right."
This new cultural practice of
power, prioritizing politics and
diplomacy over the sole prowess of a
war leader and strategist, would have
a lasting impact on the king's
relationship with his courtiers and
with the nobility in general. The
"sword nobles," mostly from the
provinces, would long retain
chivalrous values as the core of what
makes them "noble."
Courtiers, meaning nobles close to
the monarch and his court, gradually
abandoned these values to devote
themselves entirely to politics and
intrigues. It was in this posture that
Louis XIV brought absolute
monarchy to its peak, trapping them
at the Palace of Versailles, where they
had to fully invest themselves, being
close to the monarchy, but
paradoxically, had less opportunity to
ally and scheme to change the
country's policies. All they could
hope for was a favor obtained on the
fly, amid the splendor of the court,
lost among hundreds of others. This
was far from the image of a king and
his close guard of knights, resembling
what the "minions" of Henri IV still
embodied. Thus, the Etiquette skill
did not have the same content
between Henri IV and Louis XIV.
 Special Case: Combinatorial
Draws
It may happen that after several draws of
LIGHT cards, they form a combination:
Pair: the player can draw an additional
LIGHT card without drawing a Shadow
card.
Three of a Kind: the player gains an
additional Prodigy point.
Four of a Kind: the player gains a
permanent point in a chosen Ability.
Four of a Kind with a King: cancels the
effect of a Shadow card.
Four of a Kind with an Ace: has the
effects of a Pair and one of the three previous
effects of choice.
Playing with the Cards: Good
Fortune
At the beginning of the game, the Mask
can decide to have each player draw 2 cards.
Players can reveal these cards by placing
them next to their character sheet or keep
them covered. They constitute a reserve of
points that will allow the character to use
their "good fortune":
Numbers retain their numerical value
from Ace (1) to 10 for each suit; face cards
are respectively worth 11 for Jack, 12 for
Knight, 13 for Queen, and 14 for King.
Major Arcana are worth 1d20 minus their
number at the time of drawing good fortune.
For example, with The High Priestess, a
player who rolls a 20 will have 18 points (20-
2). Major Arcana can be used in all four tarot
suits.
Thus, a character who does not have the
Lockpicking skill and wants to pick a lock is
obliged to make a test under their only
Technical Ability, i.e., a score of maximum
5. With the cards, they can, without using the
89
characteristics of their character sheet, and
thus without any bonuses, make a test based
on the good fortune cards. These cards are
thematic, so if Dexterity is used to determine
the Lockpicking bonus, the player will have
to bring cards in the Coin suit:
Strength: sword
Endurance: cup
Sight: sword
Hearing: pentacles (coin, denier)
Smell, Taste: cup
Dexterity: pentacles
Agility: wand
Reasoning: sword
Memory: wand
Willpower : wand
Empathy: cup
Let's consider that before the game, the
player drew a King of Cups and an 8 of
Coins. They are a Thief, and their Technical
Ability score is 3. They cannot use the King
because the action to be taken falls under the
Coins category. However, they can attempt a
lockpicking test with a score of 8. They then
discard their card. Alternatively, another
character, even one absent from the scene (in
another location), can use their good fortune
to help. For example, a 10 of Coins is added
to the initial 8, resulting in a score of 18 for
a successful action. Both players discard the
cards used after the dice roll, whether the
action succeeds or not. This aspect allows the
Company, the group of characters, to have a
collective "touch."
The number of characters supporting
another character's test is unlimited and can
cover multiple attempts. For example, if
lockpicking fails, another character can
assist with a new attempt, this time with a
score of 3 (their Technical Ability). So, if a
7 of Coins from another player adds to their
3, they make the test with a score of 10. Only
the character making the test can use their
Ability score as the base. This is the only
information on the character sheet that can
be considered when using good fortune
cards.
During the dice roll, if the player achieves
a heroic success, they draw a new card from
20 4 1 2 3
the deck to replace the one they just spent. If
other players assisted, they also draw a new
card. If the player rolls a natural 1, they
regain 2 cards instead of one, but those who
assisted only gain one. If the Mask allows it,
the Face cards can be dynamically used
within long actions, following their symbolic
association with the color.

Valet: Passive ally, servant, provider

Cavalier: Active ally, messenger,
traveler
Lady (Dame) : Influential or powerful
woman, seduction
King (Roi): Powerful man, distinction

For example, a King of Wands can be a

Scholar, Senior Official, or Judge. A Valet of
Coins would be a peddler. A Valet of Hearts,
a page in a noble household. The player
proposes to the Mask based on the card in
hand, aiming to resolve a situation, intercede
to obtain something, information, a pass, etc.
If the Mask agrees, the player checks a
Relationship box and discards the chosen
card: the individual they mentioned
intervenes as expected without the player
having to roll the dice.

The Major Arcana can be used in a

somewhat similar way. They differ from
Face cards in that they may not necessarily
manifest as a character but rather as the
emergence of a situation. The description of
each arcane indicates its symbolism. As this
is subject to interpretation, its use always Reading the Arcana
results from a discussion between the player
and the Mask, who alone can determine if the After the introductory text, the guiding
arcane can be used according to the player's figure provides ideas for using the cards
objective. during the game. Following that are the
effects applicable to the character sheet
The Mask can decide when the card will of the player consulting the arcane. Once
be used, whether in the present during the a career is mentioned, its effects
game, at another time, or at the end of the accumulate with the previous ones.
game. It is then set aside, and the Mask will Finally, the effects of the Shadow Card
bring it into play during one of their are detailed.
descriptions.

90
 Major Arcana
1/ The Magician
The young protagonist. All potentials –
that is, the four colors of the Tarot – come
together to perform the wonder of illusion or
magic.
Guiding figure: D'Artagnan at the age
when he first arrives in Paris, with the
blessing of his elders to pursue a career.
+2 in Agility, +2 in acrobatics, singing,
climbing, and +1 in a Physical skill of your
choice.
Or +1 in Mind and +1 in Disp. or Sense,
+2 in prestidigitation (juggling/illusion),
History, and Deception, and +1 in a
Communication skill.
Performer, juggler, acrobat, actor,
peddler, Bohemian, Sorcerer: +1 Prodigy
Point of your choice, new or already
acquired, +1 in a Cunning skill.
The Magician's Shadow
As a child, you were abducted by (roll
1d6) 1) a peddler 2-3) the local underworld
4-5) an army recruiter sergeant 6) a disturbed
woman who lost her child.
You gain a rival Relationship at level -3
(3 boxes to uncheck).
-2 in the main Attribute of your choice. At
the beginning of each game, you must
uncheck a box in Relations, Reputation,
Earnings, or add a box to Standard of living,
or lose 1 point of Nerve.
91
2/ The High Priestess
Self-discovery. The key to the hidden
personality. Developing the power of
intuition and asserting secret knowledge.
Guiding figure: Esmeralda, a Bohemian
in Victor Hugo's "The Hunchback of Notre-
Dame," reveals a part of themselves to the
main male characters.
+4 in Soul Strength or Memory. +1d6
levels in the skill of Artist or Moral
Authority or Elegance or Esotericism or
Honor or Mediumship.
Monk, meticulous artisan, wanderer:
GIFTED, you learn quickly! Two additional
levels in a skill cost only 1 experience point.
Sorcerer: +1d6-1 levels in the skill of
Magnetism.
The Evil Eye, the Mistress of
Ceremonies
You believe you are a victim of a curse or
have a recurring nightmare that undermines
your morale.
-2 in Mind or Mood. You start each game
by checking a Grit box. If you have been to
war or a military campaign, participated in a
mass slaughter like the St. Bartholomew's
Day massacre, you check 2 boxes at the
beginning of each game. Once per game, the
character can take a Faith test to lift the
curse, and therefore permanently stop losing
Grit points. To succeed, a Heroic difficulty
level must be achieved.
1 5 2 3 4
 3/ The Empress
The goddess of Nature, powerful and full
of promises, yet unpredictable, like the
whims of the sky and the elements. She
oversees marriages, births, the realization of
creative projects, and the stability of the
home. But in case of betrayal, her wrath only
subsides once her vengeance is complete.
Tutelary Figures: Demeter, Hera, wife of
Zeus.
+2 Disp.. +1d6+2 levels in the talent
Moral Authority or +1d6 in Scheming or
Composure or Renown or Terroir or
Verdancy.
Female Character: +1d6 in a Physical or
Combat skill.
Noble, Courtesan: +1d6 Command and
Invent.
Adulterous Vengeance
Regardless of your role and relationships
with this person, a victim of adultery has
sworn to avenge you. You gain a
Relationship at #-4 (Hatred) and lose 2 in
Humor. At the beginning of each session,
you must uncheck a box in Reputation or
lose 1 Sanity point.
92
4/ The Emperor
The eagle of Zeus symbolizes the piercing
gaze from the mountain of Olympus,
mastery of the sky and lightning. Absolute
power. The Emperor is an eternal father who
can: give by injunction to create by and for
oneself or take at the whim of his impulses,
without caring about the consequences. He
can oppress to satisfy the whims of his will.
Tutelary Figures: The Sovereign of the
Holy Roman Empire, Henry IV, Louis XIII,
Louis XI, the Great Mughal.
+2 in the major attribute of your choice.
+1d6 Renown. +1d6+2 Command or +1
Prodigy of Command.
Noble of the Sword: LETTER OF
MISSION, A powerful character (social
origin, court nobility) has given you a letter
granting you the authority to speak on their
behalf. If you assert this right, and after
taking effect, this letter can be withdrawn at
any time.
+1 Reputation, Relations, Earnings,
Standard of Living. +1 Command, +1 Legal
Affairs.
Soldier, Musketeer, Dragon, Ecclesiastic:
Your rank in the institution evolves. You
progress by 1d6 points in Rank, social origin.
3 1 4 5 6
 The Damned Soul
UNDER ORDERS, you are subordinate
to a powerful and tyrannical man (social
origin, court nobility). He holds you in some
way, and you are at his command no matter
the cost. You lose 1 in Reasoning and 1 in
Empathy. At the beginning of each game,
you lose a box in Earnings or Reputation or
Relations or Wounds.
5/ The Pope
The Master of Thought, dispenser of
wisdom, guardian of traditional texts. In
Masonic and companion symbolism, the
master of wisdom sanctifies the companion's
tool, giving legitimacy to his work. Those
who receive this card delve into
introspection and reflection, beginning to
express their talents in the world.
Tutelary Figures: Chiron, king of the
centaurs, healer and tutor to princes,
princesses, and Greek heroes. Richelieu,
Mazarin.
+2 in Mood or Spirit. +1d6-1 in 2 talents
among Corporation, Esotericism..., Honor,
Honesty, Maintaining, Renown.
+1d6 in a technical skill or Studies. +1d6
in Fine Arts. +1d6 in Inventing.
Priest: FAITH, you have faith in a force
guiding your path. +2 Mood points at the
beginning of the game, +1 Faith point every
time you confront evidence of what you
believe in.
93
Noble: +1 point in Rank progression,
social origin, and +1d6 in Reading and
Writing.
Commoner: +1 Relationship, +1 Cran,
+1d6 in a professional skill. For example, a
street child or a vagabond working as a
courier in the city may aim for the skill of
Running.
The Fanatic
Like Felton, the jailer of Milady who
became the instrument of her escape in
Alexandre Dumas' "The Three Musketeers,"
you are or have been a fanatic. Whether for a
cause or a faith, you have been manipulated
and sustained in deception. -2 in Disp. or
Spirit. Choose a cause, a party: it comes
before everything else. Take the minor or
major characteristic with the lowest value
and add it to your Faith score (max. 20). If
you have not increased your Faith score
during a game, at its end, you lose 1 Nerve
point at the beginning of the next one. The
only way to stop this fanaticism is to reduce
your Faith score to 0.
The Distraction of Richelieu, Charles
Édouard Delort (1841-1895)
In this painting, we see Father Joseph
reading a letter to his Eminence, who
watches his cats playing on the plan of a
citadel by Monsieur Vauban…
 6/ The Lovers

The uncertainty of choice. Passivity in the

face of opportunities or the agonies of
temptation. Not choosing is a choice!
Tutelary Figures: Paris (Wands), Hera
(Coins), Athena (Swords), Aphrodite
(Cups). See the inset on the next page.
+2 in Vigor or Sensibility. +1d6 in Artist,
Open Sea, Warrior, Marginality,
Entertainment, Terroir, or Verdure talents.
+1 in Swimming, Botany, Alcohol
Resistance, and Cooking.
Actor, peddler, acrobat, artist:
MIMICRY, you unconsciously imitate
people—better than you—whom you
associate with:
+2 in every skill test involving, in action,
a person more skilled than you. For example,
an actor who does not master the Sword skill
finds himself with a sword in hand and fights
alongside a confirmed fencer. He then fights
at his Combat score + his Mood
bonus/penalty +2.
Archetype Change:
The player can choose to change their
character's career at this stage of the random
card draw, or not. They maintain and lock
their current abilities in the skills already
acquired and can indicate, in front of each
new set of abilities, the base score of the
chosen new career, which will now prevail.
The Weight of Tradition:
You inherit a family burden or business
that hinders you from pursuing the career
you truly aspire to. At the beginning of each
game, you must spend a Resource box
(Reputation, Relationships, Earnings) or add
a Lifestyle box to this responsibility from
which you cannot escape; otherwise, you
lose a Nerve box.

Servant, valet, lackey: +1d6 in Gossip

and Lying.

Noble, courtier: by marrying, you gain

1d6-1 Rank, social origin,

+1d6-2 in Reputation or Relationships or

Earnings. But you lose 1 point in a minor
attribute of your choice.
You can also decide not to get married...

4 2 5 6 1
94
 7/ The Chariot
The Golden Apple
During the birth of young Paris, an
oracle had foretold to his father, Priam,
that he would one day be the ruin of his
city and kingdom. Priam then decided
to deliver him to the vultures at the top
of the mountain, but the child was
welcomed by a shepherd. He grew in
beauty and charm, and his amorous
conquests became too numerous to
count. When a dispute erupted among
the goddesses Hera, Athena, and Combat is inevitable. The chariot is a war
Aphrodite to determine who among chariot charging full force into battle. The
them was the most beautiful, Zeus square of its four wheels provides stability to
deemed Paris experienced enough to the triangle of instincts (a white horse, a
judge and award the prize. Hermes was black horse): the driver holds the reins.
tasked with informing the young man Nothing should steer him off course.
of what the gods expected from him in
Olympus. Tutelary Figures: Ares, Mars, a war chief,
an enterprising merchant, a settler of the
Initially refusing this honor, New World, Master Yannis.
knowing how formidable the wrath of
the goddesses could be, Paris proposed +2 Vigor, +1d6 in Corporation, Grand
to cut the apple into three pieces. Large, Warrior, Officer Training, or
However, it was to no avail, and he had Entertainment. +2d6 Driving Teams, +1
to present himself. Hera, the queen of Negotiation, +1 in a combat skill.
the gods, offered him world rule if he
chose her; Athena, the goddess of Bourgeois, merchant, artisan:
Justice, promised to make him the
most powerful warrior; Aphrodite, the MASTER, you have been trained by the
goddess of Love, simply opened the best in the field, and you have the ability to
folds of her robe, offering him a golden succeed them.
cup and reserving for him the most
beautiful mortal woman on earth as his +4 in a non-combat skill, +2 Talent
wife. Renown, and boxes in Reputation. You gain
the "reputation as a student of..."
As fate would have it, Paris, still
young and not having fully developed Unbridled Ambition
all spiritual values, chose without
hesitation the beautiful Aphrodite. His You have such a high opinion of yourself
reward was Helen, the queen of Sparta that your current situation is unacceptable,
and, incidentally, the wife of another. making you sick. No courage points can be
Hera and Athena kept their smiles and gained until your social rank has progressed.
assured him that they would not hold You must dedicate half of your experience
him accountable for his offensive points to social progression.
choice. Then, casually, they departed
together, projecting the destruction of
Troy. Le Tarot mythique, Solar, 1986.

5 3 6 1 2

95
 8/ The Justice
Blindfolded and crowned with iron,
Justice holds a double-edged sword in her
right hand and a scale, meant to weigh the
measure of deeds and destiny, in her left. The
accompanying animal is either an eagle or an
owl. The focus is primarily on mental
prowess leading to fair and swift judgment.
Tutelary Figures: Astraea, Athena, a
judge, a chess player, a theologian, Master
Jean.
+2 in Reasoning, +1d6 in Faith,
+1d6 in Honor or Honesty or Demeanor
+1d6 in Appraisal, Leadership, Theology,
or Sciences
Officer, Civil Servant, Police and
Justice, Taxes: +1d6 in Moral Authority or
Officer Training
Commoner: 1d6 Resourcefulness,
Games.
Noble, Bourgeois: +1d6 talent Renown
or Wit, +1d6 Invention
The Cold Reason...
Breaks the warmth of human passions.
-4 in Empathy, -1 box in Relationships,
-1d6 Faith.
96
8/ The Hermit
The Hermit has withdrawn from the
world. When he travels, it is with a staff and
a lantern, its light hidden under a bushel.
Sometimes a crow accompanies him, and his
staff is a scythe. The shape of the scythe
recalls the crescent moon and the
indifference to the passage of time.
Tutelary Figures: Cronus, the Scholar, the
reclusive religious figure, the solitary
prisoner.
+1 in Mind and +1 in Mood,
+1d6 in Esoterica or Honesty,
1 level in Magnetism or Mediumship,
+1d6 in Liturgy and Survival. Refuge:
allows storing 1d6 boxes among
Relationships, Earnings, Reputation,
Resolve, or Faith Points.
Example: rolling a 4 on the d6 = 1 box of
Relationships, 2 Earnings, and 1 Reputation.
To recover these boxes/points during the
game, the character must withdraw to a place
where they have long been secluded in a life
of hermitage or quasi-hermitage.
Scholar, artist: +1d6 in Painting,
Sculpture, or Animal Training.
Religious: 2d6 Faith points.
Imprisonment
-2 in Vigor, -1 box in Relationships,
-1 Reputation. Until a heroic-level
Medical action is performed on you, you
start each game with 2 checked Fatigue
boxes.
 9/ The Wheel of Fortune
"The Wheel turns..." the ever-changing
nature of destinies. It's an experience of
impermanence, primarily in life's
encounters. Three women are present and
never interrupt their tireless work around the
Wheel: the first, the youngest, packs the
plant fiber into a ball and attaches it to a
stick, the second, a woman in the prime of
life, spins the fiber and makes it into a
uniform thread up to the oldest of the three,
who measures and cuts each section of the
work with her scissors. The card's design
brings a new meaning, given the three
presented stations: the individual must
understand that no situation is stable. When
the wheel brings them down, or when it
brings them up, their posture is only
temporary, and when it stabilizes at the top
of the wheel, balance is always precarious.
Crowned, one can only "knock on wood" and
remain a living question mark, like the
Sphinx.
Tutelary Figures: The Three Fates or
Norns: Clotho, Lachesis, and Atropos.
The Wanderer, the Sailor, the Gentleman
of Fortune.
+1 Sense and 1 Disp., the character
progresses in social Rank (Bourgeois or
Noble).
Example: if they are at 16.1, bourgeois,
they move to 16.13, noble.
+1d6+1 in an already mastered Talent.
+2 boxes in Relationships, Reputation,
Earnings.
97
Rogue, Commoner, Dilettante: +1d6
Bargaining, Resourcefulness, Appraisal,
Dodge
Gentleman of fortune: +1d6 in a combat
skill, +1d6-1 Etiquette, Dodge.
Vagabond, Sailor: 1d6 Geography,
History, Navigation, Swimming, Dodge.
The Wheel Turns
-1 in Movement and -1 in Sense,
-1 box in Relationships, -1 Reputation,
-1 in Earnings. -1d6 Faith. Until 1d6
experience points are spent, the character
starts each game with -1 box in Courage or -
1d6+1 Faith.
10/ The Strength
Hercules remains the invincible warrior,
son of Zeus and mortal Alcmene. As usual,
Hera, the legitimate wife of the king of the
gods, was jealous of this new illegitimate
child, whom she pursued with her terrible
hatred. Initially, she drove him mad: in his
madness, Heracles killed his wife and
children. To atone for his sins, he begged the
gods to assign him difficult tasks. The Oracle
of Delphi then ordered him to serve the
tyrant Eurystheus, favored by Hera, for
twelve years. Thus, unknowingly, Heracles
worked for the goddess who tirelessly
persecuted him. Heracles fighting the
Nemean Lion indicates finding mastery and
the right tension between the two jaws of the
lion: the anger of the child-king and the
unpredictability of the wild beast must both
be transmuted from shadow to light. Thus,
6 4 1 2 3
from nothingness and chaos will arise
courage, self-discipline, and power. The only
true strength is the strength of the soul. Thus,
from the pillar of calm Strength emanate
Wisdom and Beauty. The seeker of truth
must subdue the lion, guardian of the Ark, to
compel it to surrender the key (of
knowledge).
Guiding Figures: Heracles or Hercules for
the Romans. The warrior, the force of nature.
+2 Strength, +1d6 Warrior, +1 Officer
Training, +1d6 Throwing, +1d6 Swimming,
Officer, Official (police, justice): +1d6
Officer Training
Any character with less than 10 in
Strength: +1d6 Verdure talent.
The Yoke of the Harpy
-2 Strength, you suffer the revenge or
incessant complaints of an influential
woman. Her resentment has gradually
eroded your health.
With each critical failure, in addition to
the consequences described by the Mask,
you lose 1 fatigue box, and you start each
game with one less fatigue box.
To end this "curse," you must either invest
2 points in a major attribute to regain 1
Strength point or invest 1d6 experience
points and overcome this "plague."
98
11/ The Hanged Man
After embodying the Arcana of Strength,
Hercules was lost through the actions of
Deianira and was compelled to throw
himself into the pyre of Mount Oeta's
volcano. The Hanged Man symbolizes
"selfless human sacrifice," plunging into the
unknown with bound hands, with no
possibility of return. From his pockets fall
the last coins exhibited by the Magician at
the beginning of the Game. Half the journey
of the major Arcana of the Tarot is
completed; it's the reversal of possibilities.
Similarly, Oedipus was suspended by his
heel from the green tree, and Achilles,
immersed upside down in a bath of
immortality, remains bound by the heel to
what makes him mortal. The hero Siegfried
in German and Scandinavian tradition is an
avatar of Achilles. Odin, the "god of the
hanged," was suspended for 9 days and nine
nights, pierced each day by his own spear, to
acquire Wisdom. Nine days correspond to
the 9 Muses of the Arts. Does this arcane not
teach us that one must know how to lose to
win?
Guiding Figures: Hercules, the Reversed
Magician, Oedipus, Achilles, Siegfried,
Odin.
+2 in the major attribute with the lowest
score. +1d6 Esotericism, Rituals and spells,
+1 Climbing, +1 Alcohol Resistance, +1
Dodge, starts the next game with a +1 in
Cran.
The Reversal of Fortune
-2 in the highest major attribute.
 The character loses 2d6 in social rank,
-2 boxes in Income or Reputation or
Relations.
13/ The Separation
Place the scythe in the heart of all our
music
Take a seat in our dances
And if you dance again
All death will be dead at dawn.
Lyrics: Etienne Roda-Gil
Interpreter: Angelo Branduardi

Guiding Figures: Hades, The Man in

Black.

+2 in your lowest primary Attribute or +1

in Spirit or +1 in your Prodigy or a box in a
new Prodigy, +1d6 Modern Fencing,
+1d6 Firearms, +1d6 Gunpowder, +1d6
Survival.

Or the Nameless Arcana. The scythe cuts Amnesia

and separates hands and heads as they are
connected to the chthonic power of the earth,
that is, to the Plutonian, heavy, and
underground side of what is called the Realm
of the Dead, ruled by Hades. What the scythe
also cuts is the lack of discernment. Rather
than being connected to the earth, hands, and
heads should be connected to the heart, the
only acceptable receptacle for receiving
choices and decisions. One cannot then go
back to the past. Did not God say to Job:
"Wherever the corpse is, there the vultures
(of discernment) will gather"?
-2 in your highest primary Attribute, you
lose all memory of your life before. Your
social rank drops to 1, and your Archetype
becomes Vagabond. However, all other
resources, talents, and skills already acquired
are now dormant. Every time the Mask asks
you to make a dice roll or use one of them,
you must succeed in a Memory check to fully
reactivate the relevant score. It is only when
you have recovered all your scores that you
can regain the social rank of your origin.

I am the death of Men,

I wear a crown
And I am of their life
The mistress and patron
And of course, I am cruel
And of course, I am very harsh
And nothing will stop my tears

I am the death of Men,

I wear a crown
And I am of their life
The mistress and patron Lady Oscar – Manga and TV show
And before my passing scythe
I see figures tremble
And nothing will stop my tears

You mistress of the world

Be welcome in our homes

7 5 2 3 4
99
 14/ Temperance
Self-sacrifice, generosity, benevolence.
The Temperance of the Mother is not the
Justice of the Father, but the individual
draws from its waters in both vessels, with
fairness and introspection. The only enemy
to overcome is oneself, through gentleness
and understanding.
Guiding Figures:
Iris, goddess of the Rainbow and
messenger of Hera, Zodiac sign of Aquarius,
the Rosy Cross.
+2 Mood, +1d6+1 Artist or Moral
Authority, +1d6 Honor or Honesty or
Dignity or Renown. +1 Disarming,
Command, Patter, Painting and Sculpture,
First Aid.
Hidalgo
-2 Empathy, -2 Reasoning. Each time you
suffer a successful attack in Taunting or a
loss of a Reputation box, you lose a box in
Cran. To end this curse, you must emerge
victorious in a duel for honor.
Lady Oscar
100
15/ The Devil
The Devil is the one who tests, the
Tempter, the one who ultimately hinders the
transcendence of the ego, the mastery of the
body's impulses and the unconscious. He can
only be subdued by the very weapon he uses
against humans: cunning. A Sorcerer who
commands a demon is only able to do so
because he stands within a sacred circle of
protection, marked with a pentacle. The
pentagram, the five-pointed star, symbolizes
the power of the human being: the five
fingers of the hand. What compels the demon
to obey is the knowledge and pronunciation
of its name, making it a tangible
manifestation in this world: its first name,
literally "foremost name." Thus, the
Sorcerer's word becomes a command.
Tutelary figures: the great god Pan, the
satyr, the Adversary.
+2 Disposition, +1d6 Esotericism, rituals
and spells or Vigor or Scheming, or Elegance
or Showmanship or Marginality or Wit.
+1d6+1 Lying, +1d6 Mockery or Bluffs /
Rhetoric, Gossip, Smuggling, Disguise.
Gypsy, Witch, Sorcerer:
1d6+2 Magnetism or Mediumship
 DIABLERIE, Blood Pact
-2 Disposition, your Faith falls to 1, any
gain in Faith increases your Reputation,
Relationships, Earnings, Standard of Living
by one level but decreases your Guts by one
level. Either you bear the Devil's mark
(birthmark, tattoo, etc.), or you have
willingly or deceitfully signed a pact with the
Devil. To break the curse, you must either
get another person to sign a pact or take the
mark, or undergo an exorcism. If you gain
more than 6 points of Faith while under this
curse, it becomes irrevocable: you have sold
your soul to the Devil…
the kingdom could not remain forever
ignorant of such a terrible secret. With the
help of Ariadne, Minos' daughter, the hero
Theseus, son of Poseidon, fought and killed
the Minotaur. The Sea god immediately
emerged from the foaming waves and
destroyed the labyrinth. In the same
catastrophe, both the king and the monster
disappeared, while all the slaves of the city
regained their freedom. Theseus was
proclaimed king of Crete, heralding a new
era.
Tutelary figures: Minos, Theseus,
Daedalus, Poseidon.

+2 Movement, +1d6 Open Sea or Wit or

16/ The House of God Vigor, +1d6 Architecture, Engineering or
Sciences, +1d6 Survival or Medieval
Fencing (+1 Battle Axe) or Invention

The Hand of God or the Illusion of

Freedom

-2 Movement, -1 in a Skill of choice. To

recover this -1, you will need to spend 1d6
experience points.

In mythology, Minos was a powerful king

of Crete. His throne was offered to him by
Poseidon, the god of earthquakes and ocean
depths, on the condition that he sacrificed a
white bull. However, Minos hid his bull
among his herds and offered an animal of
lesser value. Furious at such ingratitude from
his debtor, Poseidon sought Aphrodite's
assistance. She inflicted upon Minos' wife,
Pasiphaë, a consuming passion for the white Lady Oscar
bull. Queen Pasiphaë requested the palace
craftsman, Daedalus, to make her a wooden
cow in which she could conceal herself to be
loved by the magnificent beast.

From this union was born the Minotaur,

to Minos' great shame. It was a monstrous
creature, with a man's body and a bull's head,
feeding on human flesh. Terrified, the king
imprisoned the monster in a labyrinth, which
he ordered Daedalus to construct swiftly. But

8 6 3 4 5
101
 17/ The Star +1 miracle or recovery from fatigue and
injury / 2 x1d6, +1 Dodge.

Pandora's Box

Draw as many Shadow cards as you have

major Attributes equal to or greater than 16.
These are put "to sleep" in your Pandora's
Box. Each time you spend your experience
points, roll 1d6 under your Experience score
before spending it. If you roll higher, all the
Shadow cards stored in the "box" are then
triggered. For example, if you have 4 points
to spend after an adventure and you roll a 5
"He who lives on hope dies of desire." on the 1d6 test result, your corresponding
Italian Proverb shadow cards are triggered.
Before ordering a deluge to annihilate all
life on earth and thus punish the unparalleled
audacity of the Titan Prometheus, Zeus had
already envisioned a more subtle punishment
in the form of a dangerous beauty, whom
Hephaestus was tasked with crafting from
clay. All the deities marveled at the sight of
this unique creature named Pandora. But
Hermes instilled deceit and lies into the heart
of the fair maiden, who, accompanied by a
huge chest, went to Epimetheus. He, warned
by his brother Prometheus to accept no gift
from Zeus, initially apologized respectfully,
then, fearing divine retribution, married
Pandora. Before his ordeal, Prometheus had
time to warn his brother and Pandora about
the presence of the mysterious box. But
Pandora was indolent, scatterbrained, and
wicked. One day she lifted the lid of the
chest, releasing the most terrible afflictions
Zeus had ever concocted for mankind: Old
Age, Labor, Disease, Madness, Vice, and
Passion. Only Hope, which was in the box by
some unknown means, remained inside, Lady Oscar
refraining from roaming the world.

The Star is the Arcanum of Hope, of

celestial inspiration, of the night stars that
guide individuals' steps towards their
destiny, so they may reveal themselves.

Tutelary figures: Pandora, the guide, the

Evening Star.

+2 Sense, +2d6 Faith, +1 level of Nerve,

102
 18/ The Moon bottomless waters. The crayfish, linked to
the astrological sign of Cancer, can emerge
at any moment to grasp the unconscious
wavering between barking and animalistic
dualities. Navigation through fluctuations,
hesitations, and uncertainties is required.

Tutelary figures: Hecate, Cerberus, the

pagan priestess, the Lunatic, the power of the
Crowd.

+2 Sense or +4 Empathy, +1d6+1 Artist,

+1 Esotericism, rituals and spells or +1
Magnetism or +1 Mediumship.
"Birth is a breakthrough after a long
resolution." +1d6 Invention or Literature or Painting,
Yi-king Sculpture, +1 Swimming or Fine Literature.

The Arcanum of The Moon is under the Artist: MASTERPIECE, you are linked
influence of Hecate, the ancient goddess of to a masterpiece. Whether you made it,
the Moon, magic, and enchantments. In bought it, or inherited it doesn't matter. Your
mythology, she is also called Artemis. name is associated with it. +1 in Fame, +1
Daughter of Zeus and Hera, she provoked level Earnings and Reputation.
her mother's anger by stealing her cosmetics.
She fled to Earth and hid in the house of a Evil Twin
woman in labor. She then had to purify
herself in the river of the underworld. She -2 Movement, a hidden twin, a masked
immediately took her place among the double, a disguised genie, has impersonated
goddesses of the underworld, becoming the you and committed wrongdoings: -1d6-1
Invisible Queen, presiding over all Reputation. A secret society, The Mask, of
purifications and expiations. Mistress of cast which they are the enemy, has contacted you:
spells, she sent demons to Earth to torment if you manage to permanently neutralize
men in their dreams. She was accompanied them, you regain double the levels lost in
by Cerberus, the three-headed dog and Reputation. If you exceed the maximum
guardian of the underworld's gate; he levels, the excess goes into Relationships.
sometimes lent her his physical form. She
frequented tombs and crime scenes. Her
image was worshipped at crossroads, and
homage was paid to her on the eve of the full
moon. Zeus highly esteemed Hecate and
never contested her powers: she could grant
or deny mortals any gifts at her whim. Her
companions in the realm of darkness were
the Erinyes, or Furies, who punished
offenses against moral laws (often likened to
the Moerae (Moirai) or Parcae). Hecate is
one of the oldest figures in mythology,
governing magic, births, death, the
underworld, and fate. As the Vestal of the
night's creative inspiration, this celestial
arcanum immerses the seeker in the matrix
of imagination and dreams: mysterious and

103
 I am blind, pitied by others, yet I pity
everyone else.
My two eyes are no longer full, for they
have lost their light. In a misfortune like
mine, you, you, you mock it.
The candle is worthless. I rise early in the
morning, wandering from village to village.
One gives me a piece of bread, another a
piece of cheese.
And sometimes, by chance, you, you, you
mock it, a little piece of bacon.
I mock the haberdasher and all his boxes.
I don't use paper, nor do I need glasses.
My ten fingers are my comb, you, you,
you mock it, my sleeves as my handkerchief.
I have my dog and my stick, my two
faithful companions.
One leads me by touch, the other at the
end of a string.
Wouldn't you prefer, you, you, you mock
it, these two guides over two eyes?
If I were ever to have a son in this pleasant
life,
I would pray to God and the Virgin Mary,
you, you, you mock it, to blind him, to make
him an old lunatic.
"The Lunatic" – Malicorne, folk group
"The Watchman," Georges de La Tour
104
9/ The Sun
"The word enlightens every man coming
into this world."
the apostle John
This arcanum heralds a period of clarity,
optimism, and truth. Apollo is said to be the
founder of the city of Delphi, in a
mountainous and inaccessible valley. There
he established his oracle, delivered by a
priestess known as the Pythia, in memory of
the Python serpent defeated to conquer the
place. Although the most solar of gods, he
was a deceitful god: his oracles always had a
double meaning, or remained vague; his
arrows could kill monsters but also men. He
was both the god of moral and physical
healings and of sudden deaths. Very
cunning, he managed to appropriate a gift
reserved for the underworld deities, that of
prophecy, and he excelled in it. Apollo
represents the history of the spirit and its
development. His ambivalence lies in the
fact that knowledge dispensed too early can
be destructive; the warmth of the sun's
teaching, if not respecting the necessary
gestation period, can burn mercilessly. In
mythology, it is observed that Apollo's
advances are often rejected, for the
brightness of the god is too intense for
mortals...
Tutelary figures: Apollo, son of Zeus and
Leto, goddess of the Night, symbol of beauty
in Olympus, master of prophecies,
knowledge, and music. Louis XIV, the Sun
King.
 2 Spirit, +1d6+1 Artist or Fame, +1d6+1
Music composer and performer. 1d6+1 in a
STUDY or CREATIVITY skill, of choice.
If the character lacks the Talent of
Honesty or Honor, or needs 1 or 2 points to
reach 18 in Spirit or Disposition, this card
allows obtaining the missing criterion to
become a Man or Woman of the Renaissance
(see the corresponding box).
If the character has less than two levels in
EARNINGS, they also possess a HIDDEN
TREASURE and immediately gain two
levels in Earnings: you are in possession of a
hidden treasure worth 2d6 x 1000 pounds.
Unfortunately, this treasure is not made up of
coins but of precious trinkets or jewelry.
DISGRACE
-2 in Vigor, Sense, or Movement.
Demotion by one social class from
Beggar to Court Nobility.
Loss of all levels in Earnings,
Relationships, and Reputation if it
contributes to social prestige.
Gain of a level 20 enemy (social rank).
Nec pluribus impar, "Second to none!",
motto of Louis XIV, Hall of Mirrors,
Versailles.
105
20/ The Judgment
"I kill the death that kills me." The
Ouroboros
This card symbolizes the Egyptian myth
of the weighing of souls, the Buddhist wheel
of karma, and Hermes, Hades' emissary,
charged with leading the dead to their final
destination, the banks of the Styx. He was
already present in the Arcanum of The
Magician, through the magician's tricks and
his protective guidance for travelers at
crossroads. But here, he sounds the trumpet
"to awaken the dead" so that they may rise
from their graves, salute their ancestors, and
turn towards divinity. It signifies the end of
one path and the opening of another, more
ethereal. But before the first step, the card
shows the seeker's back, forming the gesture
of supplication found in the iconography of
all religions: arms crossed over the chest,
hands resting on the shoulders.
Tutelary figures: Hermes, The Angel of
the Apocalypse, Saint Michael, the
Archangel on the Mount between Heaven,
Sea, and Earth...
+2 Spirit or Sense. +1d6+1 Open Sea,
Warrior, or Fame. +1d6+1 Command or
Smuggling or Resourcefulness.
Army, justice, police, or administration
officer (royal official): +1d6 Legal Affairs
and +1 level in Reputation.
10 2 5 6 1
 Personal Vendetta
-2 Mind or Sense. You have sworn
vengeance. Define with The Mask what your
vendetta entails. You immediately lose 1
point of Disposition, which can only be
regained once your revenge is complete.
This will earn you 1d6 experience points
specific to this card. Adjust the
bonuses/penalties of the various entries on
your character sheet according to this
reduction.
21/ The World
Captain, Master of Posts, Adventurer,
Casanova, Cagliostro.
+2 Vigor or Movement.
1d6+2 Open Sea or 1d6+1 Marginality or
Showmanship or Vigor. +1d6+1 in two skills
among a chosen Physical skill or Navigation
or Geography or Bargaining or Survival or
Fine Literature.
Free thinker, pamphleteer:
TRAVELER, you have gone far, very
far... to the Orient, Africa, the New World...
an exotic skill at +4 levels (whip, bolas,
survival...), +1 Reputation, +1 in navigation
and tons of stories to tell.

22/ The Fool, the Madman

Built upon the four symbols foreseen by

The Magician, the temple is complete.
"... Free I remain beyond what is
The naked young girl running through the
permitted, intoxication being my only
arch formed by the Ouroboros, the World
possibility."
Serpent, represents the soul crossing the
Jalâloddîn Rumi
gateway to the knowledge of its own nature.
Beyond the four animals, emblems of the
This vagabond, chased by a dog, with a
four Evangelists, the colors of the Tarot
torn pant leg, yet looking proudly into the
reveal themselves, along with the treasures
distance, holding a pilgrim's walking stick in
guarded by the Serpent, all belonging to
one hand, and a bundle of his hopes over his
deities: the cup of Love from Aphrodite, the
shoulder, appears to the Ancients in the guise
staff of creative imagination belonging to
of the god Dionysus, sometimes nicknamed
Zeus, the sword of intellect held by Athena,
"Twice Born".
goddess of Wisdom, and the pentacle of
physical realities, engraved on a coin,
He had Zeus for a father, and Semele
bestowed by Poseidon, god of Earthquakes.
(Greek for Earth) for a mother, a mortal,
The World Serpent embodies the power of
princess of the city of Thebes. Hera, furious
vital instincts that eternally devour and
at Zeus's infidelities, disguised herself as a
recreate themselves.
nursemaid and persuaded Semele to test her
lover's passion by asking him to show
Tutelary figures: Hermaphroditus, child
himself in all his glory. Having promised
of Hermes and Aphrodite, Pirate, Ship

106
Semele anything she wished, the seductive
god, bound by his oath, had to comply.
Reluctantly, he transformed into a storm and
lightning... and poor Semele was struck
down. But Zeus managed to save the child
she was carrying. Hermes, the messenger of
Olympus and patron of magicians, enclosed
the fetus in the thundering god's thigh, from
which Dionysus was born some time later.
Hera continued to pursue the strange
horned child with her hatred and ordered the
Titans, earthly gods, to tear him apart. But
Zeus, vigilant, saved the child's heart, which
was still beating. He mixed it into a magic
potion made from pomegranate and gave it
to the young Persephone when she had to
marry Hades, the master of the underworld.
Persephone became pregnant and Dionysus
was born a second time, right in the center of
the underworld. He became the god of light
and ecstasy. Zeus ordered him to live among
men and know their sufferings. Hera then
struck him with madness. Dionysus began to
wander tirelessly around the world, followed
by satyrs, animals, and madmen. He gifted
vine and wine to humanity and taught the joy
of intoxication and spiritual redemption to all
who wished to be freed from their
attachment to material wealth. Zeus
eventually called him back to himself,
having reserved a place at his right hand in
Olympus.
With this god, anything can happen.
Through his madness, he is the inspiration
behind the two masks of Tragedy and
Comedy, which have built the entire
tradition of the performing arts. It is said that
some Street Performers on the banks of the
Seine, below the Place de Grève, are initiated
into ancient mysteries and know the sacred
use of these masks. Their troupe leader is
called Master Yannis.
107
Tutelary figures: Bacchus, Bacchanalia,
Bacchantes, Satyrs, the Iron Mask, Charles
VI and the Ball of the Burning Men.
+2 Sense, +2d6 Showmanship, 1d6+1
Alcohol Resistance, Resourcefulness,
+1d6+1 Comedy or Disguise.
Vagabond: BASTARD, you discover
your noble lineage and your father
acknowledges you. Your social Rank
immediately jumps to 16, with a pension of
1d6 pounds per week plus a room in a castle
or palace. +2 Earnings. If you were already
noble, nothing...
Amnesia
-2 Memory and Soul Strength.
An entire part of your past has vanished
from your memory, and nobody seems to
recognize you. Your social Rank temporarily
falls to 1. As long as you have not regained
your memory, you start each game with -1
level of Guts. If you create your character,
this card cancels your chances of recalling
past experiences: you cannot draw other alea
cards before starting your first game. The
past locked in your memory is at the
discretion of The Mask.
11 3 6 1 2
 Three of my comrades came to fetch me,
Not one looks at me or wishes to speak to
me.
On the paths of war, no wheat does grow.

Tell my mother, that the war has killed

me,
But it's the King of France who has won
it.
On the paths of war, no wheat does grow.

On the paths of war, no wheat does grow.

If there are those who reap, they are not
our farmers.
If there are those who store, it's not in our
granaries.

On the Paths of War
On the first of November, friend, we must
depart,
Must go to war, unasked as we are.
On the paths of war, no wheat does grow.
Must go to war against those damned
English,
For the King and Queen in their palaces.
On the paths of war, no wheat does grow.
Yves Guilcher,
Song by Mélusine on the album La
Treizième Heure in 1979 (Youtube), by Mes
souliers sont rouges on the album Quand
Plus Rien Ne Va (La Turlutte) in 2001
(Youtube), by Gurvan aka. Lord Dalarog in
2014 (Youtube). Sheet music available on the
page of war song sheets at partitions-
domaine-public.fr

In the first campaign, I was taken

prisoner,
The one who gives me drink is an English
soldier.
On the paths of war, no wheat does grow.

In the second campaign, I lost an arm,

When I go to see my love, I can no longer
embrace her.
On the paths of war, no wheat does grow.

In the third campaign, my captain I killed,

I left him against a tree, he'll never leave
it.
On the paths of war, no wheat does grow.

Little soldier of France, where is your

sword?
Sir, my captain, it's in his side.
On the paths of war, no wheat does grow.

108

The Mechanics of the
Game
Resolving Actions
The system allows for the resolution of
actions undertaken by both player and non-
player characters. For realism, two types of
actions are differentiated:
- long actions with variable duration.
- action scenes divided into sequences of
a few seconds.
Long Actions
At any time, a player character can
undertake a long action, but this may be
interrupted by an action scene. Any action is
assigned a difficulty level or is broken down
into a series of smaller actions, each with
varying levels of difficulty.
Action Scenes
When an action scene occurs (fight,
chase, etc.), it is divided into rounds (as
many as necessary), each in turn divided into
"moments". There are a maximum of 24
moments in a round.
A character can attempt one to four
actions per round, provided the execution of
these does not exceed a few seconds;
otherwise, they will spend several sequences
(as many as necessary) completing it.
The character can thus attempt several
actions during the sequence (i.e.,
simultaneously or in very rapid succession),
but must first be determined, body and soul,
to put themselves in a perilous situation. The
character's determination to act is therefore
measured by their Initiative score (see
Resources).
Initiative Roll
At the beginning of each round, each
player must roll a 6-sided die for each action
they intend to undertake during that round. If
the total of the dice exceeds the initiative
score, the character, trying to do too much,
109
becomes confused and can only attempt a
single defensive or movement action
(Dodge, block an attack, take cover with an
acrobatic move, pursue or flee, drop an
object, etc.). The character is still entitled to
reflexive blocking or dodging actions. If the
total is less than or equal, they can carry out
each action at the time indicated by the dice:
starting with the smallest and then adding
each die to the previous in ascending order.
Example: Ignace Monterola has an
initiative of 14 and wants to attempt 3
actions. The player thus rolls 3 six-sided
dice. They roll 3, 5, and 6. It's a narrow
success. He will act at moment 3, then at
moment 8 (3+5), then at moment 14
(3+5+6).
Only player characters and important
non-player characters can attempt more than
3 actions per round. Ordinary people will
most often try only one or two actions per
round.
In the event of a tie on dice rolls, the
combatant with the highest initiative bonus
prevails. If there is still a tie, the player
character takes precedence over the non-
player character. Otherwise, either one
character deliberately delays their action to
see the outcome of the other's and act
accordingly, or the actions are simultaneous.
Note: To simulate the advantage provided
by certain weapons through the combination
of their reach and maneuverability, these can
have modifiers applicable to the initiative
bonus in combat situations and if the weapon
is in hand. (See the melee weapons table).
Action: Success Test
When a player character decides to
perform an action, the Mask sets the
difficulty level (DL) and determines the
aptitude, talent, or attribute involved in the
action. The action resolution chart is then
consulted, comparing the character sheet
score relevant to the action with its difficulty.
The player must roll a 20-sided die and
12 4 5 2 3
achieve a result that is equal to or less than
the required score to succeed.
Examples of non-combat actions with
their difficulties:
Horse Riding
Gallop on a road or meadow: easy / ride
through the forest: medium / full-speed
daytime ride in Paris: heroic / jump onto a
horse starting to gallop: very difficult / pick
up an object or a person from the ground:
Heroic.
Cooking, Art, scientific research,
comedy, etc.
The more difficult it is, the better, more
beautiful, more brilliant, and more
eloquently expressed it is.
Artist : Viequot
Locksmithing
The more precise and intricate the
mechanism, the more difficult it is.
Shack door: easy / small mahogany chest
made by a brilliant Florentine locksmith:
heroic
Climbing
The fewer handholds and the more
vertical it is, the more difficult.
Climb a rope on a 70° inclined surface:
easy / the same vertically: medium / climb a
half-timbered house wall offering some
handholds: medium, a castle wall with some
110
handholds: very difficult / a castle wall with
few handholds: heroic (see Jean Marais in
“Le Capitan”).
Knowledge
The more secretive it is, the more
difficult.
The price of a weapon: easy / the name
and title of a lord from another region:
medium, from another country: difficult /
the name of a star: very difficult /
the miraculous medicinal herb from the
Americas: heroic
Agility
Jumping 3m in length: easy, 4m: medium,
5m: difficult, etc. Jumping 1m in height:
easy, 1.25m: medium, 1.50m: difficult /
Reaching a height of 3.50m with hands: very
difficult, 4m: heroic.
Resourcefulness
Remembering a providential secret
passage: heroic / losing pursuers in the
streets of Paris: medium / knowing the right
shops: easy / acquiring food cheaply:
medium / procuring illegal goods: difficult /
spending a night warm and safe but without
comfort: medium.
Strength
Breaking down a shack door: easy, a solid
door with a lock: difficult, a heavy metal-
reinforced door: heroic / lifting 1/4 of one's
weight: easy, 1/2 of one's weight: medium,
3/4 of one's weight: difficult, one's weight:
very difficult, 1.5 times one's weight: heroic.
These points are not rigid. The difficulty
level (DL) can evolve based on other
conditions set by the scenario or the Mask;
depending on weather conditions, lighting,
socio-economic circumstances (famine,
epidemic, general jubilation), use of
particularly well-suited equipment that
facilitates the task, etc.
 Such factors must be taken into account
by the Mask; the examples given are for a
neutral environment.
Bonuses and Penalties
Bonuses and penalties (+ or - 1) are
applied to success tests, adding to or
subtracting from the result of the 20-sided
die roll.
They are used to slightly adjust the
difficulty level. They can be of various
kinds: using damaged or high-quality
equipment, hindrance caused by impractical
clothing, waxed and slippery floor, etc.
Opposition Action
Some actions are performed in opposition
to another character. The DL for each
character is always set by the Mask. Both
actions are resolved, and the margin of
success (Ms) is compared.
The one with the greater margin of
success, or, if both fail, the smaller margin of
failure (Mf), wins the opposition.
Example: Tonight, "La cogne" stealthily
sneaks up behind Martin to steal the
Mysterious chest he is guarding. The
passage is narrow but dimly lit. A thin candle
provides lighting.
"La cogne" has 14 in stealth, and Martin,
12 in sense. The Mask sets a difficult DL for
both "La cogne" and Martin. La cogne rolls
16 and achieves an Ms of 6. Martin rolls 13
and gets an Ms of 1. He sees nothing, and
"La cogne" successfully takes the chest. He
is now slipping outside. Martin, finally
realizing the theft, searches for him. He has
taken a torch. The Mask sets the DL as still
difficult for "La cogne" but only medium for
Martin, who can see a bit better with his
torch. La cogne rolls 7 and fails (Mf = 3);
Martin rolls 9 and also fails (Mf = 1), but his
margin of failure is smaller, so at the last
moment, he spots La cogne fleeing with the
chest.
111
The Case of Pursuits
This opposition action generates lead
lengths = the margin of success of the
pursued that the pursuer must catch up to.
Results Based on Quality of
Success
For each action, the player will indicate to
the Mask their margin of success (Ms) or
margin of failure (Mf).
By consulting the success quality chart,
the Mask can qualify the success or failure of
the attempted action:
A margin of success or failure of 10 or
more always indicates a "critical" outcome,
either an extraordinary success or a
catastrophic failure. A margin of failure of 1
or 2 indicates a "relative failure".
A catastrophic failure puts the player
character in an even more perilous situation
without completely trapping them. It forces
them to first deal with their own blunder
before hoping to resume the normal course
of the situation (their horse bolts, they lose
their weapon, their tools break, they get lost,
etc.).
A failure is always troublesome, its
consequences unpredictable, the means to
achieve the end is not effective: another
attempt must be made.
In some extreme situations, a failure can
be dramatic, these are the typical situations:
it's a make or break moment, if it breaks,
too bad...
A relative failure means the action did not
succeed but the approach may be effective.
The player character can try the same action
again, but after some reflection, if the
situation allows. A success, very good, it's a
success.
An extraordinary success is a triumph
beyond all hope. The player character may
13 5 6 3 4
be awarded a bonus for their next action, the
normal time required may be halved, the
player character may find themselves in a
particularly advantageous situation, etc...
Important Note on All Rolls:
Regardless of the action:
- 1 on the die signifies an extraordinary
success and 20 on the die signifies a
catastrophic failure.
Managing Combat
We distinguish two types of combat:
skirmishes, brawls, or fights where there is
some confusion, and duels involving only
two opponents.
Skirmishes
These are the most common
confrontations during the game (tavern
brawls, ambushes, pitched battles).
A skirmish is a classic action scene, and
initiative is always determined in the same
way. It usually consists of a succession of
attacks and defenses, interspersed with some
strategic movements.
The DL (Difficulty Level) for attack
actions is generally set by the protagonists,
except for combat techniques. To know the
specific DL for each combat technique and
its effects on the skirmish, consult the
relevant chapter. The DL for defense actions,
blocks, or dodges, is always equal to the DL
112
of the attack, except for special combat
techniques.
Each character normally acts at the
"moment" indicated by the dice according to
their initiative. However, a character is
allowed to act out of turn to block or dodge
an attack, still counting their action as
normal.
Be careful! Drawing, grabbing, or picking
up a weapon uses an action unless employing
the combat technique "strike while drawing."
Example: Martin acts 3 times at moments
2, 4, and 5, his opponent, a brigand, acts
only 2 times at moments 1 and 3.
The brigand attacks first at moment 1 of
the round. He succeeds in his attack, and
Martin wishes to immediately block,
counting his action planned for moment 2.
He succeeds in his block.
Martin's next action will then occur at
moment 6 (2+4). The brigand attacks again
at moment 4 (1+3), and succeeds. Martin
wishes to block again,
counting his action planned for moment 6
immediately; he succeeds in his block and he
has one action left at moment 11.
Martin can finally counter-attack the
brigand who, caught off guard, can no
longer block.
It is also possible to delay one's action.
This allows seeing the outcome of other
actions without taking risks.
This is useful when acting only once or
twice in order to keep a block available in
case of a tough situation.
Delayed Action
A delayed action can be triggered at any
time before the last non-delayed action of the
last combatant acting. The countdown then
resumes normally.
Example: Mathilde acts twice: at
moments 1 and 6; her opponent, a brigand,
also acts twice at moments 1 and 5.
At moment 1 of the round, both act
simultaneously. The attacks can be
simultaneous, but Mathilde prioritizes
defense and delays her action to 2.
The Brigand therefore attacks at moment
1 and succeeds, Mathilde can immediately
block, counting her delayed action for 2. She
successfully blocks. Mathilde's next action
will thus occur at moment 8 (2+6). The
brigand attacks again at moment 6 (1+5),
but fails. Mathilde, on guard, finds the
opening she was waiting for and counter-
attacks at moment 8, catching the brigand off
guard who can no longer block. She lunges
but her too predictable attack fails, and the
brigand escapes unscathed.
During a skirmish, a character can use the
acrobatics skill to overcome obstacles (not to
be confused with the acrobatic dodge combat
technique). For those not skilled in
acrobatics, it is possible, depending on the
distance to be covered or the complexity of
the acrobatics, and with the Mask's
agreement, to divide the action into 2 or 3
very short actions (easier) that will occur at
the moments given by the initiative dice.
Example: Martin, having dealt with his
opponent, wants to help Mathilde who is
grappling with a brigand, but a carriage
separates them.
Martin still acts three times at moments 2,
3, and 6. To cross the carriage in one action,
jumping through the windows and doors, is
an acrobatic action with a heroic DL.
Alternatively, Martin can run around it
quickly, taking two agility actions with a
medium DL.
In this case, he will still have one action
to attack. Wisely, he chooses this option. At
moment 2, he makes his first test and
succeeds. At moment 5, he makes the second
test, also succeeding. He is now in contact
with the brigand and can attack at moment
11.
Failing an acrobatic or movement
maneuver during a skirmish leads to the
same consequences as being stunned (see
fatigue and injury). Additionally, the
character can be injured at the Mask's
discretion.
113
Example: Imagine Martin decides to
attempt the heroic acrobatics.
At moment 2, he takes action and fails,
the Mask estimates that he succeeded in
jumping through the first window but landed
poorly inside the carriage; he gets hurt, loses
a point of fatigue, and his last two actions of
the round.
Furthermore, in the next round, he will
have a penalty of -2 to his initiative.
Successful acrobatics to engage an
opponent allows chaining an attack with a +1
bonus or having an action at moment 1 of the
next round. The player can therefore roll one
less die than planned.
It is, of course, possible to fire a gun
during a skirmish. One can shoot at any
moment indicated by the initiative dice (See
the chapter on ranged combat).
It is also possible to aim at a specific body
part (see localization); in this case, the DL of
the action is increased by 1.
Extraordinary success in attack (melee or
ranged) increases the level of injury by 1.
Extraordinary success in blocking allows
for a free and immediate counterattack
(outside of initiative dice) with a thrust.
Extraordinary success in dodging allows
for a free and immediate counterattack
(outside of initiative dice) with a thrust.
Reflex defenses, blocking and dodging,
these are reflex actions that can be
triggered to defend against an attack when
the player has no more initiative dice. The
maximum number of reflex actions in a
round depends on the initiative bonus. No
counterattack in case of extraordinary
success.
Last Chance: In case of a failed block or
dodge against a dangerous attack, it is
possible to use an action die to attempt a
reflex block if it's a dodge that failed or a
reflex dodge if it's a block that failed.
1 2 4 6 1
 Counterattack
A counterattack is a free attack typically
following the use of a technique. The
Difficulty Level (DL) for a counterattack is
always difficult. An extraordinary success in
blocking or dodging also allows for a
counterattack.

Horseback Combat
In horseback combat, combat techniques
(except "mounted shooting") cannot be used.
The first action of the round in horseback
combat must be an equestrian test depending
on the mount's docility. Until the character
succeeds in this test, they must repeat the
following actions or dismount.
The Holy League
If the distance allows, the character can
charge (equestrian test DL = mount's The Mob
docility) and make an attack (easy fencing).
Blocking a charge is a medium action. If the
A hero can be assaulted by an angry mob.
charge is successful, the damage is doubled
The mob is then considered as a single
(a light injury becomes medium, medium
character.
and severe become mortal). If the rider stops,
it is no longer possible to charge.
The Mask determines its combat skills
and initiative score (generally between 3 and
One Against Several Opponents 8), its hit points, fatigue points, and guts
points based on its size and motivation. It
A character can face up to a maximum of also determines the weapons it
four opponents. In this case, it is in their best predominantly uses (bare hands, stones,
interest to dodge and/or block frequently, sticks, bladed weapons) and the damage it
and to move to a location where they can face inflicts.
them one at a time.
Characters who attack in groups do not The mob only attempts a maximum of
receive any particular bonus. two actions per round and per opponent
(another mob is always considered as a
single opponent). It attacks in close combat,
grabs to immobilize, or throws objects.

These are always actions of medium

difficulty. The mob can also pursue (see the
pursuit chapter).

Its movement rate is then 4 or 5.

The mob does not use combat techniques.

114
 Medieval Combat
"In fencing, we look at HOW to strike; in
medieval combat, we focus on WHOM to
strike!"
Master Gaëmont, Master of Medieval
Arms and Ancient Combat
Medieval weapons, having proven their
worth over centuries, are still used by the
contemporaries of the characters. What
member of the sword nobility doesn't have
the armor and weapons of their ancestor
hanging above the fireplace?
Given the rather vigorous (!) nature of
medieval combat techniques, a minimum
Strength of 13 is required to fight with most
weapons without any penalty.
Medieval weapons are also slower than
the newer rapiers and allow only a limited
number of attacks per round (see the
weapons table). A character using a shield is
engaged in medieval fencing and therefore
cannot attempt modern fencing actions.
Note on Swordsmanship:
The difference between a fencing sword
and a medieval sword is similar to that
between a saber and a scimitar. The former
is light enough to be wielded with one hand
or two, while the latter is too heavy to be
precise and effective with just one hand.
Do not confuse the Greatsword (a
massive Pole Weapon used for both
bludgeoning and slashing) with the
Zweihänder (a heavy two-handed sword,
also known as a "bastard sword").
Brawling and Wrestling
This is the art of theoretically unarmed
combat. Theoretically, because it is common
to use various objects to inflict pain or knock
out opponents more easily. Therefore, this
skill is most often used by those who have
not learned fencing. They can use knives,
clubs, sticks, and even swords without being
able to wield them perfectly (damage is
reduced; see the brawling damage table).
115
Dodging
To protect oneself, dodging is sometimes
the only option left for an unarmed character
or one who does not know fencing
techniques. However, a fencer may also
choose to dodge if they are better at it than
blocking. Nevertheless, dodging is slightly
more difficult than blocking, especially in
confined spaces.
For example, on a log lying between two
riverbanks.
Left Hand
Left Hand Block: When using the left
hand, the fighter adopts a stance that faces
the opponent more directly. For this reason,
and because the blade is smaller, left-hand
blocks are more difficult by 1 DL. Using the
left hand allows for quicker countering by
blocking and attacking in the same
movement. Thus, when the character blocks
with the left hand, they are no longer
required to act in ascending order of the dice.
Instead of using their smallest unused
initiative die, the player keeps it and removes
the next one in the countdown instead.
Special Case: An extraordinary success
in a left-hand block does not allow for a free
counterattack (free action) because it is
essentially provoked by the left hand's
bonus. However, an extraordinary success
grants a +1 bonus to the following attack.
Example: Ignace faces two brigands.
He attempts 4 actions. His initiative dice
show 1, 3, 4, and 6. The brigands act twice
together. Their dice show 2 and 4. At moment
1, Ignace takes the initiative. He attacks,
forcing one opponent to block. His next
action will therefore be at moment 2 + 4 = 6.
The second brigand attacks at moment 2.
Ignace decides to block with his left hand. He
removes the 4 from the count and keeps the
3. He succeeds and can act at moment 1 + 3
= 4, that is, before the brigands. He attacks,
the brigand misses his last action to block
and meets his ancestors.
14 6 1 4 5
 At moment 6, the last brigand attacks, but
Ignace still has a die to block…
Attack with left hand: Similarly, one can
attack with the left hand after blocking with
the main weapon. In this case, the block does
not suffer a penalty, and the initiative die
used for the block is removed from the count.
However, the left-hand attack, due to its
shorter reach, is more difficult by 1 DL and
its damage is less.
Example: Ignace and Mathilde are
practicing left-hand handling. They attempt
combinations of 3 actions. Ignace gets 3, 4,
and 4, and Mathilde gets 2, 5, and 6. At
moment 2, Mathilde takes the initiative, she
attacks. Martin blocks with his rapier
(without additional difficulty) but decides to
attack with his left hand.
He thus removes the 3 from the count and
will act at moment 4, before Mathilde who
will act at moment 2 + 5 = 7. At moment 4,
Ignace's attack, though more difficult, is
successful. Mathilde blocks with her left
hand and removes the 6, keeping the 5.
She can therefore act at moment 5 + 2 =
7, thus before Ignace who will not act again
until moment 4 + 4 = 8.
Using a Second Sword as Left Hand.
While two-weapon combat is possible, it is
cumbersome. Aside from a stylistic effect, it
does not offer a real bonus. Only a master (19
or 20 in fencing) can attempt it. The second
blade can block like a left hand (with the
same difficulty) or attack with the same
difficulty but with more damage than the left
hand.
Secret Techniques
A secret technique always has a name
(like the Nevers technique). It's an attack
aimed at incapacitating the opponent as
quickly as possible. It's always performed
the same way, with the same effect, always
hitting the same spot (the Nevers technique
targets between the eyes).
It's both a fencing/combat action and a
skill the character must develop. It depends
116
on either the fencing skill (most common) or
the brawling and wrestling skill (like
assassin attacks).
The skill in a secret technique cannot
exceed the skill it depends on.
The player and the Mask must agree on
the technique's description. To successfully
perform a technique, a character must have
succeeded, in the same round, at least one
medium DL action or two easy DL actions.
These actions will always be the same.
Failure puts the character in a difficult
situation. A technique cannot be performed
just any way; there may be limitations. It’s
only practiced with certain permitted
weapons.
Nevers Technique
One of the most difficult but effective:
Skill: Fencing
Preparation:
1/ Aimed attack at the weapon arm
(minimum medium DL), blocked or not, to
open the guard. The opponent instinctively
extends the arm.
2/ Agility or acrobatics test (difficult DL)
to wrap the opponent's armed arm and pass it
behind their back. The opponent cannot
counterattack as they're off-balance.
3/ Technique,
Effect: Mortal blow between the eyes,
theoretically no chance to block.
Failure: The critical moment is wrapping
the arm and changing hands. In case of
failure, the attacker loses their weapon or
turns their back to the enemy, offering the
opponent a counterattack opportunity
without the possibility to block.
Limitation: Impossible with a left hand.
Permitted Weapons: Rapier, Foil, and
Saber.
 Ranged Combat
As with normal actions.
The shooter acts according to their
initiative.
To reload a firearm or crossbow, it takes
an entire round dedicated solely to this task.
It requires one action to notch an arrow on a
bow.
A swift shooter can hope to shoot twice in
a round if they act three or four times.
The shooter makes their shot with a
difficulty set by the Mask based on the
weapon, the target's distance, and mobility.
A mobile target running, jumping, flying
increases the difficulty by one degree. A
character in hand-to-hand combat is not
considered mobile. Movement must be
distinctly dynamic. However,

Distance/Difficulty Chart by Weapon Type

Throwing Actions
Rock 3 to 7 m: easy / 8 to 12 m: medium / 13 to 20 m: difficult
Grenade A failure results in a scatter of 1d6 m (see the firearms injury table). A
catastrophic failure means the bomb explodes prematurely at 1d6 m from
the thrower.
Knife 3 to 7 m: medium / 8 to 12 m: difficult / 13 to 20 m: very difficult
Javelin 7 to 12 m: medium / 13 to 20 m: difficult / 21 to 30 m: very difficult
Boarding Axe 3 to 6 m: medium / 7 to 12 m: difficult / 13 to 20 m: very difficult
Improvised 3 to 5 m: medium / 6 to 10 m: difficult
weapon

Powder Keg A failure results in a scatter of 1d6 m (see the firearms injury table). A
catastrophic failure: the bomb explodes prematurely at 1d6 m from the
thrower.

Shooting Actions
Bow 3 to 10 m: easy / 10 to 20 m: medium / 20 to 30 m: difficult, etc.
Crossbow 3 to 10 m: easy / 10 to 20 m: medium / 20 to 30 m: difficult, etc.
Pistol 3 to 7 m: easy / 8 to 12 m: medium / 13 to 20 m: difficult
Musket 3 to 12 m: easy / 12 to 25 m: medium / 25 to 40 m: difficult /
40 to 70 m very difficult / 70 to 150 m Heroic
Culverin* 25 to 50 m: medium / 50 to 100 m difficult /
100 to 200 m very difficult

Cannon* 25 to 70 m: medium / 70 to 200 m difficult /

200 to 400 m: very difficult

* If these weapons are loaded with grapeshot, the distance must be divided by 10. A failure
results in a scatter over 1d6 m (see the firearms injury table). A catastrophic failure causes the
weapon to explode and injures the gunner.

15 1 2 5 6
117
 Aiming and Wound Localization
On each character sheet, you can refer to
the damage localization silhouette. Using a
20-sided die, you determine which part of the
body is hit.
It's always possible to aim in close
combat, but such an attack is easier to block
or dodge (-1 to the DL for the defender). The
targeted area is determined before the attack.
During the localization phase, a second 20-
sided die is rolled, and the one closest to the
targeted area is chosen.
For shooting and throwing, localization is
determined with a single 20-sided die. Only
combat techniques allow using an additional
action to aim and modify the localization die.
Wounds (Injuries)
Wounds result in the loss of fatigue and
injury boxes on the character sheet. Each lost
injury box also counts as lost in fatigue, but
not vice versa.
- A Scratch (ER): one fatigue box.
- A Contusion (CO): two fatigue boxes.
- A Light Wound (L): one injury box.
- A Medium Wound (M): two injury
boxes.
- A Severe Wound (S): three injury
boxes.
- A Mortal Wound (MOR): four injury
boxes.
Each injury is marked in the localization
diagram following the same scale.
Wound localization is used when the
character receives a blow. If the hit is a
scratch or a stunning blow, the damage is
noted only in fatigue. If the hit causes a
wound, it is noted on the affected
localization, on the injury line as well as on
the fatigue line; when all the boxes of a
localization are lost, that area is
incapacitated, which is very troublesome for
the head, chest, and abdomen, preventing the
character from continuing to act, but does not
necessarily mean death.
118
Effects of Wounds and Fatigue
When the first box of a group is lost, a
penalty is applied to all physical or
intellectual actions.
When all the injury or fatigue boxes are
lost, the character falls unconscious.
- Dazed: a character can be dazed upon
losing a point of fatigue.
A dazed character cannot act in the round.
To determine if they are dazed, make an easy
Vigor test.
If failed, the character is dazed. If the
head is hit, the character is automatically
dazed.
- Stunned: A character can be stunned if
they lose an entire segment of fatigue
points at once. A stunned character cannot
act for the current round and spends the next
round regaining their senses. However, they
can attempt a single defensive action. To
determine if the character is stunned, make a
medium difficulty Vigor test.
If the head is hit, the character is
automatically stunned.
- Unconscious: a character who loses all
their injury boxes in one localization risks
unconsciousness.
To determine if the character is
unconscious, make a difficult Vigor test. If
the head, chest, or abdomen is hit, the
character is automatically unconscious.
 Death of a Character or an
Important NPC
An unconscious player character or non-
player character is not dead. Only the act of
finishing off can end a life.

Note to the Mask: In this case, the PC or

NPC who voluntarily ends the life of another
may lose a point in guts and their reputation
could be affected (seen as heartless), unless
it is out of compassion, but the Mask will be
the sole judge. If a player contests the loss of
this point or their reputation, let them be
right, but all the affairs subsequently
proposed to them will be sheer villainy (the
dark side of the force).

There are extreme situations that can lead

to the death of a PC or an NPC without
anyone having wished it: a dizzying fall, an
inevitable fatal accident, etc.

Injuries from Ranged and

Firearms
If a shooter hits their target, they roll a 6-
sided die and consult the firearm injury table
to determine the inflicted wound. For
explosions, only one roll is made, and the
result is the same for all characters within the
blast area.

On a result of 6, the shooter rerolls the die.

If it's again a 6, the result is read in the "6+"
column.

Francesco Tasso,
Mathilda Ancestor

The Tassos were the ones who

developed the "Master of Posts"
business in Europe. They are the
ancestors of the first postal
services. The old logo of the
German Post Office featured their
likeness.

16 2 3 6 1
119
 Injury Table for Ranged and Firearms

Die Result
Weapon 1 2 3 4 5 6 6+
Name

Bow L M S
ER L M MOR
Dazed Dazed Stunned

Pistol, L M S S
ER L MOR
Crossbow Dazed Dazed Dazed Stunned

Heavy
Crossbow, L M M S S
L MOR
Arquebus, Dazed Dazed Dazed Dazed Stunned
Musket

Fuse
Grenade,*
Culverin
L M M S S
with MOR MOR
Dazed Dazed Stunned Dazed Stunned
Grapeshot*
(1 m
catter)

Powder
Keg,*
Cannon
L L S S S
with MOR MOR
Dazed Dazed Dazed Stunned Stunned
Grapeshot*
(2 m
scatter))

Small
L M S S S
Culverin MOR MOR
Stunned Stunned Stunned Stunned Stunned
Ball

Large M S S S
MOR MOR MOR
Cannonball Stunned Stunned Stunned Stunned

* Area of Effect Weapons: Grenades, cannons loaded with grapeshot, and other powder kegs
have scatter areas (length of dispersion). It can be assumed that injuries are reduced by one degree
per length of dispersion from the center of the area of effect according to the power of the
explosion.

120
 Example: Martin throws a fuse grenade
onto the rampart where four soldiers are
waiting.
He aims at the middle, hoping to catch as
many as possible in the blast radius. He
succeeds in his throwing test and rolls a 4 on
the 6-sided die, resulting in a severe injury.
The Mask estimates that the soldiers were
about 2 meters apart. The grenade explodes
between two soldiers, so the injury level is
reduced by 1, resulting in a medium wound
for the two closest soldiers, while the others
further away are only grazed by debris from
the explosion.
6 or more, the blade breaks. Thin blades
break more easily, even against a normal
blade: on a 1 on a 6-sided die + a Strength
bonus of 4 or more.
Toledo blades can be considered wide
blades.
Certain master armorers can create
special weapons on order. These often
expensive weapons can provide additional
advantages at the discretion of the Mask.

Injury with a Melee Bladed

Weapon
Using a fencing skill (medieval or
modern)

Weapon Name: For each weapon, the

default type of attack is specified if the
player has not stated it. It is also specified
whether the weapon is held with one or two
hands.
Minimum Strength: The necessary
Strength score to handle the weapon.
Init. Mod.: If the initiative is successful,
this modifier applies to the first initiative die
(possibly making it negative). In the case of
a tie, the longer weapon wins the initiative;
otherwise, the attacks are simultaneous. The
initiative count then resumes normally for
the second action.
This bonus only applies if the weapon is
already in hand.
Injuries (wound): Each weapon inflicts
different injuries depending on the types of
attacks, thrust, slash, or arrow.
Notes: Some weapons have unique
features. These are described in the table.
Blade Width: On an extraordinary
success in a slashing attack, weapons with
wide blades can break the opponent's
weapon if they attempt and succeed in a
block (even an extraordinary one). Roll a 6-
sided die plus Strength bonus; if the result is

17 3 4 1 2
121
 Injury Table for Bladed Weapons
Min. Init. Injuries (wounds) Note :
Strengt Modifier Extraordinary successes increase the level of injury by 1 for
h Thrust Slash Arro player characters or important NPCs and result in mortal
w wounds for all others.

Foil (Thrust) 5 +2 M ER S Thin Blade breaks on 4+

Rapier (Thrust 7 +1 M M S
or Slash)

One-Handed 13 0 M M S Wide Blade

Sword (Thrust
or Slash)

Two-Handed 9 -1 M S MOR Wide Blade, maxi. 3 actions and 2 attacks per round
Sword (Slash)

Greatsword, 13 -2 M S MOR Wide Blade max. 3 actions and 1 attack per round
Two-Handed Dazed Stunned
(Slash

Naval Cutlass 7 -1 L M M Wide Blade

(Slash) Dazed

Sabre and 8 0 L M S Wide Blade

Scimitar (Slash)

Left Hand, 5 -1 L L M A left hand can be equipped with a blade breaker, +1 bonus to
Dagger, Dirk disarming. The initiative modifier is only considered if it is the
(Thrust) primary weapon

Stiletto (Thrust) 4 -1 L ER M Discreet, blocking impossible, can be thrown. Initiative

modifier = 0 if the weapon is thrown

Warhammer 9 -1 L M S
(Slash) Dazed Dazed

Boarding Axe 7 -1 ER M S Can be thrown. Initiative modifier = 0 if the weapon is thrown

(Slash) Dazed

Two-Handed 13 -2 L S MOR 1 DL to the opponent's block except for a shield. Maximum 3

Battle Axe Dazed Stunned actions and 1 attack per round
(Slash)

Polearms, Two- 9 -1 M L S Maximum 3 actions and 1 attack per round

Handed (Thrust) Dazed Stunned Stunned

Two-Handed 9 0 ER 2 ER 3 ER With medieval combat or brawling and wrestling skills, the

Staff (Slash) Dazed Dazed Staff allows the following actions: Iron, Butterfly, Counter-
block, and Disarmament

Whip 7 0 ER ER L Ineffective on protection, Maximum 1 attack per round.

Wraps around the target on an odd result.

Morning Star 13 -2 ER M S If the attack is blocked, the morning star wraps around the
(Slash) opponent's weapon on an odd result. Maximum 3 actions and
1 attack per round

Fencing Cane 5 +2 ER 2 ER 2 ER Thin Blade breaks on 4+

(Slash) Dazed

122
 Brawling and Wrestling
Injury Table

Damage Additional Effect

Punch, Kick, 1 point of Make a dizziness test for the victim. If the attacker's strength is 17
Headbutt fatigue or higher, the victim loses 2 points of fatigue.

Stick, Club, 2 point de Make a dizziness test for the victim. If the attacker's strength is 17
Frying Pan, Jug, fatigue or higher, the victim loses 3 points of fatigue.
etc.

Dagger, Fencing Light

Weapons injury

Low Blow 2 point de The victim is automatically dazed; in the case of a low blow to the
fatigue head or abdomen (if male, e.g., fingers in the eyes, hit to the
testicles), the victim is automatically stunned. If the attacker's
strength is 17 or higher, the victim loses 3 points of fatigue.

Anvil 2 point de Make a dizziness test for the victim. If the attacker's strength is 17
fatigue or higher, the victim loses 3 points of fatigue and is automatically
stunned.

Bite Nothing Severe pain; the victim is automatically dazed and may drop what
they are holding.

Throw, Fall 1 point de En fonction de l’endroit où tombe la victime, les dégâts peuvent
fatigue être modifiés (table, meule de foin, brasier, escalier) à la discrétion
du Masque.

Strangulation 2 point de Each round the hold is maintained, the fatigue loss is doubled.
fatigue

Burn, Boiling Light The victim is automatically dazed and may drop what they are
Liquid, Torch injury holding. In the case of an open flame, roll a 20-sided die: on a
result above 15, the clothes catch fire, causing a light injury each
round, unless the victim spends the round extinguishing it.

123
 Protections
Leather protection reduces the injury
level by one, and metal by two. However,
protections hinder movements or are sensory
handicaps. In game terms, this translates to a
penalty to the movement score in the
character's resources, as well as in all their
movement actions (acrobatics, jumping,
balancing, dodging, tumbling, rolling, etc.)
or a penalty in specific attributes (Senses).
Ex: A medium injury to the torso
protected by a leather doublet therefore
results in only a light injury, but still causes
the loss of two fatigue boxes.
OPTIONAL RULE :
A narrowly failed block or dodge (relative
failure) still reduces the level of injury by
one degree. This rule does not apply to
common NPCs.

Note: protections are ineffective against

the loss of fatigue points and stunned or
dazed effects.

Piece of Location Protection Level Speed and Notes

Equipment (in boxes) Movement
Penalty

Full Armor All except 2 5 Min. Vigor: 9

(medieval type) head Sensory test
penalty - 3

Chainmail Chest and 2 3 Minimum

Shirt (medieval abdomen Vigor: 9
type) 1
Arms and legs

Breastplate Chest and 2 2

(Metal Plastron) abdomen

Helmet Head 3 1 Sensory test

penalty - 3

Bascinet Head 2 0 Sensory test

penalty - 1

Scarf + hat Tête 1 0 Both must be

Head worn together

Metal Bracer Arms 2 1

Metal Greaves Legs 2 2

Leather Chest and 1 0

Plastron abdomen

Leather Vest abdomen, and 1 1

Chest arms

Leather Legs 1 1
Cuisses

124
 Ritual, Magic, Witchcraft, and
Other Mysteries…
Historical Context
After the Renaissance, rationalism and
the scientific approach to nature progressed
in the world of ideas.
However, this development was very
slow and only reached a small elite scattered
across Europe. Medieval superstitions and
beliefs, as well as numerous pagan rites,
survived; especially in the countryside. The
Church, albeit reluctantly, maintained this
magical perception of the world by
condemning witchcraft and attributing
malevolent power to numerous demons.
The Reformation (Protestantism), in some
respects, and only initially, had a more
philosophical and rationalist approach to
religion, primarily challenging the
established order within the Church; as had
several religious movements like the Cathars
or the Dolcinites centuries earlier, who
perished at the stake, like heretical witches.
Until 1650, witchcraft was taken very
seriously, but by 1680 several courts deemed
witchcraft accusations unfounded, preferring
to classify them as blasphemy or crimes of
poisoning, or even as lese-majeste (only the
divinely ordained King could claim power
superior to that of the common man).
Rationalist thought gradually prevailed,
even challenging, from 1750, the
foundations of religion with the philosophers
of the Enlightenment. Magical beliefs were
then categorized as superstitions where they
remain to this day, experiencing occasional
resurgences of interest during various
periods of crisis or fashion.
125
Meanwhile, for most of the 17th century,
most people placed as much faith in the
preachings of the parish priest as in the
power of the forest witch. Skeptics were very
rare and generally atheists as well.
The concept of agnosticism emerged
much later.
Thus, two worldviews opposed each other
at the time; a largely majority magical vision
and a rational, often atheistic vision, which
was very much in the minority.
The FAITH score of your character
tends to reflect one or the other of these
tendencies for them.
Use of the "Faith" Resource
The PC is confronted with a
phenomenon presented as supernatural.
The Mask determines how the characters
perceive the phenomenon: threat, blessing,
or neutral.
1st test: Perception and apprehension of
the phenomenon. The DL is set by the Mask
based on the ambiance and appearance of the
phenomenon.
Heroic if insignificant or implausible,
easy if impressive (terrifying or grandiose).
2nd test: Reaction to and/or acceptance
of the phenomenon. Difficult to heroic DL
for a threat, depending on its violence,
significance, and imminence; medium DL
for a neutral phenomenon; easy DL for a
blessing. The Mask may allow, if the player
suggests and the situation permits, to
subtract the levels (not the total) of the
"science" skill (or a specialty) of a character
from their Faith score for this second test.
19 5 6 3 4
 Confrontation with a Supernatural Phenomenon Table

Failure + Failure: Failure + Success + Success + Success:

Success: Failure:
The PC sees things The PC can't The PC believes The PC believes and
differently believe their but doesn't understands
eyes understand
The PC does not The PC is The PC is
perceive any astounded. paralyzed with The PC perceives the
Threat particular danger and Completely fear. danger and confronts it.
acts normally. (+ 1 overwhelmed by (-1 point in (+1 in Faith,
point in Nerve events Nerve) 1 point in Nerve)
– 1 point in Faith) (+1 in Faith)
The PC is
anxious or
The PC starts to look The PC is exhilarated.
for plausible perplexed. "What if it's The PC integrates the
Neutral explanations, or (Test of bad" or "if it's a phenomenon for what it
simply sees nothing Reason, if failed sign from God" claims to be.
or something else. +1 in Faith, if (test of And is not disturbed.
(- 1 in Faith) successful – 1 in Willpower, if (+1 in Faith)
Faith) failed - 1 in
Nerve; if
successful + 1 in
Nerve))
The PC enjoys the The PC is The PC does
spectacle. "It's very uncomfortable not perceive the The PC is
Benefit beautiful! But how do (-1 point in benefit and is exhilarated.
they do that?" Nerve) frustrated (+ 1 point in guts)
(-1 in Faith) (+1 in Faith)

A character attempts to convert
another character to their beliefs or to
impose their faith and/or worldview:
The PC who initiates the discussion or
argument indicates the desired effect.
The Mask sets the DL based on this
intended effect, such as sowing doubt,
making the other reconsider, changing their
mind on a specific point, converting to a
different belief, altering their value system,
increasing faith, etc.
Both characters perform a test, the target
may choose to use their Reasoning score for
this test instead of their Faith score.
Failure vs. failure => both characters feel
threatened by each other. Possibility of
violent reactions from both sides.
Success vs. failure => The character who
initiates achieves the desired effect.
Failure vs. success => The character who
initiates does not achieve the intended effect
and cannot try again.
The targeted character may respond.
Success vs. success => The character who
initiates does not achieve the intended effect
but can try again with a different argument.
The targeted character may respond.
Conversely, a character can use their
Reasoning to diminish another character's
faith or convert them to their ideas. The
process is then reversed and may result in a
decrease in Faith.

126
 Performing Magic
Magic is the application of faith, one's
own and/or that of others, through a skill or
talent aimed at contributing to the
manifestation of magic: "an effect." This
includes religious rituals.
There are two types of practitioners.
Those who invest their own faith, whom we
will call mystics, and those who manipulate
Impostor *
(Does not engage their own Faith)
Skill:
Juggling and Sleight of Hand ->
prestidigitation, minor illusions
Blarney or Acting -> fortune-telling,
trances, false visions, prophecies, miraculous
healings...
Architecture & Engineering -> grand
illusions
Alchemy -> various visual tricks
Botany -> drugs (hallucinations) and
poisons or healing plants
Skill Test (DL based on the desired
effect), if successful, a supernatural
phenomenon occurs, perform a faith test for
an audience confronted with a supernatural
phenomenon (see table). If failed, the
imposture is exposed.
The effect depends on the trick that was
performed...
It's not only in matters of faith that
impostors are found. With the Age of
Enlightenment and the rise of scholars, many Faith test for the character, as if they were
impostors have cheated in their experiments confronting a phenomenon they themselves
to prove one thing or another, without daring caused.
to claim to perform magic. Some use Science
to demonstrate the existence of mystical
elements... For example, for much of the 17th Mask.
century, Science and the Church were
intimately linked...
the faith of others, whom we will call
impostors.
It's important to note that an impostor can
have a high Faith score; the two are not
mutually exclusive.
Finally, one must distinguish between
solitary practice and practice before an
audience or witnesses. It's worth noting that
an impostor absolutely needs an audience,
whereas a mystic does very well without one.
Mystic
(Engages their own Faith)
Skill:
Astrology -> predicting the future,
analyzing the present, detecting the
invisible
Alchemy -> changing the natural state of
things
Liturgy -> drawing the attention of
higher invisible forces (God, devils, or other
spirits of nature, elementals...)
Mediumship -> sensitivity to invisible
forces
Botany -> plant magic
Magnetism -> emitting invisible energy
Skill Test, followed by a Faith Test.
If either test fails, the action has no effect
(-1 in Faith if the skill test succeeds).
If both succeed, the audience may take a
Faith test facing a supernatural
phenomenon.
If successful, the action has an effect
determined by the Mask.
If there is no audience, perform a second
The effect is then determined by the
Additionally, each time all the tests are
successful, the initiate gains 1 point in
Nerve and 1 point in Faith.
20 6 1 4 5
127
 Combination of Skills
It's possible to utilize multiple skills,
which then requires several tests. However,
the first Faith test for the audience will be
easier as a result.
A mystic might engage in an imposture
without being fully aware of it, remaining in
"good Faith."
However, if the mystic becomes aware of
using an imposture, they lose 1 point in Faith
and become, if they repeat the action, an
impostor.
Performances, any magic practiced as a
performance and presented as such, do not
lead to loss or gain in Nerve or Faith for the
audience.
Simply refer to the "Confrontation with a
Supernatural Phenomenon" table for an idea
of the audience's reaction.
In a performance, artists play on the
ambiguity between imposture and reality.
The audience tacitly accepts being
deceived. If indeed they are, the audience
will not hold it against the performance as
long as it is impressive.
Magical Effects
- The impostor will generally more
easily achieve a "tangible" effect, or at least
a visible one, from their magic. These are
either illusions, hallucinations, or
suggestions. The Faith of the audience then
plays a role in interpretation. To achieve
"tangible" magical effects, the judicious use
of natural products with various properties,
128
medicinal, psychoactive, hallucinogenic,
smoky, poisonous, magnetic, electrical,
automata, or even a fine knowledge of the
human body can produce tangible effects
that may seem magical.
- The Mystic, on the other hand, will rely
more heavily on the power of symbolism,
most effects are then "intangible" and
often invisible.
This does not mean without real
consequences in terms of gameplay…
Extraordinary Successes
Whether an impostor or mystic, a
character who achieves an extraordinary
success in a skill test implies an
automatically easy DL for the Faith test of
the audience or witnesses and possibly their
own.
In some cases, the Mask may even decide
that it is automatically successful.
For everyone, an extraordinary success in
a Faith test increases it by 1 point.
Catastrophic Failure
Conversely, a mystic or impostor who
makes a catastrophic failure in a skill means
the entire ritual becomes a disaster at the
discretion of the Mask.
For everyone, a catastrophic failure in a
Faith test decreases it by one point.
Examples of common use of rituals,
spells, or mystical research:
Casting a curse or blessing, attracting or
repelling the evil eye...
 Examples of rituals, spells, mystical research
To curse or bless, to attract or repel the evil eye
Impostor Mystic

Skill: Skill:

Boniments (Blarney) or Comedy -> fortune- Astrology -> predict the future, analyze the
telling, prophecy… present, detect the unseen

Liturgy -> draw the attention of forces

Possible effect: the curse is considered a Possible effect: the curse is viewed as a
threat. After consulting the table, the targeted threat. After consulting the table, the targeted
individuals lose an additional 1 Pt of Nerve. individuals lose an additional 1 Pt of Nerve.

Conversely, the blessing perceived as a Conversely, the blessing seen as a benefit

benefit leads the targeted individuals to gain an leads the targeted individuals to gain an
additional 1 Pt of Nerve (except in first column) additional 1 Pt of Nerve ( except in first column
)

Additional effect at the discretion of the

Mask: the sun returns, a storm breaks out, a
pimple appears on the character's nose, etc…

Enchant or Exorcise
Impostor Mystic
Skill: Skill:

Blarney or Acting -> For feigning illness Liturgy -> attract the attention of higher
invisible forces to combat evil (God, devils, or
Medicine -> for those who want to do things others). Liturgy alone is not enough.
properly
Magnetism -> detect evil and eradicate it
Alchemy and Botany -> preparation of
potions or ointments Alchemy and Botany -> preparation of
potions or ointments

Medicine -> it helps a bit...

Possible effect: Miraculous (alleged) healing! Possible effect: Accelerated healing and in
The treatment is considered a benefit. case of extraordinary success, it's miraculous!

The potion or ointment may contain The treatment is considered a benefit.

cardiotonics or euphoric drugs that create the
illusion of having an abundance of energy. The potion or ointment may contain actual
But beware of dosage accidents... healing agents.
Note: A regular Sunday mass does not constitute a ritual that can lead to a test of Faith.
Exceptional circumstances must be present.

1 1 2 5 6

129
 Heal - Cure
Impostor Mystic
Skill: Skills:

Boniments or Comedy -> For the ceremonial Liturgy: Attracting the attention of higher
invisible forces (God, devils, or others).
Alchemy -> preparation of poisons
Magnetism: Influence over the targeted
Botany -> preparation of drugs (hallucinations) person and the demon.

Juggling and Sleight of Hand -> administration Alchemy: Weaken the victim and
of poison or drug without the character's strengthen oneself.
awareness
Botany: Reveal the demon.

Possible effect: The enchantment is considered Possible Effect: Enchantment is

a threat. After consulting the table, the targeted considered a threat. After consulting the
individuals lose an additional 1 point of Nerve. table, the targeted individuals lose an
Moreover, the character suffers the effects of the additional 1 point of Nerve. Additionally, the
drug and poison... person experiences the effects of the drug
and poison.
Conversely, exorcism is generally perceived as
a benefit by consenting individuals. They gain an Conversely, exorcism is generally
additional 1 point of Faith (except in case no. 1). perceived as a benefit by willing individuals.
They gain an additional 1 point of Faith
Additionally, the character experiences the (except in case #1).
effects of the drug.
Furthermore, the individual experiences
the effects of the drug.

Additional effect at the discretion of the

Game Master: The character falls under the
influence of the enchanter, becomes clumsy,
has nightmares, becomes sleepwalking, etc.

130
 Escape Physical Constraints
Impostor Mystic
Skills: Skills:

Architecture & Engineering: Create grand Liturgy: To draw the attention of higher
illusions (mirrors, pulleys, ropes, winches, invisible forces to combat evil (God, devils, or
trapdoors, etc.). others). Liturgy alone is not enough.
Blarney or Comedy: For staging and
presentation. Alchemy and Botany: Prepare magical aids
Juggling and Sleight of Hand: To appear to help with concentration.
natural.
Gunpowder or Alchemy: For adding visual Mediumship: For concentration.
effects.

Possible Effect: Flying, disappearing, moving
objects from a distance, transforming them... The
trick always requires preparation. If successful,
the purely visual effect is guaranteed! It is
typically experienced as a threat (except in a
show context).
Possible Effect: Leaving one's body to see
other places and times, as determined by the
Game Master. This form of magic is an
intimate experience that cannot be shared. No
test for potential witnesses.

2 2 3 6 1
131
 Summoning Demons
or Nature Spirits for Service or Information:
Impostor Mystic
Skills: Skills:

Liturgy: To draw the attention of higher Liturgy: To attract the attention of higher
invisible forces to combat evil (God, devils, or invisible forces to combat evil (God, devils,
others). or others).

Architecture & Engineering: Create large Magnetism: To control the demon or

illusions (mirrors, pulleys, ropes, winches, traps, invisible force.
etc.).
Mediumship: To sense the demon or
Boniments or Comedy : For stagecraft. invisible spirit and possibly communicate
Fireworks or Alchemy: To add visual effects. with it.
Juggling and Sleight of Hand: To operate
devices unseen.

Possible Effect: Possible Effect:

Much ado with animated puppets, disguised
accomplices, a bleeding effigy, talking statues,
etc. The trick requires preparation. If successful,
the purely visual effect is guaranteed! It is
generally perceived as a threat (except in
ceremonies where the followers are consenting).
If the summoner is alone and successful,
the demon or spirit manifests. They generally
refuse to act directly on others or the reality
of the earthly world but can provide
information or grant a special power to the
summoner. They often propose a pact (spirits
and demons are whimsical or even
treacherous) - a service in exchange for
another. In game terms, the effect is at the
discretion of the Game Master (GM). The
summoner may see an improvement in a skill
or attribute, or gain significant information.

If the summoner acts in front of witnesses,

the demon or spirit refuses to show itself
directly but can manifest in various ways. It's
up to the summoner to interpret the signs sent
by the demon or spirit correctly. The demon
or spirit can also incarnate in the summoner.
In game terms, the effect is at the discretion
of the Mask (GM).

132
 Predicting the Future

Impostor Mystic

Skills: Skills:

Boniments or Comedy: For fortune-telling, - Astrology: Predict the future.

false visions, prophecy, etc. - Liturgy: Draw the attention of higher
powers.
Astrology: To appear more credible. - Mediumship: Communicate with spirits.

Possible Effect: Possible Effect:

Predictions are generally considered neutral If the predictor works alone and the tests are
(see the table). successful, the future becomes visible to them.
However, interpreting it is always a
No other effects. challenging task, as "the future is always in
motion" (sic). The specifics are at the Game
Master's discretion.
In terms of gameplay, the impact depends
on the nature of the prediction: good news may
grant 1 point of Nerve, while bad news may
result in the loss of a point.

If the predictor works in front of witnesses

and the tests are successful, the bonuses or
penalties related to the nature of the prediction
apply to everyone.

3 3 4 1 2

133
 Detecting the Invisible, the Hidden

Impostor Mystic

Skill: Skill:

Boniments or Comedy: for staging, Liturgy: to attract the attention of higher

invisible forces for obtaining signs (God,
Juggling Sleight of Hand: for hiding and devils, or others).
retrieving. Magnetism: to sense the energy currents
emitted by the invisible.
Mediumship: to see the invisible through
flashes.
The investigator typically uses a "Focus,"
such as a pendulum, dowsing rod, or others...

Possible Effect: Possible Effect:

A fairly classic sleight of hand trick. "Where
is it? It's not here... Oh wait, here it is!"
Very useful for ensuring something is found
on someone: "I swear it wasn't me!"
May potentially convince witnesses that one
possesses certain powers…
The investigator senses energetic
vibrations that can guide them towards what
they are seeking. These vibrations are
sometimes imprecise as they can be
disturbed by other sources of energy.

134
 Combating Evil or Its Manifestations
Impostor Mystic

Skills: Skills:
Liturgy -> To draw the attention of
Same as in the case of summoning demons. benevolent and protective forces.
Magnetism -> To repel malevolent energies.
Botany or Alchemy -> The use of minerals
or plants feared by demons.
It's also advisable to have a basic
understanding of Theology to properly know
the devil and his servants.

Possible Effect: Possible Effect:

The character feels endowed with a superior
Same as in the case of summoning demons. force, acting for good with effective weapons.
However, the phenomenon is experienced as a They gain 1 point in Nerve.
benefit. An "evil" character, possessed by
malevolence, may lose their composure when
facing a well-prepared mystic who confidently
displays the symbols of their faith.

Nearby, Abbot Cauchois is engaged in a

Applications and Examples
The old witch of the forest welcomes
Martin and Ignace into her humble abode.
Martin has a magical view of the world,
unlike Ignace, who sees things rationally.
After offering them a steaming bowl of broth,
the witch proposes to consult the spirits of
the forest to find Mathilde de Saint-Onge.
Following a jumble of incantations and
gestures as chaotic as they are impressive,
the witch throws magical powder into the
fire, creating thick billows of white smoke.
"Look!" says the witch. "In it, you will see the
one you seek and the place where she is
imprisoned." While Ignace, with a smirk,
barely pays attention to the white smoke,
Martin cranes his neck, trying to unravel the
mystery.
In the smoke, he discerns Mathilde's face
and the swirls then suggest to him the image
of the old ruins of Jansac Castle. "She's at
Jansac!" exclaims Martin. "Nonsense,"
replies Ignace. Martin and Ignace find
Mathilde chained in the ruins of Jansac.
demonic ritual, sacrificing a goat so that the
Devil's spirit may inhabit Mathilde. Abbot
Cauchois is more of a pitiful madman and
amateur; his skill in rituals and spells is
merely 5. What he aims to achieve, the devil's
incarnation, is quite enormous. This will be
a heroic test (2 chances out of 20). He
inevitably fails. His ritual is pitiful in
appearance; the goat dies, but no one
believes for a second that the Devil has
arrived. Especially not Ignace, who leaps to
confront the abbot. Martin, for his part, is
reassured. He does not believe Mathilde is
possessed and hurries to free her.
...
Ignace is mortally wounded, lying on the
ground semi-conscious. An old African
sorcerer dances around him, waving his
charms and chanting hypnotic,
incomprehensible words. Ignace knows that
this black-skinned savage cannot do
anything, and his end is near. Yet, the old
sorcerer has a score of 20 in rituals and
spells; the Masque considers the test very
difficult (as if it were a treatment). He
achieves an extraordinary success! Ignace

4 4 5 2 3
135
then falls into a deep sleep filled with strange
dreams where a serpent keeps him
company... The day after next, after sleeping
for more than 24 hours, Ignace wakes up
feeling much better. He can even stand up.
His wounds are still painful, but he has
endured worse. Ignace doesn't understand
what the sorcerer did, but he must admit that
his recovery was remarkably swift. This
savage possesses a science still unknown to
Europeans.
However, Ignace, once an apprentice to a
Hebrew doctor, realizes that "Master
Platonus" is employing the trick of invisible
ink. The ruse of the flame being too well-
known, he instead uses ink made of sweet oil
of vitriol mixed with water, revealed by the
powdered sulfur covering his hands. The so-
called potion is merely water dyed blue.
"Master Platonus is nothing but a liar and a
charlatan!"

Alchemy's Magic
Alchemy can be seen as a union of science
and magic. It's a pursuit more symbolic and
mystical than scientific, borrowing from
science certain methods of experimentation
and classification. This implies that
alchemical practices could appear credible
even to a rational mind during that era. Thus,
we'll consider alchemy a specialty within the
Science skill (refer to the skills chapter).

An alchemist, in developing their craft,

doesn't necessarily need to know rituals and
spells. Yet, these esoteric knowledges often
align well and are frequently taught together.
Originally based on the study of matter and
its transformations (see the philosopher's
stone), alchemical knowledge enabled its
holders to also manipulate poisons and the
peculiar properties of certain substances (the
Astrology and Divination
flammability of sulfur, the electrostatic force
Astrology comprises a set of systems and
of amber, the magnetic pull of magnetite
beliefs based on the interpretation of celestial
stone, etc.)
phenomena to glean insights and predict
human events, whether collective or
Alchemists may not produce truly
individual. Since the times of Kepler and
decisive magical effects, but they can induce
then Newton, it has been distinctly separated
perplexing phenomena: liquids that change
from astronomy and, more broadly, from
color, stones that float, powders that combust
physics and the sciences that describe and
upon air exposure. It's with these phenomena
predict natural phenomena with precision.
that alchemists can persuade others of their
Despite this, rigorous scientists like Kepler
nearly magical powers.
officially practiced it at the behest of the
powerful, thus ensuring some funding for
For instance, "Master Platonus" attempts
their research.
to convince Ignace that he possesses a potion
that can manifest a dead man's thoughts onto
The confusion between astrology and
a parchment. After swallowing a vial
astronomy, between science and belief,
purportedly containing the potion, he passes
allows for a comparison of this "art" to
his hand over the parchment while reciting
alchemy. The art of astrological divination is
esoteric formulas, and the text appears!

136
made all the more credible if the astrologer
knows the names of the stars and can identify
them in the sky. An astrologer should have a
Science score of at least 10, or 5 if
specialized in astronomy. However, the
astrologer is unlikely to convince a rational
individual of the credibility of their
predictions. Unless achieving a heroic feat
that might cast doubt, at best, they can
impress with their knowledge.

"At twenty-five years old, Baron

Sébastien de Frontignac, an artillery
lieutenant, had many talents. He knew
remedies for almost all ailments,
disregarding the doctors' prescriptions,
prophecies about the weather,
excellent knowledge in the use of
artillery in the field, he excelled at
chess, and he had a sincere faith in
God."
- Frédéric H. Fajardie, The Red
Scarves.

5 5 6 3 4
137
 The Mask, Attributes of the Hero
or Villain
Romantic Setting
There are countless examples of masked
heroes or bandits. The most famous operated
in the 20th century on the streets of New
York, but others before them had paved the
way. They all share the distinction of being
heroes from fiction and legend. And it is
precisely this legend that interests us.
Some examples include: Masque-rouge,
Zorro, the Black Tulip, Fantomas, the
Hunchback, and many more contemporary
ones.
With this last example, the Hunchback
(Lagardère), we understand that the Mask is
not only the object itself but the false identity
that one can create from scratch, and under
which one can act.
The mask allows the player character or
villain to act under an identity other than
their own.
The Mask guarantees anonymity and
protects the wearer.
The mask, when it is not a false identity,
always embodies an idea,a concept, an ideal
(usually of justice), revenge, and of course,
crime, as it allows for impunity.
The mask, as we have seen, can range
from a sophisticated disguise to a simple
colored scarf hiding the lower face. It can be
complemented with a distinctive cape, hat,
feathers, or other specific attributes that
characterize it.
It can also leave a signature in the form of
a trace, marks, or a small, uniquely
recognizable object (special card, flower, or
feather of an improbable color, etc.)."
138
Description of a Group at the
Carnival
Amidst the crowd where masks and
costumes both ridiculous and grotesque
were seen, Monsieur de Bois-Brûlé led the
way, dressed as Neptune, a trident in hand,
adorned with a long white beard. Behind
him, conversing with an air of calm,
Barons de Frontignac and Le Clair de
Laffite proceeded at a slow pace, the former
wearing a donkey mask and the latter hiding
his features beneath a very pink pig mask.
Then came Maximilien Fervac who had
whitened his face with plaster, Nicolas
Louvert topped with a crown from which
dead mice hung,
creating a great comedic effect among the
crowd, and Florenty, wearing a devil mask
with a frozen smile.
They did not walk in a cluster, allowing
interspersed Parisians in disguise between
them.
Lastly, Count de Nissac and Mathilde de
Santheuil walked as a pair, hand in hand.
The young woman, dressed as a nun,
concealed her face beneath an eagle mask,
while Nissac wore an even more terrifying
mask, for it was death itself, and this skeletal
head intensified its effect given that the
count carried a long scythe on his shoulder.
People parted with trepidation before this
odd couple, but soon forgot them, so
astounding, amusing, and delightful was the
variety of disguises.
Nissac and his companions entered a
church where a mock priest conducted mass
for an audience of dogs led down the aisles
by their masters.
The animals, fearful of the whip, listened
obediently to the rough Latin. Meanwhile,
disguised individuals took up a collection,
the false bearded and mustachioed ladies
shaking their ample hips excessively and
grumbling against the stingy dogs that did
not give the "penny to God"."
- Frédéric H. Fajardie, Les Foulards
rouges.
 Mask : Specific Rules
The mask earns a renown of its own. The
mystery conveyed by the mask amplifies the
interest in it. Thus, the Game Master (I avoid
calling them 'The Mask' to prevent
confusion) may decide to assign a dedicated
Fame Talent to the player character's
mask under certain circumstances.
For every noteworthy action that has at
least one witness, and if a signature is left
(additional proof to the witness’s account),
the thus 'famed' mask gains one or several
levels in its dedicated talent. A mask that
becomes famous can ultimately empower its
wearer; in game terms, it provides a bonus of
Nerve = Renown /4, rounded down.
The mask can grant other bonuses
depending on its reputation. For instance, a
mask beloved by the people will enjoy their
support, a mask can inspire fear and may
even be considered a supernatural
phenomenon, causing opponents to lose
Nerve points upon its appearance. It can be
assumed that a weak NPC flees upon losing
a single point of Nerve.
Beware of impostors. Wearing a famous
mask without legitimacy allows one to
assume its fame but not the gain in Nerve
points. On the contrary, if the mask does not
live up to its reputation (related to fame), it
is the opponents who gain the Nerve bonus.
Playing a Masked Character
Playing a masked character is complex,
both for the GM and the Player. A masked
character is typically solitary. How then to
ensure the unity of the group of characters if
one of them is a hero (or bandit?) in a mask?
The GM may take control of the masked
character after the player has given a number
of directives regarding the intentions and
objectives of the mask. The player does not
act as the masked character and can remain
at the game table, seemingly nonchalant, and
139
witness the feats of his mask. The interest is
less for the player but guarantees his
anonymity and the balance among players.
The GM can have some private
discussions with the player of the masked
character to allow him to act. These side
conversations must be balanced with the
other players, there shouldn't be a focus
solely on him.
The GM can build the group around the
mask. One player acts as the masked
character, the others are his allies.
If the GM chooses this option, they must
be careful not to frustrate the other players or
unbalance the group. To be viable, the group
must be very united around the mask, whose
concept must be the glue rather than the
personality of the player or his unmasked
character.
The mask must be nothing without the
rest of the group, even if it means exchanging
the mask according to needs. Thus, if the
mask needs to fight, then the soldier of the
group is sent, if it needs to argue the most
literate is sent, if it needs to run across
rooftops the acrobat is sent, etc.
Finally, one can imagine a collective
mask, see 'The Red Scarves' by Frédéric F.
Fajardie, in this case, it is the collectively
built legend that unites the group.
The bonuses of the mask are only
awarded in this case if the characters act at
least in pairs, masked and in unison.
Be careful not to multiply masks so that
your games do not resemble a perpetual
carnival. Unless this is a deliberate choice
for a distinctly 'romano-fantastico-heroic'
atmosphere."
6 6 1 4 5
 Masks of the Commedia dell’arte
The commedia dell’arte provides
numerous masks that players can utilize.
These masks, which were very popular at the
time, symbolize virtues or flaws that can help
characterize the mask. The characters of the
commedia dell’arte are all comedic anti-
heroes, but their symbolism can inspire true
heroes or true villains…
Harlequin: A cunning,
though not particularly brave,
servant who loves life and
whimsy above all. His other
attributes include a patchwork
costume of vivid colors and a club.
Brighella: Also a servant,
but far more cunning than
Harlequin, he can be deceitful
and has many tricks up his
sleeve. He is nimble, skillful,
sly, and stealthy, yet he can
also be a braggart."
Capitan or Matamore:
A master or soldier who is
warlike but ultimately more
of a braggart than effective.
He symbolizes strength,
combativeness, and
violence, as well as flamboyance.
Pulcinella: A cunning
and insolent common man,
sometimes deceitful, he
speaks for the voiceless. A
master of scheming, he can
become a formidable and cruel opponent,
even an assassin.
Scaramouche: A lying
servant who seeks to rise
above his station by any
means, including lying and
deception. He is agile and a
smooth talker, sometimes a seducer.
Scapino : A more
softened, more altruistic
version of Scaramouche.
The Witch: A mature
woman symbolizing
mysteries and magic. It can
also refer to a male sorcerer.

Columbine: A smart
maid who speaks frankly,
sometimes insolently, she
fights against lies and seeks
justice.

Doctor: A man of
science or law, but above
all, a man of power. He gets
what he wants.

Pantaloon: A middle-
aged man, typically
powerful and wealthy.
Mocked, he seeks revenge.
He does not forgive.

140
 Other Masks
Other sources of inspiration can enrich
your gallery of masks. Among them, there
are classics from the Italian carnival related
to commedia dell'arte.
The Doctor: This mask was
invented during the plague
epidemics to protect doctors
from germs, with the nose
stuffed with herbs from
Provence.
The Larva: From the 18th
century, this mask became
widespread, often
accompanied by a tricorn hat
and a black veil.
Devils and Demons: Add horns to any of
the commedia dell'arte masks, and you'll get
a more or less frightening devil.
Animals: Masks imitating animals can be
imagined, such as wild boar, wolf, bear, cat,
and often birds of prey, etc.
Fabulous Animals: Add horns or long
teeth to an animal, and you'll have a fabulous
beast.
Playing History
Our vision of historical role-playing is
straightforward: start with historical facts to
build a story that aligns with the individual
and collective backdrop of the group of
characters played by the players.
This is why the character creation phase,
with the Alea Cards, is important. It
establishes milestones that will feed the
characters' impulses and motives throughout
their adventures. That's why we're now going
to introduce you to a group of characters
designed for demonstration scenarios at role-
playing events, which we have participated
in annually for several decades.
Flavia, the street performer used to
introduce you to the character sheet's
mechanics, is part of this troupe. She's also
the main character of the solo adventure, in a
'Choose Your Own Adventure' book style,
which opens the introductory scenario at the
end of the volume. This allows for a more
playful exploration before suggesting it for
play. So, if you're a player and your Game
Master has decided to use these elements for
your first games, pause your reading at the
end of this page."

Exotic Masks: Egyptian mortuary masks,

Chinese, Aztec, sorcerer masks from Africa
or India – the list goes on. In terms of skills,
Disguise or the occupation of a Street
Performer allows knowledge of the
symbolism of these masks as described here,
as well as a stay of at least 4 years in the
Italian Peninsula."

"That the last lord of Nissac,

currently without forebears, would risk
his life for him, this reconciled Mazarin
with the nobility, the true kind, the
sword-bearing nobility dating back to
Saint Louis, who served with courage,
shunned the trivialities of the Court,
knew nothing of dancing the minuet or
the passepied, but had long been
acquainted with honor."
Frédéric H. Fajardie, "The Red
Scarves."
141
7 1 2 5 6

The Company: A Team
of Characters
Commedia dell'Mazorcco
This theater company, in the style of
commedia dell'arte, is the only one of its kind
in permanent residence in Paris before the
arrival of Marie de Medici's entourage. It is
known for its biting tone against the Catholic
clergy and the Milanese and Florentine
nobility.
As all roles are masked and the troupe was
established primarily for activism and
political satire, most of the actors lead double
lives, both on stage and in the city.
Since the fire that destroyed their theater,
they have been homeless, forced to revise
their repertoire and economic model: shows
now take place on the streets, not just
featuring commedia dell'arte pieces, but also
traditional street performer acts. Therefore,
they have partnered with another group,
mainly comprised of musicians: the
brotherhood of Master Yannis.
Its members playing designated roles in
performances are:
On stage:
Mathilda Tasso
a.k.a. Mati (38 years old)
An exile from the Republic of Venice,
founder of the Dell' Marzocco troupe, an
outstanding actress and costumier. She is
educated and plays several instruments.
Occasionally, she portrays the Witch.
In the city: a governess for the children of
the House of Aubigné, a Protestant family.
Célestin Couvré a.k.a. Croquant
(17 years old)
He is the troupe's knife-thrower but also a
skilled juggler. He excels as a messenger in
142
the streets of Paris, which he knows like the
back of his hand.
In the city: a street child, taken in by the
troupe, who has since made his way and been
employed as a footman by Jean Lefevre, the
pamphleteer author of the plays performed
by the Company.
Geoffrey Perrin a.k.a. Colin
(16 years old)
The designated acrobat on stage, and also
an excellent juggler. He excels in drawing
new spectators as a town crier and in
mocking the bourgeoisie, wearing the
Company's emblematic mask. He loves
thrills.
He still keeps a low profile, having been
hidden within the theater for a long time. His
former "bad associations" in the Les Halles
district chased him for a while after a dispute
with a street gang that accused him of
working, meaning begging, for himself.
In the city: A street child taken in by the
troupe, he has now made his way and has just
been hired as a valet to an eccentric
Protestant nobleman who wishes to plant
mulberry trees in the area: Olivier de Serres,
Lord of Pradel (69 years old).
Benjamin Le Valois, known
as Ambroise (31 years old)
Wanted in his native region
for burning down a convent, a crime he did
not commit, the troupe is now his only
family. He plays the roles of the braggart
soldier.
In the city: Protestant baron. He met Mati
during a service at the Temple of Grigny,
who proposed he join the troupe while
waiting for a return to favor.
 Jeanne Duval, known as Colombine
(25 years old)
She plays the role of
Colombine. Raised in the countryside, she
has a gift for clairvoyance.
She is a talented juggler and an
exceptional dancer.
In the city: Housemaid for the priest at the
Church of the Holy Innocents.
Flavia (16 years old): the most recent
addition to the troupe, she has become its
dedicated tightrope walker.
She crossed the Alps with her three
uncles, Swiss Guards, who were coming to
take up their post at the Louvre.
In the city: She got a job as a stable hand
at the King's Stables by pretending to be a
boy.
In the city: he frequents Clubs and Salons,
both to listen and to advocate his ideas.
Jules Dresde, known as Pedrolino (35
years old)
The strongman of the troupe, he is a
carrier for the acrobats. His favorite
character is Pedrolino (Pierrot), a gluttonous,
naive, and honest servant. His connections
with the Guard (police) have already saved
members of the troupe from trouble.
In the city: a zealous customs officer, he
lives only for his job.
Cosimo Ruggieri, known as the
Astrologer (62 years old)
A long-time admirer of the troupe (and of
Mathilda!), he is none other than the King's
Astrologer, although somewhat out of favor
at Court in recent years.
He has been known to play Pantalone.

Friends and Protectors of the

Company

Less frequently present than the others,

they do not hesitate to lend a hand on busy
days.

Jean Lefevre (46 years old): An affluent

bourgeois and free thinker with a sharp mind,
he enjoys occasionally playing
Scaramouche, and acts as a protector of the
Company.
8 2 3 6 1
143
 1601:
The Vendetta of the Brighellas
The flourishing enterprise that the
Commedia dell'Mazorcco
theater had become was
abruptly halted last autumn:
a criminal fire devastated the
premises.
As if one misfortune never comes alone,
they just learned that the Cemetery of the
Holy Innocents is to be expanded and the
lodgings they occupy in the Cour des épées
are to be demolished by royal decree, unless
their landlord, Henri Picolet, can find 3000
livres within two months...

The troupe, changing upstairs after a

show, narrowly escaped being trapped and
perishing altogether.

Fortunately, thanks to the diverse talents

of each member, all managed to get out with
minor injuries.

The committed tone of the performances

may have played a role, and the double lives
of the troupe members likely irked some of
their acquaintances: truth and the past are
harsh relatives, always reminding those who
haven't settled their debts!

After a difficult vote, the troupe decided

to lay low but to find and exact revenge on
those responsible for their misfortune! The
leads are almost non-existent: two medium-
sized, masked gentlemen were seen setting
the fire on the ground floor... but the team is
resourceful and determined to find and
punish them!

To this end, it was decided that henceforth

all would wear only one mask in a show of
commitment to this vendetta: that of
Brighella.

Moreover, they consider their fight to be

for free thought, religious freedom, and the
right to information for all.

Thus, Brighella is becomingg a known

figure in Paris, appearing in markets and on
church forecourts to denounce state
censorship, the Catholic Clergy's seizure of
properties, and official corruption.

144
 The Iconic Character situation requires, a soldier, lawyer's clerk,
of the Commedia del Marzocco or executioner's assistant.

He is an innkeeper who, despite his minor

roles, helps the audience understand the play.
A cunning servant, he arranges marriages
and manipulates his masters.

Also a servant, but much

more cunning than
Arlecchino, he can be
deceitful and has many
talents at his disposal. He is
agile, skillful, cunning,
discreet, and as much a braggart as he can be.

Each member of the troupe has a

Brighella mask.

Brighella, or Briguelle in French, is a

stock character of the commedia dell'arte.

Brighella is one of the oldest and most

consistent types of the buffoon servant in
Italian comedy. His name derives from briga,
meaning quarrel. Like Arlecchino, he hails
from Bergamo in Lombardy,

but he is more cunning, living in the

"upper" part of the town. He describes
himself thus: "I am a man famous for
trickery, and the finest deceptions are my
own inventions."

Always dressed in green and white, with

a black or olive mask on his face, he carries
a purse and a dagger at his belt.

Capable of anything, insolent with

women, and boastful when there's nothing to
fear,

Brighella, with his smooth talk, musical

and dancing talents, and rare skill, can
provide a variety of services. He is not averse
to any occupation, becoming in turn, as the

9 3 4 1 2
145
 Some Characters of the Troupe
Benjamin Le Valois
Your Life: You are the eldest of six
siblings. You served as an officer in the army
for three years, under the command of
Agrippa d'Aubigné, a man you admire both
as a poet and a great warrior. During this
time, you met and fell in love with Louis
Arthemise (17 in 1601), d'Aubigné's
daughter. Her father consented to your
marriage, but only on the condition that you
secure your baronial title or another title,
ensuring a steady income and land. You
returned to your estate to temper the anti-
Catholic fervor of the most extreme
members of your family.
The Convent Affair: Indeed, several
families of Protestant nobles, frustrated by
the increasingly abusive restrictions on their
privileges and freedoms by the Catholics,
decided on punitive action. You attempted to
reason with your side to dissuade them and
avoid bloodshed, but to no avail. You
followed them at a distance to intervene if
necessary, but could only watch as the
convent was engulfed in flames.
You were on a small promontory at the
edge of the forest, atop a hill. A group of
peasants returning from the fields saw you
on horseback, watching the scene, which
likely led to rumors that you were the leader
of this bloody expedition.
It was then that you saw a nun fleeing the
massacre. You rode to her and offered to take
her across the valley to the ecclesiastical
authorities in the neighboring country. Upon
arriving, you discovered that you were
wanted by the Royal Guard as responsible
for the atrocities.
Another big surprise: when leaving the
nun with her superiors, she revealed that she
had been forced into the convent and wished
to leave the habit! This nun turned out to be
Jeanne Duval, with whom you decided to
exile yourself to Paris to lay low. You
146
haven't revealed to your fellow actors either
the reason for your exile or Jeanne Duval's
past as a nun.
Colin
This street child unexpectedly came upon
one of the arsonists, but had to hide under a
table to avoid being caught. It was then he
noticed the rapier the arsonist carried: its
guard was finely crafted, and the pommel
was carved from ebony into the shape of a
chess piece, a black bishop. He couldn't see
their faces, as they were hidden by a scarf
and a wide-brimmed gentleman's hat.
Colin has recently become the footman of
a man of science with access to the Court.
Being a footman means he is attached to his
master's person and sleeps in front of his
master's bedroom door to block entry. This
role generally means he is expected to be
present and available from sunrise to sunset.
However, his master only calls upon his
services on days when he must appear in
society, about two to three days a week.
It was from his master that he learned to
write, as well as about history and
geography. As for medieval fencing, he was
introduced to it by one of the old servants of
the Serres family.old servants of the Serres
family.
Flavia
147 9 3 4 1 2
148

Olivier de Serres
Only one portrait of Olivier de Serres
made during his lifetime, at the age of sixty,
is known. It's a rather average pen drawing
by his son Daniel. The engraving above is a
later interpretation.
The Serres family, originally from
Vivarais, now the Ardèche department,
prospered in the cloth trade. Jacques de
Serres had two daughters, Claude and
Delphine, and three sons, Olivier, Jean, and
Raymond. The family was militantly
Protestant. Jean became a pastor and later the
historiographer of Henry IV, while Olivier
would be a deacon of the Reformed Church
in Villeneuve-de-Berg.
Born in this small town, Olivier de Serres
was only seven when his father died. His
family's status allowed him access to the best
education and a private tutor. He studied
Greek and Latin, supplementing his
education with extensive travels in France,
Italy, Germany, and Switzerland.
In Paris, he studied, at the King's request,
the feasibility of planting 20,000 mulberry
trees for silk cultivation and to promote his
book, "Le théâtre d’Agriculture", a
comprehensive work on various agricultural
practices.
149
His surveys led him to the wasteland
adjacent to Cour des épées, on Rue au fer,
opposite the Saints Innocents cemetery...
Jeanne Duval
You were born in a small village to a
family of shepherds. Early on, you had "the
gift." You foresaw deaths and births, saw
"white flashes" predicting accidents – in
short, you saw the future. When word spread,
and people from across the valley began
consulting you while you were still a child,
the local lord struck a deal with your parents
to avoid "trouble": you were sent to a
convent to avoid the scrutiny of an exorcist
questioning your soul.
Reluctantly, you entered the convent. Life
with the sisters was cold and hard, but you
found solace in the well-stocked lectorium
and library, donated by a local noble.
In the lectorium, you accidentally found a
hidden cache containing a forbidden book –
a grimoire titled Livre des Ombres.
Alongside it, a parchment revealed that the
then-mother superior, in agreement with the
bishop, had hidden it to study its contents
and thus more easily arrest those committing
such infamies.
You took the book to your cell and began
studying it. You uncovered some magical
secrets and practices of the witch who wrote
it, a noble of Germanic descent. The sorcery
texts were in Old French, while the journal
section was in Germanic.
You're not sure if the spells in the book
work, and you've never attempted to cast
one. The book references the Old Religion,
the Mother Goddess, and the Horned God.
Its composition is unfinished...
No one knows about your discovery.
Note to the player: You decide the
content of the grimoire. If you want to cast
or invent a spell from the book, you'll have
to create it from scratch. You don't know if it
11 5 6 3 4
will work! Everything will depend on your Mathilda Maria Cathrina della Torre e
Faith and the occult knowledge you apply... Tasso

The convent incident: One day, the
Huguenots attacked and set fire to the
convent. You managed to escape what was
about to become a massacre. Before fleeing,
you "saved" some rare old manuscripts and
some valuable religious artifacts.
Is a Venetian noblewoman from a lineage
of Master Postmasters who have been
establishing family dynasties across Europe
for three generations.

A few hundred steps from the carnage, a

charming young man on horseback rescued
you and took you out of the region in no time.

It was when he was about to leave you at

the Episcopal Palace of your bishop that you
confessed to him that you had been forced
into the convent and did not wish to return. It
wasn't a problem for him, of course, since he
was part of the group of Huguenots who
attacked the convent: Baron Benjamin Le
Valois. Among your fellow actors, only the
baron knows that you wore the habit.

Jeanne has befriended Aurélien

Bonchamp, a student at Cour des épées. He
is a medium, like her, and in this world,
people sharing this condition are rare and
often must remain discreet to avoid
ignorance and the wrath of their
contemporaries.

Thus, it's nice to confide in someone who

can understand your visions.

Recently, Aurélien shared a mystical

dream he had, which he recorded in his study
notebook. He loves poetry and always notes
his visions and dreams in verse, in the
language of birds. However, he described
this dream more like a nightmare, given the
oppression he felt upon waking.

While jotting down his verses at a table

corner, he smiled, saying he wasn't sure if his
anxiety was due to a small spider that had
slipped into his bed upon waking or the
verses that had come to him.
Spanish Mathilda’cousin
Read and note paragraph 27 of the
adventure you are the hero of, in the
following chapter.

150
 12 6 1 4 5
151
152
 She was the betrothed, as the daughter of
the Master of Posts of the Serenissima, to a
master glassmaker from the island of
Murano. Not one to wait to be fetched, she
secretly met her suitor several times. They
were fond of each other, and all was well.
One day, he was seen with her outside the
island, shortly before their wedding. As per
the rules of the glassmakers' guild, he was
executed for treason: master glassmakers
were forbidden from leaving their island,
regardless of the reason. Indeed, there was
no chance of a foreign power stealing the
secrets of a fruitful industry!
He was thus murdered in the most sordid
way, as a dwarf with a glass-bladed dagger
stabbed him in front of the young lady. It was
a surprise attack, during the return from one
of their secret amorous meetings by boat,
hidden in the mists of the lagoon.
She developed a phobia of dwarfs from
this trauma, which she still struggles to
control. But by using her family's influence
networks, she also learned that the Dwarfs of
Venice form a Guild serving the Doges'
power.
And that this Guild is closely linked to the
master glassmakers' corporation…
Indeed, dwarfs in this organization travel
throughout Europe, often disguised as
peddlers. In reality, they prospect in
mountainous regions and exploit clandestine
mines for the benefit of the Guild and the
Serenissima.
Before his untimely death, her suitor had
allowed her to visit his workshop and had
shared some of his secrets with her. It was
then that her passion for Alchemy was born.
Heartbroken, Francesco David, her father
was forced to exile Mathilda, so she would
not suffer the same fate as her future
husband. The Chessboard, a secret and
criminal organization that had heard of this
affair, offered her father protection and a safe
exile in exchange for the glassmakers'
alchemical secrets Mathilda might inherit.
153
12 1 2 5 6
He refused, especially since with his
family's European network of Post relays, he
had plenty of options to make Mathilda
disappear. This dishonest proposal hastened
his decision and the exile for the young
Venetian noblewoman.
As she was close to the splendors of the
court of Marino Morosini, the Doge of
Venice, and before the news spread, she had
an idea to avenge the cruel laws of the
government and corporations:
On May 4, 1597, for the coronation of the
dogaressa, Morosina Morosini received from
Pope Clement VIII the Golden Rose, a
prominent distinction, while the doge in turn
received an equally remarkable gift: a shard
of the Cross of Christ.
Certain of the alchemical value of this
relic, and its diplomatic exchange value,
should she find herself in difficulties during
her exile, Mathilda,
on a whim and seizing an unexpected
opportunity, stole the rose in its case, just
hours before crossing the Alps by night to
start her new life.
Note this item on your character sheet,
specifying how you hide it.
Indeed, if you were to be captured by
envoys of the Serenissima, in possession of
this item, regardless of your supports in the
kingdom where you are, it would be difficult
for Justice to refuse your extradition.
Today, Mathilda has kept only her first
name public, without hiding the numerous
visits from her family members: the clerks
and masters of Posts now parade several
times a year where she has established
residence: the Court of Swords.

A concentration of lodgings rented to

individuals, along the Rue aux Fers, facing
the cemetery of the Holy Innocents.

The lodging she currently occupies is one

of the apartments permanently rented by the
Turn und Tassis branch of Brussels, for the
business travels of family members. A
Spanish cousin, Don Juan de Tassis (28 years
old), Count of Villamediana, son of Don
Raimondo (1515-1579), currently staying in
Paris for business, occupies an adjoining
apartment to hers.
Mathilda noticed that recently a woman
wearing impeccably tailored and
magnificent clothes has been regularly
visiting the student of the Court of Swords,
Aurélien Bonchamp.
Don Raimondo (second from the back),
participating in a negotiation in 1604.
It was difficult to glimpse her face
because, with the winter chill, she was
hooded in a capeline of skin adorned with
furs. Her face, hands, and ankles were
perfectly protected from the cold and prying
eyes... The woman is not yet in her prime, yet
older than the young man. Mathilda
observed that a horseman accompanied the
lady and waited for her each time in Rue aux
Fers, keeping her mount.

Is it for romantic meetings?

Don Juan de Tassis, during a trip to the Velázquez, Sebastián de Morra, 1645,
Barbary States. a dwarf at the Court of the King of Spain.

154

Adventure Where You
Are the Hero
The Saltimbanque and the Fool
As if you were about to participate in a
tabletop role-playing game, arm yourself
with Flavia's character sheet and a twenty-
sided die, or use the "leafed-through" die at
the bottom of the page. The only difference
is that you'll be playing with the book in your
hands.
If you're a player, check with your game
master to ensure they haven't planned to have
you play the introductory scenario of The
Mask and The Sword, as the adventure
offered is exactly the same as the scenario
intended for the Mask, which immediately
follows this chapter. If you've decided to be
the Mask and therefore the game master, this
adventure will allow you to approach the
introductory scenario by discovering it
through a method almost as enjoyable as
behind the screen: from the perspective of a
player who would start the adventure in solo
play, i.e., a game master and a single player.
Whether you are a player or the Mask, this
adventure is primarily meant to gradually
immerse you in the world of this game, as
well as in the mechanics of the rules, through
a few dice rolls. Don't expect to be thrust into
a thrilling adventure with multiple combats
and chases for this taster.
This is more of a scenario of investigation
and inquiry.
155
1
The once thriving enterprise of the
Commedia dell' Mazorcco theater abruptly
ceased last fall: a criminal arson devastated
the venue after a show. The troupe, changing
upstairs while the audience dispersed into the
street, narrowly escaped being trapped and
perishing altogether. Thankfully, due to
everyone's unique talents, all managed to
escape with minor injuries. The committed
tone of the performances might have played
a role, and the double lives of the troupe
members likely offended some close to
them: truth and the past are stern relatives,
always reminding those who haven't settled
their debts! After a difficult vote, the troupe
decided to lay low but also to find and
avenge those responsible for their
misfortune.
Clues were almost non-existent: several
witnesses saw two medium-sized, masked
gentlemen starting the fire on the ground
floor. Flavia, a member of the troupe, was
among those who spotted the two men. She
remembers one of them wearing a thistle
flower on his collar, and their eyes met. The
unusual shape of his ebony rapier hilt and
that distinctive collar ornament are the only
clues she has to identify this man. But the
team is resourceful and determined to find
and punish the perpetrators of the arson.
To this end, it was decided that all would
now wear only one mask as a sign of
commitment to this vow and for operations
related to this vendetta: the mask of
Brighella.
Moreover, they consider their fight also as
one for free thought, and enabling the public
to identify corrupt notables. Thus, Brighella
is becoming a known figure in Paris.
13 2 3 6 1
 He makes increasingly frequent You meet with the members of the
appearances in markets and on church steps, Commedia dell’ Mazorcco to define a new
railing against state censorship, the target for Brighella, or at least share your
confiscation of property by the Catholic intention to search for the man with the
Clergy, the violence of militiamen, and the ebony-hilted rapier. Go to 122.
corruption of a bourgeois, a noble, a
minister, a government official. He is seen 2
simultaneously in various places around
Paris, which contributes to his growing The man is surprised. He didn't expect to
popularity. Naturally. As if one misfortune see you. Make an Easy Throwing test.
never comes alone, the troupe members have
If you succeed, go to 106.
just learned that the Saint-Innocents
cemetery is to be expanded and that their
If you fail, go to 66.
lodgings in the Cour des épées will be
demolished by royal decree unless their 3
landlord, Henri Picolet, can find 3000 livres
within two months. "- I followed Concini to a fencing school.
Do you know it?
With outdoor performances becoming
rarer, Mathilda has struck a deal with a newly I am not familiar with his routines. I know
ordained young priest, Vincent de Paul: he he is at the Louvre, and that's where I
lends the troupe an old cooper's warehouse summon him when I need to see him."
attached to the small orphanage he has just
founded for their performances. In return, the Go to 14.
troupe commits to taking care of the children
during his trip to southern France, which 4
should last until spring. It's in this rather
The Count meets with mercenaries at the
gloomy mid-winter context that Flavia seeks
inn and agrees to hire them for his personal
a brighter future for herself and her new artist
security and that of his House, until the
friends.
resolution of this matter.
You use your connections to pursue a
Once the deal is settled, the mercenaries'
lucrative side activity in addition to being a
leader inquires with the Count about the
saltimbanque, all while searching for the
existence of a Jewish Quarter in the capital.
man with the ebony-hilted rapier. Go to 60.

The Count explains that the Jews are

You stay at the Cour des épées to identify,
excellent alchemists and he would like to
with residents and the owner, a solution to
meet one of them to discuss their craft.
prevent the imminent destruction of the
lodgings.
He also mentions that for his amateur
scientific experiments, he is seeking various
Go to 45.
raw minerals.

156
 The mercenary leader then produces a of his massive overturned desk. He is
small peddler's notebook from their baggage, coughing and spluttering as he tries to get up.
explaining it was sold to them across the
Rhine. Ruggieri is leaning out of the window,

He gifts it to the Count in return for a which is literally no longer there,

round of drinks. The notebook warns completely destroyed. Shards of glass and
villagers against strange travelers known as wood cover the entire room.
the Dwarves of Venice.
"The Mark!
These malformed beings are allegedly
spies for wealthy merchants engaged in illicit He had the Mark on his forehead!"
mining operations.
You help the Count to his feet and ask
You learn of these events as, after Ruggieri about what the Mark is. Go to 59.
acquiring it, the Count lets the notebook
You leap over the gaping hole where the
circulate among the guests at the table. The
window used to be and set off in pursuit of
Count then returns home untroubled.
the creature.
You excuse yourself, claiming to check
Go to 133.
on your friends in the troupe. Go to 122.
7
5
Ursulin recognizes the inscription and
Crossing Paris proceeds without any
indicates that it is a coded phrase used by
trouble. Rue au Fer, leading to the Cour des
members of his corporation to identify the
Épées, is relatively quiet, save for a few carts
owner.
entering and leaving a vacant lot and some
parishioners heading to mass at the corner of
You are unable to get any further
the street, in the Church of the Holy
explanations.
Innocents, adjacent to the cemetery. When
you return to the Cour des Épées, it appears Go to 146.
asleep under the thick blanket of snow that
has fallen for several days. Icicles decorate 8
the parapet above the railings on the first
floor. Go to 126. The next evening, you arrive at the private
residence of Count de Bassompierre.
6
A recently built house with one floor,
A tremendous crash reaches your ears, large enough to accommodate about a dozen
like furniture being moved or overturned. rooms.

You head towards the source of the noise

and find the Count lying on the floor, in front

14 3 4 1 2
157
 You have armed yourself with a dagger
hidden in your boot, while Ruggieri has
brought his sturdy walking stick and lantern.
A liveried butler greets you and leads you
to the salon, where the Count soon joins you.
- "Come! I want to show you something."
He crosses the room and opens a door to
his study. Gold coins are scattered across his
desk, some stacked in columns between two
solid jute bags, both brimming with the
precious metal.
He approaches the large windows
overlooking the back of the building. The
room is dark, lit only by his lantern.
- "Look!"
He points to the regularly spaced cypress
rows under the window ledges. You and
Ruggieri lean forward, seeing only a thin
layer of sparkling snow covering everything.
The Count indicates an area between two
cypresses, and your vision adjusts: indeed,
two gigantic footprints stand out in the fringe
of darkness, illuminated deeper by the
lantern's beam. The soil where the trees are
planted must be softer, and the impressive
shape of the feet is distinctly visible on the
ground.
- "He appeared last night in front of this
window. The poor creature has no language,
just a message pinned to its chest: 'Prepare
the money. You will receive instructions
tomorrow.'"
Ruggieri strokes his beard thoughtfully,
starting from the mustache.
158
- "Did it have a mark or symbol painted
on its forehead?"
- "No, not that I remember. Let's go back
to the salon. Firmin has prepared some
mulled wine. Then we'll dine in the dining
room with my wife and son."
You follow the Count. Go to 44.
You want to examine the tracks more
closely and ask to step outside with the
lantern for a moment. Go to 103.
9
The door is thick. You notice that a cloth
has likely been placed on the floor to seal the
gap under the door, probably due to the cold.
However, you can hear giggling and
whispers, but nothing clear, no recognizable
words.
You want to stay in sight of the door, but
also find out if she came on foot or by some
other means of transportation.
You plan to use your acrobatic skills and
climb onto the roof, scaling the railing to
reach the part of the building overlooking the
street. From there, you will have an
unobstructed view of both positions. You'll
stay on the stable, clear roof ridges with
handholds, rather than risk being on the tiles
for too long. They're probably slippery and
might reveal your presence, despite your
stealthiness.
Go to 98.
You reconsider: the snow has likely
formed drifts on the roof that would make it
perilous. You decide to casually make your
way to the courtyard porch, taking the stairs.
After all, aren't you at home?
Go to 77.
You've seen and heard enough.
Jérôme clearly doesn't need another
nurse. You head back to your place. Go to
141.
10
You wait for hours for the man to come
out, but he never does.
Chilled to the bone, you give up your
vigil. There are multiple entrances to the
Louvre.
Go to 119.
11
Ursulin exits the private house without
the telescope. He smiles, looking tender.
He doesn’t head towards the carpenters'
house.
You follow him. Go to 31.
You give up the tail and return to Cour des
épées to check on Jérôme's health. Go to 88.
12
You find Ursulin at the Carpenters' Guild.
He is devastated by the news.
While you might have doubts about the
accidental nature of Jérôme's death, you
decide to delay discussing it with Ursulin,
given his intense emotion and also because
you feel you don’t know him well enough,
159
and thus can’t trust him enough, to confide
in him.
If you have Jérôme’s telescope in your
possession, go to 159.
If you do not have the telescope, go to 22.
13
As you reach him,
another man emerges from around the
corner of the building and points his gun at
you, point-blank.
And fires. Your adventure ends here.
THE END
14
Allow me to be frank with you: I have a
feeling that Jérôme’s passing was not due to
illness. Before I tell you what concerns me
about his death, I must also tell you that I am
a member of an Italian theater troupe, and
our performance building was recently
targeted in a criminal attack. It completely
burned down. The arsonists carried a rapier
with a hilt shaped like a chess piece.
Since the Italians from the King’s wife’s
court arrived in Paris, many strange things
have been happening. Among our troupe’s
patrons,we have the King's astrologer,
Cosimo Ruggieri. He confirmed that
among the circle of courtiers close to the
royal couple, some are engaging in dark
schemes.
And I've had confirmation these days that
these facts are true. I spotted in the stables of
the Louvre Palace, the husband of Leonora
Galigaï, Marie de Medici's foster sister:
Cosimo Concini. He was carrying the same
rapier as the arsonist...
What does this have to do with Jérôme?
But before you answer, let me also be
frank with you. I know this Concini. We met
during his wedding in Avignon. Marie de
Medici’s court made a stop in this city on its
journey from Marseille to Paris. You see,
like your Italian astrologer, I am also skilled
in secret sciences, particularly in
philosophical and operative alchemy.
So, it was as an alchemist that I contacted
Concini and his wife. I needed to secure the
safety of one of my exiled colleagues: Rabbi
Itsaac Lowe from Prague. A band of
mercenaries was on his trail and I could no
longer hide him.
Hence, I asked them to let him join them
in the royal entourage, under a false identity,
to leave the city incognito, and shake off his
pursuers. They agreed to do so in exchange
for a demonstration of my alchemical skills.
Since I have been back in Paris, I have
repeatedly tried to get Concini to tell me
where my friend is, but it's been impossible
to get any information about his
whereabouts. It’s starting to really bother
me...
If you have previously noted the word:
"scherma" go to 3
"6 allée des cours" go to 148
Go to 142
160
15
Oh sweet twilight of the countryside,
when the glowing red light of the setting
sun sets the verdant plains ablaze and the
shadows begin to stretch along the winding
paths of the moor.
In this soft orange light, two stealthy
figures approach an old property by a
tranquil river.
The first, a carpenter's mate dressed in a
linen surcoat and woolen vest, moves
cautiously, scanning the surroundings for
any sign of danger.
Beside him, a young street performer,
with pale face and dark hair, watches him
with a mix of fear and excitement.
Finally, they reach the stone wall
surrounding the property, and the street
performer begins to scale the stones nimbly.
The carpenter, meanwhile, tries to follow but
struggles to balance on the slippery stones.
Eventually, they reach the top of the wall and
carefully descend on the other side.
The carpenter then heads towards the
Palace, which forms a semi-circle in a vast
park, while the street performer explores the
surroundings, looking awed.
The wrought-iron gate is closed, and just
to the left after entering, the visitor passes
under the windows of the caretaker's house.
A wooden cabin, as big as a stable, likely a
hunting lodge, is set back on the right.
Make a Difficult Hearing test. If the test
is successful go to 37. If the test fails go to
125
 16
You are the first to burst into the room. A
huge man stands with a bag of gold in each
hand, the window and its wooden frames,
shattered behind him,
forms a hollow oval in the wall, as if from
an explosion.
Debris of glass, wood, and metal carpet
the floor. His face is frightening: a square
jaw, a balding forehead with a few sparse
tufts of hair,metal screws pierce his temples
from side to side. His skin is pale and grainy,
his clothes appear torn and rotted by
dampness. His expressionless face turns
towards you then he steps over the
windowsill and jumps.
You run after him. Go to 133.
You let Ruggieri and the Count assess the
situation. Go to 23.
It's too much for you, you take leave of
Ruggieri and the Count and head home.
Go to 41.
20
You think you can outrun him,
but the last thing you see is the barrel of
his gun. You feel a dull thump on your
forehead.
Then nothing. He just shot you in the head
at point-blank range.
Your adventure ends here.
END
161
21
You don't have to wait long to see Ursulin
come out.
He has the case slung over his shoulder
along with a leather satchel and his
carpenter's tools at his belt. The street is
crowded, probably because an execution is
being prepared at Place de Grève.
You follow him at a safe distance for
almost an hour, leading you to a private
hotel, not far from the Louvre.
He approaches a liveried servant and
exchanges a few words that sound like
Italian, before being invited to enter.
The surrounding crowd noise and your
limited knowledge of this language
prevented you from understanding more.
You try to approach a window. Go to 130
The building is flanked by two other
similar dwellings, preventing you from
directly going around it.
But maybe by taking this shady alley, you
could emerge on a street that leads to the
back?
Go to 69
You wait for Ursulin to come out to see
what he does next. Go to 11
You note the address and abandon the
tailing to return to Cour des épées to check
on Jerome's health. Go to 88
15 4 5 2 3
 22
You decide to join the members of the
Comedia dell Arte troupe. It will help you
think.
Go to 122.
23
It's the Count who steps forward first.
He has grabbed the poker from the next
room. He moves in front of the desk,
brandishing his weapon.
Ruggieri follows, sneaking behind him.
He has one hand in a hidden pocket in the
fold of his robe and the other hand with his
index finger pointed towards the gaping
window.
He mutters under his breath. Both men
lean over what remains of the window frame.
Even the wall is severely damaged.
"I see nothing. I thought I saw movement
to the left at the end of the street.
He ran off like a hare, the scoundrel."
The Count, in a rage, throws the poker to
the ground and begins to count the coins left
on the desk and those that have rolled onto
the oriental rug.
Go to 100.
24
Tuesday, December 26, 1600
Mathilda informs you that Jérôme
Bonchamp, the student at the Sorbonne
162
College, is ill. He asked the cook to bring
him a broth and apparently has not left his
home since.
You take leave of Mathilda and go to
knock on the student's door. Go to 140.
You ask Mathilda about Brighella. Go to
96.
You visit the other members of the troupe.
Go to 122.
25
The door is broken down by vigorous
shoulder pushes from the strongest present.
Jerome is found dead, stretched out at his
work table. It seems he succumbed to fever.
At least, that's what people crowding the
doorway are saying.
If you approach and elbow your way into
the room with the few people already there.
Go to 115.
Otherwise, go to 32.
26
Your diversion seems to work.
The creature steps aside and heads
towards where you threw the lantern.
Creature indeed!
For its face appears to you for a moment
in the chance beam of moonlight.
It is angular, broad, and covered with
scars. Its hideous pale complexion contrasts
with the bloodied steel pieces protruding
from its temples. Its vacant gaze searches the
surrounding darkness.
 You regain your composure to leap as far
away as possible and run full speed to the
safe cover of the main street. Go to 78.
27
Prophecy and Lament of the Great
Solitary Briton
"When the companion bear in reverse in
his den shall be
A peaceful knight will come, will
discover the elixir of long life
In the land of marshes will drink the light
But before, the nourishing earth he must
water
With attentive supplications and the
rigidity of the Holy Grail
Thus, old omens awakened shall be
By his unique gaze
A child born of the celestial womb
In the abode of his immaculate
conception
Departure without delay on an equal steed
will make
His blood will flow if the bowels of our
mother
Stir more or less than Reason
His entire word to his companions will be
For the man with the sinister flower
treacherously will appear
163
So, he who follows the master of Nola, his
heart will extinguish
At that very moment, and from him
inheritance will gain
Then sublime and perpetual torch
Will ignite the morning dew
The splendor of his proud face
Will embrace
And the crossroads will shine bright"
Note "prophecy" on your character sheet.
Go to 153.
28
Once on the roof, you either lie flat or
move standing up, bending as low as
possible to avoid being seen from the
surroundings. You will be more comfortable
when night falls, which should not be long
now.
From your observation post, you are
slightly higher than the ridge of the sloping
roof with its dark blue slate tiles of the
fencing school.
Excellent view of the courtyard that made
you hesitate earlier. You did well. There are
as many windows facing the courtyard as
there are on the exterior facades.
Moreover, there is almost constant
movement between the four doors - perhaps
more - that you counted,
surrounding a dirt floor, whose rare ruts
are filled with gravel sand.
16 5 6 3 4
 The building's occupants are mostly
gentlemen and no more than one or two
servants. All men. As night falls, your
horseman has still not reappeared and his
horse, if not in the stable, is probably tied in
a blind spot
of the courtyard. You left in a hurry and
do not have with you the equipment that
would allow you to discreetly enter the
fencing school through the roof.
That is, a crossbow bolt fitted with a
grappling hook and extended by a fifteen-
step rope used for opening some outdoor
shows. As well as the Brighella mask, which
would be useful for acting without being
identified.
Anyway, you do not yet know enough
about the occupants of this building to
attempt anything. Alone, at that.
Note on your character sheet, the word
"scherma" to remember this information.
You estimate that you have collected
enough information to discuss it with the
members of the Commedia Del Marzocco
troupe and decide to join them to share your
discovery. Go to 122.
The man with the ebony-pommeled rapier
can apparently only leave through one exit,
which is currently in your view. If he leaves
without rushing, and heads in the right
direction, towards the inn where your horse
is, you have a chance to resume the tailing
where you left it. It hasn’t been long since he
arrived, so you decide to stay in your hiding
spot to see what he will do next.
Go to 123.
164
29
Curiosity is a vice.
30
The students let you take the lead. You
knock, but there’s no response.
You knock again, but the door remains
closed and the room silent. You call out to
Jérôme through the door and press your ear
against it.
You try the handle but find that the door
is locked from the inside.
By a latch that appears slightly when you
push the door away from the frame and lintel.
Go to 136.
31
He heads towards the Louvre Palace and
approaches the wing of the Queen's
apartments, near the Grand Carrousel.
He comes out a moment later and circles
the building to go to the gardens.
There, he joins a group of gentlemen
strolling.
One of them steps aside with him.
You can’t get close enough to hear the
conversation without being spotted. You
simply observe the scene from a distance.
If you have already met or spotted the
man with the ebony-pommeled rapier, after
the theater fire, go to 76.
Otherwise, go to 84.
 32
The body is removed from the room and
downstairs, in the laundry room,
arrangements are made for a wake: between
two sheets stretched on either side of a table,
backed against a wall and preceded by two
candelabras with lit candles.
The body is covered with a shroud made
from a sheet similar to those hung. Someone
is sent to inform his professors at the
Sorbonne and to fetch his relatives outside of
Paris.
You go to inform Ursulin of Jérôme's
death. Go to 12.
33
The house has all shutters closed.
It flanks another house of the same kind
on the left, and to the right, on a wide strip,
it opens onto a large courtyard that seems to
belong to the occupants of a large building
on the right. There is a basement window
with rust-eaten ironwork. Two shutters
closed and barred by planks nailed to the
front. You enter from the side, through the
space that opens onto the courtyard, by
climbing three steps. You have positioned
yourself at the corner of a building opposite,
which overlooks a vacant lot enclosed by
some palisades easy to climb, offering you
clever escape routes if needed. After a few
hours of waiting, nothing unexpected
happened, neither around the house nor in
the surroundings. You decide to visit the
other members of the Commedia troupe. Go
to 122.
165
34
You come face-to-face with the Golem.
It's an imposing being, four to five heads
taller than you. It spreads its arms, bends its
knees, and starts to move slowly towards you
with its vacant gaze. It's trying to grab you.
Its pale body is covered with abominable
scars, sewn over the flesh as if it were a
garment. It bears a strange tattoo on its
forehead.
You flee in the opposite direction as fast
as you can. Go to 78.
You attempt to leap into the shadows to
disappear from its sight. Go to 48.
35
The pommel of the dagger unscrews to
reveal a hollow cylindrical cavity inside
which rests a small parchment roll.
"To my beloved,
Met in the belly of a sardine, turned
whale,
But so handsome, like Adonis, that he will
keep me breathless,
For all eternity that he allows me to spin
wool for him,
Or try to remove Cupid's arrow,
Which he so skillfully shot to pierce my
heart.
Paris, November 11, 1600.
Giorgiona"
17 6 1 4 5
 Note GIORGIONA'S LOVE NOTE on
your character sheet, to remember this
information.
You slip the dagger into your boot,
convinced it could serve as evidence if there
was a link between Jérôme's death and this
object, who knows?
Go to 93
36
The man with the thistle hasn't moved
from his chair. A kitchen boy grabs a bucket
full of peelings and heads towards the
outside door, through which the man you
were following entered.
Although dark and away from the street,
the half-moon courtyard you are in
doesn't offer anywhere to hide from his view
when the kitchen boy exits.
You run to the street and move away.
Will you hide in sight of the main door
through which Ursulin entered, so as to see
him leave?
Go to 113
Or will you persist and stay near this
courtyard, to see the man with the thistle
leave, should he come out?
Go to 138
37
It seems you are not the only ones who
have come discreetly to this place. A rival
team, made up of heavily armed
mercenaries, had also been watching the
166
palace and were patiently waiting for their
target. You were moving cautiously,
unaware of the danger lurking. Suddenly, a
noise catches your attention, and you stop
dead. You turn your head and see the
mercenaries emerge from behind a bush and
advance towards you. They come out of
several hiding places and move towards you
and the Palace in a scattered formation. Most
are armed with rifles, some with sabers or
daggers. All wear a scarf around their neck,
pulled up over their nose and tied behind the
neck. One of them stands out from the others
with his aristocratic attire: lace ruffled
sleeves, a wide hat topped with a black
feather.
If you have noted chartreuse on your
character sheet, go to 143.
If you have noted prophecy on your
character sheet, go to 144.
Go to 125
38
Monday Evening, December 25, 1600
The evening began with the discovery of
what constellations are and the fact that they
are not stationary in the sky. But the most
extraordinary thing was the ridges and
circles on the face of the Moon.
You were full of questions.
That's why you gain the Science
Astronomy/Astrology (Esp) skill with 1d6
starting levels. Passionate, Jerome took notes
and regularly asked you to fetch already
annotated documents from his desk which he
skimmed diagonally or re-annotated while
continuing observations. Among two sheets
of calculations and ephemerides, a white lace
handkerchief caught your attention. It was
embroidered with the initials S.E. and carried
a scent evoking a floral bouquet, likely of a
woman (note the code "serpolette" on your
character sheet). You put it back in place
before Jerome noticed and left with the two
sheets he requested. You made these trips
while sometimes taking control of the
telescope adjustments yourself. While he
recalculated.
"- What I know of this science is that its
mother is the science of Mathematics. You
see, it's by reading articles and excerpts from
Kepler's Mysterium Cosmographicum,
about the relationship between the distances
of the planets and the five Platonic solids
that...
- The planets?
- Ah yes, I should have started with that."
He kneels, takes the water pitcher, serves
himself, and places it in the middle of the
cloth on the floor. Around it, he places two
goblets at different distances.
"- See this pitcher? Well! It's the Earth,
our world. The goblets, they are the planets.
They move around us."
He picks up his goblet, brings it to his lips.
"- For example, this goblet, it's the Sun. In
the sky, there are the planets and everything
else are stars, that's it."
"- Why is the Sun so big? Why does it
hide?"
He smiles. Seems embarrassed.
"- For now, it's not there, so let's look at
what there is to see. Besides, Ursulin forbade
me to try to look at the Sun with the
telescope. At the risk of being engulfed by
Solar Fire. At least of losing sight."
Not to interrupt the perpetual flow of
knowledge he delivers, you don't pick up on
the lack of logic in his answer, or rather his
non-answer, and continue the calculations
with him.
At the end of the evening, you see the
stars in the sky differently.
They are no longer each alone in the sky.
They now form known patterns on the
iridescent canvas of the night. And they
speak to each other...
The next day you stay put.
The Cour des épées is far from being
saved from destruction. You will stretch
your rope from the mezzanine and train. The
necessary concentration will help you think
of a solution for the Cour des épées, at least
to find an honorable way out for its
inhabitants, to whom you are beginning to
167
attach yourself. And maybe you'll see
Jerome again?
Go to 24.
As you go to bed, you realize you haven’t
discussed this morning’s meeting with the
owner with your uncles. You don’t know
which of them is on guard tonight? And they
get up too early to see them all three together
tomorrow morning before they leave.
You decide to visit them tomorrow
morning at the Louvre guard post. It will be
an opportunity to start looking for a
supplementary activity to earn a few pennies
and get on the trail of the Man with the
Ebony Pommel Rapier. After all, they see a
lot of people at the guard post and in the
corridors…
Go to 60.
This scientific vigil has given you more
than ever a taste for freedom, to contemplate
the infinite and its possibilities.
You can’t wait to join your performance
partners for rehearsal.
But especially to convince them to hunt
down this man with the ebony pommel
rapier. Jerome told you, before you left him,
that at the beginning of the year an Italian
Dominican, Giordano Bruno, was burned
alive for claiming that the planets revolved
around the Sun and not around the Earth.
A great subject for Brighella to
intervene…
Go to 122
Christopher Lee in The Three
Musketeers, 1974.
19 2 3 6 1
 39
"Jerome kept a well-made dagger with an
ivory pommel. This pommel had a unique
shape: it was shaped like a chess piece. A
white pawn."
If you noted the word:
- ARTABAN: go to 97
- LOVE NOTE FROM GIORGIONA: go
to 89
Go to 142
40
Monday Evening, December 25, 1600
Jerome turns out to be as much a poet as
a diligent student.
He has as many poetry notebooks as study
notebooks.
Coming from a family of goldsmiths, he
spent his childhood by the river Oise in a
half-timbered three-story house, near the
bridge that crosses the town and divides it in
two. His father financed his first year of
studies. But today, one of his friends,
Ursulin, sponsors him. It's Ursulin who lent
him the telescope. They met on the banks of
the Seine, as Jerome sketched the symbols
Ursulin engraved on the beams of a
construction site. Ursulin is a master
carpenter, and it was an opportunity to ask
him about the traditions of his trade. Jerome
showed him his sketches, which cemented
their friendship; it was their shared passion
for star-gazing. Ursulin then became
somewhat his mentor in "matters of the
mind." The master craftsman introduced him
to a club of philosophers where nobles and
bourgeois exchange as brothers in
humanities for the blossoming of universal
knowledge. Jerome has only attended three
times, but he talks about it with enthusiasm
and great admiration.
"I've always had prophetic dreams, and
sometimes my pen starts writing without me
commanding it. It happens when I've worked
too much, am sick, or tired. Some of the
poems you saw, I wrote them in automatic
writing.
168
- Let's see if you are so clairvoyant!?
Do you know where I come from?"
He smiles, looks away, and then back at
you.
"Did you cross mountains to get here? It's
beautiful."
Surprised and convinced, you take the
opportunity to tell him some words about
yourself and your life before, on the other
side of the Alps, then both of you resume
your stellar observations.
The evening pleasantly continues with the
discovery of what constellations are and the
fact that they are not stationary in the sky.
But the most extraordinary thing was the
ridges and circles on the face of the Moon.
The next day you stay put.
The Cour des épées is far from being
saved from destruction. You will stretch
your rope from the mezzanine and train. The
necessary concentration will help you think
of a solution for the court, at least to find an
honorable way out for its inhabitants, to
whom you are beginning to attach yourself.
And maybe you'll see Jerome again?
Go to 24.
As you go to bed, you reflect on not
having discussed with your uncles about the
morning's meeting with the landlord. You're
unsure which of them is on duty tonight, and
they rise too early for you to see all three
together tomorrow morning before they
depart.
You decide to visit them tomorrow
morning at the Louvre's guard post. It will be
an opportunity to start looking for a
supplementary activity to earn some money
and track down the man with the ebony-
pommeled rapier. After all, they see a lot of
people at the guard post and in the
corridors...
Go to 60.
 This scientific vigil has given you more
than ever a taste for freedom,
to contemplate the infinite and its
possibilities.
You can't wait to join your performance
partners for rehearsal.
But most importantly, to convince them to
hunt down the man with the ebony-
pommeled rapier. Jerome told you, before
you left, that at the beginning of the year, an
Italian Dominican, Giordano Bruno, was
burned alive for claiming that the planets
revolve around the Sun and not the Earth. A
great topic for Brighella to tackle...
Go to 122.
41
You return to the Cour des épées without
any trouble.
This Golem business has made you
uneasy; you prefer to move on.
You'll check on Ruggieri later. Go to 5.
42
With skill, you flip the latch again so that
it locks the door.
Phew! No one saw you leave. At least no
one in the courtyard. Or upstairs.
Now, what to do?
Warn someone? But who? Go find
neighbors, share your concerns, ask for help
to force Jerome's door open?
Go to 25
169
43
The comings and goings at the Louvre
had intensified since the arrival of Marie de
Médicis's entourage.
The crowd, already dense upon your
arrival at the Porte Saint Honoré, was even
thicker near the Palace.
You had to elbow your way to reach the
guard post, and it was not unusual to
overhear conversations in Italian.
The melodiousness of the language had
become familiar to you when the Genevan
master printer you worked for had taken in
an Italian master and his apprentices in his
workshop. But you still didn’t grasp much of
this Latin language, though close to French.
"Uncle Olaf, I thought it would be you on
duty, the cook gave me this cake and this
little pot of butter that you forgot this
morning.
- Thank you. Why have you come all the
way here, Flavia? I thought you were going
to do your antics with those actors you're
smitten with?
- You must know, uncle, that we'll soon
be without a place to live.
I need to start looking for a real job, as
you say.
- We're aware. Friedrich stopped by the
landlord the other day to discuss it. There
doesn’t seem to be a solution."
Anyway, we needed to talk to you about
this: Mr. de Sully has just converted the old
stables, behind the Jardin des simples, to
house the Hundred Swiss.
 Of course, we won't all be there.
But he wants us to be more numerous for
the King's movements within the Palace.
- It was to be expected; one doesn't ensure
a sovereign's protection by lodging at the
other end of the capital. And there's even a
chance he'll take you with him on the next
military campaigns, to Savoy, perhaps?
- Don't remind me, there's a whole
delegation of Savoyard nobles who've come
for diplomacy. But I think that won't be
enough. You should see His Majesty's eyes
sparkle when he talks about it. We'll leave.
It's certain.
- Well, that's not going to allow me to live
without you in Paris. I won't follow you this
time, my beloved uncles. My life is now
here. So, any ideas or leads?"
He pulls something from his pocket and
looks over his shoulder.
"- We've thought about it, as you can
imagine. Take this cap and try your luck at
the King's Stables. All the stable boys wear
this cap and a leather-reinforced outfit,
or even aprons. Observe them before you
present yourself. Ask for Quentin, the
Carriage Master. He's in charge of training
the coachmen and lads. Your friend who
sewed our uniforms, she can make you a
proper outfit, right? Remember? When we
traveled together, we often had you pass as a
boy, for your safety.
Well, now you'll have to do the same.
After all, with your new friends, you know
how to act now, right?"
170
You take the cap and slip it into the folds
of your vest.
"- Thank you for thinking of a solution for
me. I'll give it a try."
You kiss Uncle Olaf on the cheek.
What he doesn't know is that this is a
double opportunity for you. A job but also
the chance to be daily in one of the main
transit areas for nobles and courtiers at the
Louvre.
Perhaps the best way to find the
gentleman with the ebony-pommeled rapier?
But also a challenge, as you'll need to get
hired without being discovered.
You hurry to see Mathilda to make a
stable boy's outfit with her and present
yourself to Quentin the Carriage Master as
soon as possible.
Go to 75.
You prefer to go to the barrel warehouse
where the troupe rehearses until the warmer
days, to meet the members of Brighella and
try to convince them to act to find the man
with the ebony-pommeled rapier.
Go to 122.
44
In the lounge, Ruggieri inquires about the
requested amount, the identities of the other
patrons, and the circumstances that led him
to see the creature for the first time.
- It was in the Faubourg Saint Marcel,
the sixth house on the left in the allée des
cours. We were to arrive separately and
masked. Professor Torino was waiting for us
on the ground floor, he presented his theory,
then we went down to the basement.
There, the creature, covered with a sheet,
lay on a chest. With stones taken out of a
suitcase, the professor clapped them
together, sparks flew and spread over metal
arches. The body animated at that moment...
A crystalline crash resounds in the next
room, followed by a dull thud on the floor.
You jump out of your chair and rush into
the office to see what's happening.
Go to 16.
You stand up and prepare to act while
Ruggieri and the Count rush to identify the
source of the noise.
Go to 6.
You jump out of your chair and rush
outside to flee as far as possible.
Go to 41.
45
On Monday, December 25, 1600, at the
Cour des épées, the main topic of
conversation among neighbors is the royal
decree that threatens to evict everyone within
two months. The ground floor houses a
gentleman and his valet, Benjamin le Valois,
a matamore of the Commedia dell'Mazorcco,
a cook who sells his food at markets but also
works occasionally for the residents, three
Swiss guards, a small artisan sharpener and
dishmaker. The first floor is lined with rooms
and apartments of a university student, the
rooms of Célestin Couvré and Geoffrey
Perrin, respectively a knife thrower and
171
acrobat of the troupe, the residence of
Mathilda Tasso, the manager who owned the
theater, the room of Jeanne Duval, who plays
Colombine, your own room, and finally the
room of Jules Dresdes, a small customs
official and occasionally a strength or
contortion act in the shows. Seven rooms on
the floor are currently unoccupied. The
landlord collects rent after the first morning
service at the Saints Innocents church, every
first Monday of the month. All the residents
who could free themselves to be there are
present, except for Jules Dresdes, the Swiss
guards, and the small artisan, who left early
to work. The weather is dry but with nightly
frosts, the courtyard is a bit slippery. So
Henri Picolet, who came with his son
Grégoire, suggests gathering in the common
area, in the laundry room on the ground
floor.
"- Here's the letter addressed to me.
I have until the Carnival's Fat Sunday to
pay the amount. I don't have the means to
gather it, nor do I expect you to fund this debt
for me to keep my property title.
If by chance my tenants wanted to help
me win this battle, I would of course convert
the amounts contributed into months of rent
in advance."
Benjamin le Valois, who was whispering
to the gentleman on the ground floor, clears
his throat and, casting a look of
disappointment at Mathilda, exclaims:
"- Might as well consider it a done deal!
- I have no other solution to offer.
20 3 4 1 2
 However, my door is still open if it's
possible to gather the amount before the
deadline."
The man, modestly but neatly dressed,
takes the document about the destruction of
the Cour des épées from Jeanne's hands, puts
on his cape and hat. He looks up at the sky in
the doorway, worried, before leaving, his
eldest son following him. The members of
the troupe gather closer among the murmurs
of disappointment and sadness of the rest of
the assembly. As you approach them, a
young man, a bit shaky and unsure of
himself, stands in front of you with rigid,
trembling legs.
"- Hello. I'm Jérôme Bonchamps,
a neighbor. I'm returning your leather
slippers. Do you use them for your tightrope
walking training? I found them on the
landing where you usually tie your rope.
(Silence) You probably forgot them?" he
stammers."
You thank him and dismiss him kindly.
It's time to talk about your project to find the
Man with the Ebony-Pommeled Rapier to
those of the troupe who are present.
Go to 122.
You thank him and dismiss him a bit
rudely. You really don't have the mind to
chat with this young man! Staying at the
Cour des épées isn't going to improve things
for you and your friends. You decide to visit
your uncles at the Louvre. Perhaps they'll
have an idea to help you earn a better living?
Go to 60.
172
You thank him politely and size him up
from head to toe. He's quite cute, and you
think that, after all, apart from Mathilda, you
haven't yet taken the time to get to know the
other residents of the Cour.
Go to 64.
46
"- The scent of this handkerchief, I clearly
memorized it. A noblewoman visited Jérôme
not long before he died."
I spied on her and saw her face.
You describe the woman's face to Ursulin.
"- Sylvia D'Este! I know this woman. She
stays with her husband at the private
residence of Scipion Sardini.
I have my quarters there when I'm in
Paris, as Scipion is a longtime friend.
I've dined at the same table as her multiple
times, both of us being guests of the Italian
banker."
Go to 142.
47
The most approachable member of the
troupe remains Mathilda at the Cour des
épées.
She receives the news of the identification
of the ebony-pommeled rapier with
skepticism.
"- If it's that man, he was in Paris before
the Queen and her court arrived."
 Which seems unlikely given his
proximity to the Queen's Court, which has
only just settled in Paris. But indeed, a rapier
hilt of this type is not common.
It must be the work of a goldsmith for a
unique or specific commission. It's the only
lead we have, so let's dig deeper! You should
talk to our friend Ruggieri about it. Although
he's not in favor at the Louvre, he still has
access to the Court. Maybe he can identify
this man? Have you talked to your uncles
about it?
Perhaps they'll know who it is?
You rush to ask your uncles about your
discovery. Go to 72.
You visit Cosimo Ruggieri, astrologer at
the Court and patron of the Comedia
Marzocco. Go to 68.
48
The towering figure advances toward
you, quickly filling up the space and
blocking all possible exits, cutting off any
chance of escape.
A heavy and cold hand lands on you.
While immense hands grip your neck in a
vise-like hold, you try to strike, to struggle,
but it's already too late.
Your consciousness wavers in horror,
crushed by the superhuman strength of a
silent, pale, and determined creature. You
plunge into darkness forever.
END
49
You knock on the door. No response.
173
You turn the handle to open the door. Go
to 62.
You look for a resident of the court to ask
if they have seen Jérôme Bonchamp
recently. Go to 102.
You return later in the day. Go to 86.
50
The handkerchief with the initials S and E
remains unfound.
Note Handkerchief on your character
sheet.
Go to 115 or return to the chapter from
which you were directed.
51
As Ursulin approaches your position, you
notice that a man, who was speaking directly
to the high-ranking courtier after the
departure of the angry carpenter, has
detached from the group and is heading in
your direction, taking a different path from
the group of noblemen. Knowing the art of
stealth, you immediately recognize that this
man is discreetly following Ursulin. You
decide to let Ursulin pass, along with the
man who has undertaken to follow him
unnoticed. A wise decision. The man carries
a rapier at his side, identical to that of the
man from the theater with the ebony-
pommeled rapier and the chess piece
emblem, a black bishop. He also wears,
pinned at his left jacket pocket, a dried thistle
flower.
He hasn't noticed you and continues his
winding path, following Ursulin.
1 4 5 2 3
 Both men head towards the Saint Marcel
suburb, amidst the colorful Parisian crowd.
Ursulin joins another private residence, Rue
de la Barre, larger and more spacious than
the first.
He seems to be received as a regular.
His follower arrives perplexed in front of
the building, but does not seem hurried to
hide to avoid detection.
Amanda and Lucia climb inside. Ursulin
leans over to untie the mooring.
Go to 117.
53
The silhouette rapidly grows larger.
It's exceptionally tall compared to the
surroundings.

On the contrary, he circles the building It appears a giant is approaching.

and enters what appears to be an adjoining
You move forward to see who is coming.
annex. The day is declining, night will soon
Go to 34.
fall.
You extinguish your lantern and hide in
You follow the man with the thistle
the shadows between two buildings, letting
flower into the annex, which seems lit and
the silhouette pass, at the risk of being seen.
from which emanate smells of cooking.
Go to 82.
Go to 81
You turn around and quicken your pace,
There appear to be no other exits besides
aiming to reach the main street without
the main door and the annexes through
being caught. Go to 149.
which the thistle man entered.
54
Most of the residences on the street seem
to have courtyards and gardens, ending with
None of the movements around the
enclosure walls. It's impossible to go around
Embassy Hotel reveal any sight of the man
the private residence, at least to reach
sought. Go to 72.

the back of the building.

55

You stake out and wait for Ursulin to
come out through the main door.
Go to 113
52
You let them go ahead of you, and they
quickly reach the vicinity of the boat. Ursulin
pulls on the rope that secures it to the
pontoon, to bring it closer.
While waiting, you seize the opportunity
to question a servant emerging from a house
neighboring the private hotel about the
identity of its occupants. It’s the residence of
the Satriani family.
Italian nobles who have lived in the
Kingdom for several decades. They are not
present all year round, and rarely go out,
even to attend Court.
Go to 11.

174
 56
The House of the Carpenter's Guild is
located between Rue des Lombards and
Place de Grève. You introduce yourself to
the housekeeper, who has you wait on the
porch. She returns with a man in his fifties,
still robust despite his advanced age for
working on construction sites. He sports a
thick, bushy beard, the same color as his
curly brown hair, interspersed with a few
white strands. Broad-shouldered, his voice is
equally commanding, yet he remains
welcoming. His clear blue eyes, however,
scrutinize you.
The housekeeper invites you into the
kitchen to warm up by the fireplace with a
good bowl of broth. You place the case
beside you on the bench and notice Ursulin,
as he introduced himself, looking at it
quizzically.
- I come on behalf of Jérôme Bonchamps.
He is unwell and asked me to return this case
to you.
- So, he's learned I'm back in Paris. That's
good, but he needn't have bothered.
I was planning to visit him today.
He stands up to check the case's contents,
then politely escorts you to the exit.
You return to Cour des épées to inquire
about Jérôme's illness. Go to 88.
You decide to stay back in the street,
under a porch, keeping an eye on the
entrance to the House of the Carpenter's
Guild.
If Ursulin leaves, it might be prudent to
discreetly follow him. Go to 21.
57
The wait turns out to be longer than
expected. Two gentlemen, each carrying a
rapier, meet in the street right in front of you,
just a few steps from the only spot where
you've noticed enough cracks in the wall to
climb. They start a conversation that seems
to go on forever.
175
You discreetly return to the private hotel,
taking a different route than the one you
came by, to increase your chances of not
being noticed as a lurker. Once back in front
of the private hotel, nothing particular seems
to have changed. There appears to be some
activity in the ground floor rooms. You wait.
You wait for a long time, long enough to
conclude that either he has left and you
missed him, or he has stayed and is having
dinner with the residents, perhaps even
spending the night there. You decide to give
up your surveillance and return to Cour des
épées to inquire about Jérôme's health.
Go to 88.
58
The Golem steps into the carriage, which
visibly sags under his weight as he enters.
You notice a white-gloved hand adorned
with blue lace waving from outside the
carriage, signaling the group to leave the
area. Immediately, the coachman whips the
horses and the vehicle quickly sets in motion.
Two horsemen remain behind, on foot, rapier
and pistol in hand, facing your direction.
As you discreetly make your way back to
Ruggieri and the Count, go to 100.
59
While you assist Mr. le Comte to his feet,
Ruggieri paces around, agitated, with a sharp
look in his eyes.
"It was a Golem!" He raises his index
finger. "It had the activation glyph engraved
in its flesh." He demonstrates by hovering
his index finger just above his head, through
his long, greasy hair that falls in strands
around his balding scalp. "Right here, on the
forehead..."
"You mean the symbol painted on its
forehead was magical?"
2 5 6 3 4
 "I'm merely observing that a Hebrew
priest brought this creature to life by infusing
it with the Divine Word through this letter of
the alphabet."
The Count, dusting himself off and
summoning the butler to bring order to the
room with the help of the household staff,
comments, "In any case, that monster left
with five hundred pounds of gold I was
recounting before your arrival. Come! Let's
compose ourselves by the fireplace."
Go to 100.
60
The day had already been bright for an
hour when you woke up. You went
downstairs for breakfast with the cook, who
seemed to have been busy for quite a while.
There was no shortage of food; the kitchen
was full of various kinds. "Olaf took a basket
of leftovers from yesterday and paid for your
purchases last week. He's settled your tab,
you owe me nothing. Colin is my assistant
for the day. Would you like to help? I'll pay
you eight deniers if you help in the kitchen
until tonight."
"No, I need to go to the Louvre. I'm going
to greet my uncles and I have other plans, but
thanks for the offer. And for all the little
services you provide for me and my uncles."
"You know, Flavia, I feel a bit guilty. You
see, I've decided to give up staying here. I
just got an offer to be a live-in cook at a
private hotel, not far from here. I'm going to
start packing up my things and the dishes. I'll
be leaving in a month."
"I understand, but maybe we'll find a
solution?"
176
"I don't think so. If the residents of the
Cour had the funds, they would have already
made an offer to the owner since yesterday."
You finish your bowl of milk a bit
dejectedly and take one of the three still-
steaming black rolls that Colin must have
picked up from the baker around the corner
just before you arrived. Colin is quick as a
hare.
Go to 43.
61
It's a double-edged dagger with a silver
handle and guard, and a tempered steel
blade. It is well-made and features an
intricately carved ivory pommel. Its sheath is
not original. It's made of wood covered in
cream-colored fabric. You inspect the object
more closely.
Go to 93.
Otherwise, go to 115.
62
The door is locked from the inside.
There's no noise. No response.
Go to 140.
63
You have to make large sweeping strokes,
creating sprays of water, to reach the boat,
but you manage. With a final effort, you pull
yourself up onto the boat with the help of
Ursulin, who pulls you up to help. You are
saved.
Go to 128.
 64
Monday, December 25, 1600
You pack your rope slippers into the bag
with the rest of your equipment while
listening to Jerome's awkward attempt at
conversation. He seems to be trying to fill the
silence... He mentions that he doesn't leave
his room much. It shows, he's as pale as a
sheet and quite thin. Does he even think to
eat? He talks about his studies in Latin,
Greek, Hebrew, but seeing your polite,
slightly embarrassed nods, he switches
topics. You barely know how to read and
write in French and German, let alone Latin.
He says he finds everyone here nice,
though he hasn't had much chance to interact
with each person. He asks about your work
as a street performer. You just mention the
name of your troupe and point out Mathilda,
who can tell him more about the profession.
After all, you've just arrived and are a novice.
"I'm interested in astronomy. I love
stargazing. It's inspiring. I name the stars and
write poems about them. (Silence) But I also
do observations for my university mentors.
A friend lent me a telescope. Do you know
what that is? It's extremely rare and valuable.
Kind of like spectacles, but much more
powerful. It enlarges your vision, letting you
see up close what's distant. I can show you if
you'd like?
Tonight, I asked the cook to save me a
portion. I often call on him, it's convenient so
I can have dinner in my room without
interrupting my studies for too long. If you
like, I can ask for two portions and we can
have dinner together? If the sky stays clear, I
can show you the stars like you've never seen
them."
You accept the invitation. Go to 150.
You decline the invitation. Go to 45.
65
You suggest accompanying Ursulin.
"Maybe at this point, I should accompany
you to the student you wish to entrust the
telescope to. After all, it seems we have a
177
common enemy, likely responsible for
Jerome's death. We'll be stronger together to
unravel this grim plot."
"You're right. Come with me. I'll have the
opportunity to point out my suspects."
Ursulin enters the Carpenters' House and
quickly gathers his belongings. He greets the
house mistress and the present companions
before taking leave.
You then head towards the Porte Saint
Honoré, where you take a coach to
Compiègne, after a detour to the Cour des
épées to grab some of your own belongings
and inform the troupe of your departure.
Unfortunately, no members of the Comedia
are present, and you leave a message under
Mathilda's door.
Go to 134.
66
The dagger misses him as he points his
gun at you. You still have your stiletto, but
you’ll need to engage in hand-to-hand
combat. Go to 20.
67
As your body starts craving activity and
warmth, you spot the woman in the hooded
cloak leaving the Cour des épées. She joins
the horseman, who hands her the reins. In
that moment, you size him up from head to
toe. He carries a rapier at his side and pistols
in his saddlebags. He also sports an
ornamental carnation—possibly a dried
flower—in the buttonhole of his leather
doublet. The attire and demeanor of both the
man and woman clearly suggest they are not
commoners. After patting the horse's sides
and kissing its neck, the woman mounts
sidesaddle on the dappled grey horse. She
utters a few words, of which you can only
make out three: "Chevalier," "Paris," "Let's
go back!" She nudges the horse's left stirrup,
and it starts moving forward. The man casts
one last look around, lingering as if to make
sure... everything is in order. You lean
slightly to memorize the two faces that
briefly appear in the moonlight. Then he
3 6 1 4 5
catches up with her, at a walk. At that
moment, the two figures trot off towards
what seems to be Place de Grève. Without a
horse of your own, pursuit is futile. You
carefully descend from the roof, as the tiles
become increasingly slippery with the
intensifying frost. Note the code "chartreuse"
on your character sheet. It may be useful
later. Go to 141.
68
As you head to his place, you realize that
the members of the troupe only know
Ruggieri through his frequent visits to their
shows and rehearsals. He's been an early
supporter of the Comedia del Marzocco. But
who really knows him beyond his role as a
patron of the troupe's creativity? Perhaps
Mathilda, whom you've seen conversing
with him in his native language?
Now, you're on your way to the Hôtel de
Soissons, specifically to the Observatory
Tower, which was specially built for
Ruggieri on the orders of Queen Catherine
de Médicis. As instructed, you find yourself
at the base of the Tower, which the locals,
with a mix of ironic and superstitious fear,
call the Wizard's Tower. Fortunately, it
adjoins one side of the Hôtel de Soissons,
making it less daunting than if it stood alone,
facing posterity. Its column is hollow, and a
staircase, starting below its base, allows you
to climb up through a grate that's mostly left
open to the elements. The tower has only
three exits.
The first is halfway up the 174 steps
leading to the top, opening onto the first
floor, into what used to be Queen Catherine's
apartments. This door is now sealed off. The
second is near the top, just a few steps up,
leading to the open-air roof of the tower,
thirty-two paces above the ground,
178
surrounded by a metal structure representing
the four cardinal points carved in stone. The
platform's floor, now covered in snow, is
engraved with astrological symbols.
The tower's second door leads to
Ruggieri's apartments on the second floor,
still within the Hôtel de Soissons. A metal
knocker, its movable part shaped like crab
pincers, beneath a peephole covered by a
bronze flap decorated with the sun and
moon's paths over a port city, indicates how
to announce your presence.
The elderly man is affable and receives
you quite simply, expressing his delight at
your visit. He rarely gets the chance to
interact with actors outside the context of
performances. His interior is austere,
adequately heated by a large fireplace
abundantly stocked with logs and two
strategically placed braziers at each entrance
of the main room. This room serves as his
living space, office, and library: a large oak
table holds several stacks of books, a writing
desk, and a large leather-bound journal, open
on unfinished pages of fine, straight
handwriting. Between the desk and the
bookcase, an out-of-fashion but comfortable
armchair rests peacefully.
"What can I do for you, Miss Flavia?"
"The troupe's elders advised me to consult
with you, as I may have found the trace of
our theater's arsonist, who is connected to the
Louvre Palace."
You explain the circumstances leading to
the identification of the chess piece on the
pommel of the man's rapier, who then joined
the wing of the palace dedicated to the
queen's apartments.
 "It's Providence that brings you to me,
Flavia. Your unknown is none other than
Concino Concini, Count of Penna and
companion of Leonora Galigaï, the foster
sister of our uncrowned new queen. I've
spotted these two schemers at court recently.
I planned to reappear more regularly before
my king, I won't hide from you, to keep an
eye on them. If you agree, I can pass you off
as my apprentice. This way, you can
approach them more easily. You'll be my
eyes and ears.
You know, given my old age, both are
declining. Together, we should be able to
accomplish something. What do you think?"
You accept his offer. Go to 112.
69
The cluster of dwellings of various sizes,
from humble wooden or brick hovels to
luxurious private mansions from different
eras, some still standing from medieval times
having undergone various renovations,
creates a maze of passageways and alleys
that makes it difficult for you to navigate.
Eventually, you recognize the back of the
roof of the building you were targeting. From
your vantage point, you can see the two
floors above the ground floor, which remains
hidden by a wall the height of two men,
about thirty paces away, obscuring the view.
A sturdy door with a closed peephole is at the
center of its fifteen-pace width. It likely
conceals a courtyard or garden and is on a
street as busy as the main entrance. You've
lost time, and if Ursulin's meeting is brief,
you risk losing his trail before getting back
to the hotel's front. Indeed, he could have left
and continued on his way. You return to your
concealed position in front of the main
entrance. Go to 11.
179
You wait until the street is no longer busy,
then attempt to scale the wall. Go to 57.
70
He's about to catch you. You see his
horrendous, pale, scarred face. Two metal
screws protrude from his temples.
You stumble, and he grabs you, throwing
you against a wall. You’re semi-conscious.
The last thing you see ’s his immense
shadow looming over you.
THE END
71
"Are you looking for something? Can I
help you?"
The man who had raised his finger,
sporting a long blond ponytail and dressed
impressively in a fine leather jacket, sizes
you up and responds:
"We're friends of Jérôme Bonchamps,
we've come to check on him."
You reply:
"I don't know who you're talking about.
Please, have a good day, gentlemen." You
walk away and watch from a hidden spot to
see what they do next.
Go to 136.
"Actually, I was about to check on him
myself. Let's go together!"
Go to 30.
72
You learn that the man you spotted is
Concino Concini, Count of Penna and the
Queen's head steward. He's close to the
Queen and her lady-in-waiting, Leonora
Galigaï. He doesn't live in the Palace. Your
uncles explain that most Italians who came
with the Queen and her court don't reside in
the Louvre Palace but in the city, in private
hotels owned by notable or Italian families
4 1 2 5 6
established in the Kingdom for generations.
The most famous is the Hotel Ambassade.
Several ambassadors or legates live there,
mainly from the Republic of Venice, the
Papacy, the Duchy of Tuscany, Milan, and
the Republic of Genoa.
Note the word "manège" on your
character sheet to remember this
information.
You decide to hang around the Hotel
Ambassade every evening after work.
Go to 54.
You go to report your discovery to other
members of the Company. Go to 47.
You prefer to resume your work at the
Stables, hoping the man will show up again
or reappear around the Louvre. Go to 94.
73
When you lift the inside of the empty
case, bringing it close to a light source, you
can see a surface engraved with a hot iron in
Roman letters:
"The Hydra alarms the sixth part of the
circumference when the cup that the raven
overturns under our very pure guest is filled."
Note "Hydra" on your character sheet to
remember this information. Return to 153.
74
"I know Jérôme kept a lace handkerchief
embroidered with the initials S and E. It
seemed valuable to him. However, after his
death, I inspected his room and couldn't find
this handkerchief anywhere."
If you noted the word:
- Serpolette: go to 46
- Chartreuse: go to 137
Go to 142.
180
75
As you present yourself at Mathilda's
apartment on the first floor of the Cour des
épées, she is busy with several sewing work
orders. She invites you in and returns to sit
between two tables. The youngest of the
d'Aubigné family is absorbed in his Latin
readings at the first table, while the second is
covered with fabric pieces floating above
various sewing tools belonging to the
mistress of the house.
Your request is quite simple:
Maty knows the cook has a leather apron
he will no longer use and asks you to fetch it
while she prepares the linen for your shirt
and sturdy canvas trousers suitable for heavy
work. She will cut the patterns, but the
needlework will be up to you. She offers to
supervise if needed. Regarding the troupe’s
current affairs, she is quite straightforward.
"We will take advantage of the
opportunity provided by Mr. de Paul to
rehearse according to everyone's schedules.
The Company is on winter hiatus. As in the
countryside, we use the cold season to retreat
to our homes and perform those small tasks
that cannot be done when we need to engage
with Parisians and offer our works. I
understand your desire to search for our
arsonist and to use Brighella, but it would be
too risky while most of us still fear what
tomorrow may bring. You don't seem to fully
grasp how Brighella is a character that can
serve our values and interests as much as
undermine them. Would you like me to teach
you more about this?"
Do you nod and listen to Maty, a fountain
of knowledge in performing arts? Go to 96.
 Do you hasten to finish your groom’s
outfit to test it at the Louvre and attempt to
get hired? Go to 151.
Do you take your time, steering the
discussion towards the Cour des épées and
its residents? Go to 24.
76
Ursulin is with Concini. He seems to be
bombarding the gentleman with questions,
who starts by responding amiably. But as the
questions persist, he becomes somewhat
more haughty, then outright hostile, while
Ursulin grows vehement. The master
carpenter calms down when he sees that his
outbursts are drawing the attention of the
group of gentlemen accompanying Concini.
The conversation ends there, and Ursulin
walks away from the group of gentlemen as
they reach Concini. Ursulin's face is red with
anger.
You wait for Ursulin to pass by you to
address him and offer your help. Go to 51.
You decide to let Ursulin cool off his
anger and return to the Cour des épées to
inquire about Jérôme's health. Go to 88
77
The Cour des épées is sound asleep, and a
light blanket of snow is beginning to form
here and there. The street is almost as silent,
except for a few carriages whose hooves can
be heard in the distance. While a changing
moon still allows some shadows to stretch
across the courtyard between the last streams
of light piercing through the closed shutters
of the residents, the porch itself is shrouded
in sepulchral semi-darkness. It's easy for you
to approach, up to the edge of the street's veil
181
of light. The street is clear, and the low wall
of the Cemetery of the Innocents opposite
does not allow the adjoining buildings to cast
their shadow onto the road passing in front
of the courtyard. A white and diaphanous
halo floats above the ground, beginning to
cover the mud from the to-and-fro of the
carts.
Without letting your nose protrude
beyond the porch's boundary, you move your
head and gaze forward. A man is perched on
a fine-looking bay horse, holding the bridle
of another equally fine horse, with a grey
coat dappled with black. The horses are
calm; he is facing away from you, and his
wide cape falls in long panels over the rump
of his mount. If he is wearing a rapier, it is
not visible from your side, as it is on the left
in a blind spot. The second horse, bridled on
his left, is carrying saddlebags. The one
closest to you peeks out with the butt of a
pistol, within reach of the absent rider. The
movements of his hood indicate he is on
alert, as it regularly points towards each
corner of the street, front and back.
It would be too dangerous to step out into
the street, even as stealthily as possible. You
think the rider would immediately notice
you. Removing a shutter from the laundry
room on the ground floor, on the other side
of the Cour, in the part of the building
beneath your lodging, would allow you to
exit through an alley and see the rider, still
from behind, but from a more distant
position that would give you greater mobility
in case of the unexpected. And this outside
of the Cour and at the edge of the street,
whichever direction the hypothetical second
rider might return from. Go to 152.
5 2 3 6 1
 You wait, hidden in the shadow under the
porch, for the second rider to return. Go to
145.
78
Upon reaching the corner of the street,
you don’t even turn to check if the creature
has followed you. You see the butler on the
porch of the hotel, lighting up the street with
a lantern and using a wool blanket to protect
himself from the snowflakes that are
increasing in density in the air. You join him
and urge him to go back inside with you and
to barricade the door, as you are being
followed. You rush into the house's rooms in
search of Ruggieri and the Count. Go to 6.
Bassompierre is alone when he welcomes
you into his lodge. He is an elderly man,
looking pale and tired. Ruggieri begins by
thanking him for remembering him,
introducing you as a close and trusted
acquaintance, but the Count interrupts him.
“I need to discuss a matter with you that I
hope can be clarified by your knowledge in
the occult arts.”
“Please, Count, if I can be of any
assistance, it will be my pleasure.”
“It happens that I was recently
approached by a gentleman of the Court who
proposed I patronize a man of science, a
friend of his, Professor Torino. The
gentleman presented himself as an aesthete
who had discovered the secrets of Alchemy
in an ancient manuscript. He claimed to want
to unlock the secret of immortality of body
and spirit. He entrusted Professor Torino to
continue his research and was himself
responsible for finding new patrons to
achieve a result that was now imminent.
182
Although you are a man of the Arcana, you
will find it difficult to believe what I have
witnessed. These men have managed to
bring life to a being made of sewn flesh. I
saw it with my own eyes!”
“A Golem? You’re saying this man who
came out of nowhere claims to have raised a
Golem right here in Paris?”
“Call it what you will! The fact is I've
provided funds for this work and today the
gentleman informs me that the creature has
become unstable, that it's necessary to
quickly finalize the research to prevent it
from becoming uncontrollable. For this, he
continues his fundraising and claims that the
patrons are the fathers of the creature, that it
requires sacrifices, so that the truth and the
foundation of this new science may reach
posterity. He has thus levied a tax from us. A
tax on life...”
“The man's name?”
“Concino Concini.”
“What do you want me to do? If it is
indeed a Golem, only a rabbi will be able to
put an end to all this. If it's something else, I
will be of little use to you. It's a company of
the King's Dragoons that you need. Will you
pay?”
“I have prepared the gold, but I still
hesitate.”
“You have told me enough. If it pleases
you, I will come tomorrow for supper at your
home and we will decide what is to be done.
Finally, if you think I have any quality to
provide expertise in this matter? You know
that I have retired from the Court following
false accusations of witchcraft. Let's be clear
between us, I have only one will and line of
conduct: to serve my King.”
Bassompierre, with a glint of hope in his
eyes, clasps Ruggieri’s crossed hands
between his two large deerskin gloved hands
and says:
“Thank you, Mr. Astrologer, I feel less
desperate today. We will see tomorrow.”
You leave the theatre with Ruggieri and
the Count leaves on his own, both of you
starting to think about the measures to be
taken.
You suggest following Concini’s
movements but Ruggieri indicates that he
lives at the Court, among the Queen's close
associates, and is therefore unreachable
under current circumstances. Ruggieri also
insists on not informing the members of the
Company del Mazorrco, considering it
unnecessary to add to their already numerous
woes in this winter of scarcity. Go to 8.
80
You catch snippets of conversation
despite the hustle and bustle of the street.
The two young girls are named Amanda, the
elder, and Lucia, the younger.
They mention a castle near an abbey at
Chiry-Ourscamp where Ursulin can find
family members whenever he wishes.
Ursulin is speaking with a mature blonde
woman of noble bearing, in a light blue
dress, possibly the mother of the girls, who
stand still, listening to the conversation of the
two adults.
183
The master carpenter eventually
approaches Amanda and hands her the
leather case with the telescope. He merely
pats the top of the cylinder as if it were the
haunches of a horse while giving Amanda
instructions, her eyes lighting up with
gratitude and keen interest.
The woman in the blue dress approaches
the window and pulls a curtain. You duck
just in time. It seems you have not been
spotted.
Return to 130.
81
Through the window, you spot a large
room outfitted as a kitchen, with several
workstations. There are at least five people
busy preparing dishes, likely for a banquet
meal. The man with the thistle is talking to a
page in front of a door that leads directly into
the private hotel.
The page leaves with a dish while the man
sits in a chair in a corner of the room, close
to a fireplace where some poultry is roasting.
He then exchanges a few words with the
cooks, who seem too busy to linger in
conversation.
As he appears to be waiting for
something, you explore the nooks of the
building and realize that the next window
opens into a room lit by a torch. It connects
to a large spiral staircase coming from
upstairs, and at the other end, a heavy door
seems to lead to the street.
The room is cluttered with barrels, sacks,
and small casks, stored around the door that
leads to the annex serving as a kitchen.
6 3 4 1 2
 You are in a dimly lit space between the
stable, a pigsty, a chicken coop, the other
wing of the building, and the street.
You notice that the window you are
looking through has a latch that you can
easily flip with your dagger.
You enter and hide behind a barrel. Go to
109.
You return to the window of the kitchen.
Go to 36.
82
The figure slows down as it reaches your
level.
You hear its deep, cavernous breathing
clearly. It stops, takes a few steps back, then
moves forward, seems to hesitate, scrutinizes
the darkness in your direction. You press
yourself against the barrel and the wall
behind you to take up as little space as
possible.
You catch your breath and prepare to
sprint wildly to the main street and the front
door of the private hotel. Go to 48.
You throw your extinguished lantern in
the opposite direction and prepare to sprint
wildly to the main street and the front door
of the private hotel. Go to 26.
83
You manage to sneak into the back
courtyard of the building you're aiming for.
Then climb over a wobbly fence to reach
the roof of an adjoining building, which will
allow you, through a thick cover of ivy, to
climb one of the building's sides out of sight.
184
But just as you're suspended at a
respectable height, which might have begun
to give you hope of reaching the top, a vine
detaches from the roughness of the wall and
drags you down with it.
You bounce off the tiles then slide down
a roof to finally roll and fall into the
adjoining garden.
Note the word "scherma" on your
character sheet to remember this
misadventure.
Make an easy acrobatics or dodge test. If
the test is successful go to 95, otherwise
hurry to 90.
84
Ursulin is with a courtier.
He seems to barrage the gentleman with
questions, who starts by responding
amicably.
But as the questions persist, he becomes
somewhat haughty, then openly hostile,
while Ursulin becomes vehement.
The master carpenter calms down when
he sees that his outbursts draw the attention
of the group of gentlemen who were
accompanying the court man, who clearly
seems important among them.
The conversation ends there and Ursulin
walks away from the group of gentlemen as
they reach his interlocutor. Ursulin's face is
red with anger.
You wait for Ursulin to pass by you to call
out to him and offer your help.
Go to 51.
 You decide to let Ursulin calm his anger
and return to Cour des épées to inquire about
Jerome's health.
Go to 88.
85
It's the same fragrance that was on the
handkerchief with the embroidered initials
S.E., in Jerome's room. Return to 145.
86
Night has fallen. A white blanket slowly
covers Cour des épées and the tile roofs
huddled around it.
You are about to leave your place, cross
the courtyard and knock on Jerome
Bonchamp's door again. A woman wearing a
gray fur-lined capeline, edged with
brilliantly white down, begins to climb the
steps leading to the landing, not without
having cast a panoramic glance over the
courtyard and the upper floor. She is on the
mezzanine and moves slowly. You close the
door to your room and reopen it to watch her
through the crack, from the inside.
She goes to Jerome's door.
Halfway there, she stops and goes
towards the railing to look around. Then she
knocks, is let in, and immediately enters.
You close your door. After all, he seems to
be doing well. Go to 141.
You immediately slip into the night to
Jerome's door, across the courtyard, to listen.
Go to 9.
You slip into the night to peek under the
access porch to the courtyard that opens onto
185
Rue de la Ferronnerie, to check if this lady
came alone or accompanied. Go to 131.
87
"- Are you a known figure at the Satriani
palace?
- Yes, why?
- Because if your suspicions prove to be
correct, and knowing that our Italian
adventurers would have no trouble recruiting
swordsmen and henchmen if needed, I can
only advise you not to present yourself
through the main entrance of that illustrious
dwelling.
- Once again, you are correct.
I must now be cautious.
If ill-intended souls managed to find and
sway Jerome, to reach me, they would have
no difficulty tracing back to this palace.
Especially since Amanda and Lucia are
probably there alone with a few servants. I
should have taken more precautions before
leaving. We will enter without announcing
ourselves."
Go to 134.
88
December 28, 1601
This morning, a thick blanket of snow
covers Cour des épées.
Numerous trails of footprints create
crosses all over the courtyard, evidence of
the comings and goings of the residents,
some of which started before dawn.
7 4 5 2 3
 Your lodging is on the first floor, you
lean, as usual, on the railing of the walkway
that forms a mezzanine around the entire
perimeter of the courtyard, with a central
access staircase, facing the entrance of the
courtyard and the well at its center. Jerome's
room is across the way, nearly at the end of
the mezzanine. So, you walk around to
knock on his door, but as you reach the
central staircase, you notice a group of
students entering the courtyard.
One of them points with his index finger
at Jerome's door on the upper floor, while the
group moves forward, hesitantly, clearly
unfamiliar with the place.
You approach them to inquire about their
presence. Go to 71.
You return to your lodging, to observe
unseen, from the gap of your door. Go to
136.
You get ahead of them, taking advantage
of your lead, to knock on his door before they
reach it. Go to 116.
89
You pull the dagger from your boot and
show it to Ursulin. Not without unscrewing
the pommel to show him the note hidden
inside (text in paragraph 122).
Ursulin takes it and reads it.
"- 'the belly of a sardine, turned whale'
refers to the private mansion of Scipion
Sardini!
The woman hiding behind Giorgiona is
none other than Sylvia D'Este.
186
But to think that she is linked to Jerome's
death, there's no proof of that."
Go to 142.
90
The first impact on the roof is more
startling than painful. The bounce propels
you into the air, making you spiral, which in
turn accelerates the speed of your fall. Your
body crashes onto a pile of protruding stones.
The shock from the fall kills you instantly.
Your adventure ends here.
END
91
The supper is simple and quick: fresh
bread, cheese, and a warm soup that was
simmering in the hearth.
Then, you quicken your pace under the
snowflakes that multiply and cover
everything with their white, soft crystals.
Ruggieri has armed himself with a lantern
and a stick to secure his steps.
Indeed, as he had announced to you, the
theater's audience floor is diverse. Spectators
of all ranks press in noisily. The seated
places are reserved for the boxes, in the
heights, all around the audience floor. The
theater, at first glance, seems as populous as
the Les Halles market, yet it is spacious and
richly appointed. It occupies a third of the
surface of the Hôtel de Bourgogne.
As the evening progresses and the curtain
finally rises, after endless, more or less
relevant, warm-up acts, you see the place
from a different perspective: a gigantic stage,
such as you dream of for the troupe del
Marzocco.
The company I Gelosi, "The Jealous
Ones," lives up to its name. In any case, it is
with envy that you admire the actors' play,
the costumes, the sets, the twists of the story.
Isabella develops a character full of cunning
and subtlety, with such candidness in love
expressions that she draws "ohs" from the
audience floor and thunderous applause each
time she achieves her ends. Francesco,
though more austere and twice Isabella's age,
has no difficulty responding to her, as he
embodies Capitan Spavento, a former
military man whose actor's finesse is well-
grounded.
Seeing that you are passionate about these
two personalities, Ruggieri points out that
they both pen their own plays. You spend a
wonderful evening that ends in the artists'
boxes when Ruggieri takes you there to greet
his friends. The couple introduces you to
their son Giambattista, a man of good
presence, but who remains in the background
and had stayed as a spectator in the hall
during the show. When the groups of
admirers begin to thin out, he approaches
Ruggieri and tugs at his sleeve.
"Sir, Count Bassompière
invites you to his box
to offer you some refreshments
and gather your expert opinion."
Ruggieri immediately looks up from the
curtain that opens onto the stage wing.
Indeed, from the angle where he stands, a
man in a blue silk doublet steps forward to
the railing, enough to emerge from the
187
shadow and be, exactly where Ruggieri is
looking.
You approach him, as you were about to
ask him something.
While keeping his eye fixed on the railing
of the box, from where the man has returned
to the shadow, Ruggieri says to you:
"Flavia, if you will, we shall pay our
respects to the Count before returning, as I
have indeed noticed that it is getting late."
You accompany him. Go to 79.
You prefer to wait in the company of the
Andreanis, to whom you have a multitude of
questions to ask. Go to 105.
92
The idea was good, but by the time you
implemented it, the rider you wanted to tail
rode out of the large stable door and galloped
away around the corner of the building. You
rush to that point, not wanting to lose sight
of him, but as soon as the guard post comes
into view, the much-sought-after silhouette
is no longer visible.
The guard post! You use your last breath
to reach it and find one of your uncles, who
would be on duty and might have seen him
leave.
At least to give you a direction...
Unfortunately, you find your uncle, playing
cards with one of his fellow guards.
As much as the Swiss Guards are
unfailingly vigilant about everything
entering the Louvre, as for what leaves...
8 5 6 3 4
 Shrugging your shoulders, you decide to
take the day off and go report the event to
your fellow actors.
Go to 122
93
There's no inscription on the blade.
But now as you run your fingers over the
ivory pommel, the features, the
craftsmanship, they remind you of
something. The shapes, or at least the
artisan's touch, remind you of the ebony
pommel of the rapier belonging to the man
from the theater. It's shaped like a chess
piece. It's not carved with the characteristic
lateral notch of a bishop piece. It's a pawn! A
white pawn. Note CHESS PAWN DAGGER
on your character sheet, so as not to forget
this information.
You persist. In understanding and
observing. This weapon, it seems, has not yet
revealed all its secrets. If that's the case,
go to 35
You hide it, under a floorboard, in your
room. It's important for you to show this
object to the Brighellas.
Go to 115
94
Several days pass. You finish emptying a
stall of its soiled straw to put in fresh straw.
Sweat beads on your forehead. As you pull
out a handkerchief from your pocket to wipe
it, after planting the fork in a tightly bound
bale, you hear a stable boy leaving the
stables, heading towards where the riding
arena is located:
188
- "Does sir need his saddle?
The two men are already in the beam of
light coming from outside, among the five
entrances of this wing of the building.
The rest of the stables are plunged in this
semi-darkness, a substitute for tranquility
that soothes the horses, barely interrupted by
some stamping and brushing against the
wooden frames.
You wisely fold the handkerchief before
putting it back in your pocket, while keeping
an eye on the leather tack inventory the lad
hands to the man.
You had forgotten, exhausted from work!
It's the man with the ebony-hilted rapier. The
one the people of the Louvre call Concini.
You decide to go out and take one of the
horses ready to be ridden and led to the riding
arena. Since this is not part of the tasks
assigned to you for the day by the stable
master, you will need to successfully pass a
Stealth test followed by a Riding test in the
Easy column.
Note the word "manège" on your
character sheet, to remember this
information.
If you succeed in both tests, go to 104
If you fail either test, go to 92
95
The first impact on the roof is more
startling than painful. The rebound launches
you into the air, spinning you around in a
spiral, accelerating your fall even more. You
finish your tumble on a mound of earth used
for the debris of a garden, occupying the area
of the yard closest to the house. You're lucky,
ending up dazed with just a few bruises. Had
you fallen a step or two differently, you
would have impaled yourself on tools
planted in the ground, or finished your
plunge shattered on jutting rocks. Remove
two boxes from Fatigue and check a box for
a minor injury.
Brushing off your clothes, and sore all
over, you climb over the small wooden
fence, before someone comes out of the
house and asks what you're doing there.
You decide not to push your luck and
forgo a second attempt. Better to return later,
recovered from this ordeal, with more
suitable equipment.
You feel you've gathered enough
information to discuss with the members of
the Commedia Del Marzocco troupe and
decide to join them to share your findings.
Go to 122
96
Brighella, or Briguelle in French, is a
traditional character of the commedia
dell'arte as it is performed in my city, Venice.
Brighella is one of the oldest and most
consistent types of the buffoon servant in
Italian comedy. His name comes from briga,
meaning quarrel. Like Harlequin, he is
originally from Bergamo in Lombardy, but
he is more cunning since he lives in the
“upper” city. He defines himself this way:
"I am a man famous for trickeries, and the
finest ones, I'm the one who invented them."
Always dressed in green and white with a
black or olive mask on his face, he carries a
purse and a dagger on his belt.
189
Capable of anything, insolent with
women, braggart when he has nothing to
fear, Brighella can, through sweet-talking,
musical and dance talents, and rare
skillfulness, provide various services. He has
no aversion to any profession and becomes,
as needed by the circumstance, a soldier, a
lawyer's clerk, an executioner's valet.
He’s an innkeeper who, despite his minor
roles, helps the audience understand the play.
He's a cunning valet, arranging marriages,
manipulating his masters.
Also a valet but far more clever than
Harlequin, he can be deceitful and has many
strings to his bow.
He is agile, skilled, cunning, discreet as
much as he can be boastful. That's our
character, at least as he should be portrayed.
We have a great card in our hand, since to
this day, he has never officially appeared in
the troupe's performances. Let's not waste it.
Let’s first be sure of our target and the
information we want to convey before using
it. Go to 24.
97
"In the stables of the Louvre, I recognized
the man who set fire to our theater: he was
carrying a rapier with an ebony pommel that
bore the likeness of a chess piece. A black
bishop. This dagger is probably related to
that man's weapon.
- Indeed, these two weapons most likely
come from the same armorer. But to say that
they belong to the same man or the same
organization..." Go to 142.
9 6 1 5 6
 98
With a leap, you stand on the railing,
which creaks slightly under your weight. The
next instant you have vanished onto the roof.
Moving stealthily through the shadows,
you swiftly climb one wall, then another.
Finally, the last stretch of tiles brings you to
the framework of the slope, offering an
unobstructed view of the street. A sedan
chair turns the corner and leaves your line of
sight.
You lean further out for a clear view of
the porch.
Two horses are there. One is mounted, the
other is held by the rider of the first who
doesn't seem to have thought it necessary to
dismount. He's a man wearing boots and a
rapier, but the features of his face are
obscured, in the shadow of a rain cape whose
flaps cover the entire hindquarters of the
horse.
You wrap yourself in your cape and wait
for the second rider to return. Go to 67.
You decide to descend to the mezzanine
and then sneakily reach the porch to observe
the rider more closely. Go to 77.
99
The boat has moved away from the shore
and is starting to pick up speed.
The men at both corners of the building,
that is, on each side, about the same distance
away, pause briefly to assess the situation.
Some begin to run towards the boat. One of
them, staying back, aims his rifle at the boat.
190
Without a moment's hesitation, you
literally fly towards the departing craft.
Indeed, the ground is spongy and riddled
with ruts. With an acrobat's instinct, you
dodge slippery obstacles and uneven patches
of terrain.
As you reach the shore, the boat is about
five steps away (over 3 meters). You use an
old stump to boost your jump and soar into
the air, knowing that to make such a leap you
must rise high enough to cover the distance...
And as you glide through the air, you hear a
gunshot, signaling that you've been fired at.
The whistle of the wind, the ripples and
waves of the river below seem endless, and
time appears to stand still.
But you land squarely at the back of the
boat, which, fortunately, is of good size.
Amanda and Lucia press against the sides to
give you enough room to land without
injuring them. The skiff rocks a bit, but the
current fights to keep its wild course through
the swirls. Lying down, like the other
occupants, to not be an easy target, you
slightly raise your head to see the status of
your pursuers. Ursulin does the same. Most
are on the shore, stomping around, while
others have begun to enter the Palace.
You spot a servant who has been captured
and is being taken towards the Palace. Some
on the shore throw their hats on the ground
in rage and frustration. Others continue to
aim their rifles at you, and shots are fired,
leaving a faint cloud of powder around them.
You check and feel the bottom of the boat:
no water ingress.
It seems you are safe! Go to 128.
 100
In the lounge, Firmin the butler offers
snacks and refreshments, while everyone
shares their version of the incredible events
they just experienced.
More logs are added to the fire, seemingly
to fuel thought.
The glow of the flames and the rhythmic
crackling punctuate the discussions.
All agree that Concini is likely the
mastermind behind this grim extortion, if not
the instigator.
He could be approached at the Court.
Perhaps through proper surveillance, it
might be possible to trace back to the Golem,
whether it's truly a magical creature or a
ruffian disguised for the deception.
There's an option to visit the house on
Allée des cours, in the northeastern part of
the city outside the town, where the Golem
was first seen.
Maybe clues to locate Professor Torino
could be found there?
Ruggieri mentions an upcoming grand
ball at the Louvre Palace to celebrate the
royal couple's nuptials.
It would be an excellent opportunity to
observe Concini and identify potential
accomplices or other victims of the
extortion. He offers you to disguise as his
footman to accompany him, which would
allow you free movement among the guests.
191
However, he refuses to visit the house on
Allée des cours, not wanting to expose
himself excessively.
If it became known that he was
investigating members of the Court, it could
draw royal ire his way again. And this time,
he might not escape the galleys and Barbary
pirates. He considers hiring some
trustworthy individuals for these
investigations, including you, to report back
on the extortionists' actions and movements.
Count Bassompierre has heard of a group
of Teutonic mercenaries who recently
arrived in town and is thinking of hiring them
for his personal protection, as well as that of
his people and properties. Regardless of the
chosen option, he commits to covering your
expenses up to two hundred fifty pounds.
You offer to monitor the comings and
goings around the house on Allée des cours
and possibly inspect the premises.
Go to 33
You decide to wait for the Royal Wedding
Ball to assist Ruggieri in his investigations.
Go to 160
You wish to accompany the Count to his
meeting with the Teutonic Mercenaries. Go
to 4
Resuming your job as a stable hand at the
King's Stables seems the best option to
approach Concini and attempt a tailing. Go
to 94
You wish to distance yourself from this
terrifying tale of the Golem and sinister
extortion. You thank Ruggieri and the Count
for their trust but decline their offer to assist
10 1 2 6 1
them. You return to the Cour des épées to
check on Mathilda and the theatre company.
Go to 5
101
You cast a final glance over the courtyard.
In the deafening silence of the snowflakes
that sway and taunt a pale sun, hidden
somewhere, the place seems almost deserted.
Only the croaking of the band of crows
harassing the graves in the nearby Cemetery
of the Holy Innocents, returning to their roost
somewhere towards the Temple district, fills
the surrounding scene.
They will return tomorrow morning, a
few hours after sunrise. As you find the right
leverage to lift the latch from behind the
door, you think to yourself that, after all,
crows are late risers.
When you close the door behind you after
slipping inside as quickly as you could, you
wait for your eyes to adjust to the darkness.
The wooden shutter of the window is closed.
Jérôme is asleep, slumped over his
worktable, his head and elbows askew
among the pages. The inkwell and
candlestick are on the brink of falling near a
shirt sleeve.
You approach in the dim light behind him,
placing your hand on his shoulder.
Immediately your fingertips stiffen, sending
a nervous impulse that awakens all your
senses and tightens your muscles: his skin is
as cold as the mezzanine railing on which
you were wiping away snow just moments
ago. You lean over him to see his face.
192
Dark circles and blue veins traverse his
face, giving his skin the appearance of a
faience ornament. Your heart starts pounding
wildly, letting your fingertips trace from his
shoulder to the hollow of his neck. To feel
his pulse.
As you make this gesture, an incongruous
image comes back to you.
It's the gesture Frederick, your first
boyfriend, had made at the edge of the alpine
meadows when you played with buttercups.
He had placed a buttercup under your chin to
see if the yellow reflection was there. You
had done the same. Your hands and his were
wandering over your cheeks and necks.
That's where the pulsation of blood in the
delicate walls of the throat taught you what
heart palpitations and life itself are. The
absence of this pulsation is then a revelation.
No longer of life,
but of death, towards which everything
inevitably goes and becomes fixed. Jérôme is
indeed dead. Slowly a thousand mechanisms
of reason animate and then stir in your head:
what to do?
Leave this place as discreetly as you
entered it, resetting the latch to the closed
position, to avoid being found in the
company of the corpse.
Go to 42
Evidently, Jérôme died while he was
writing. You decide to look at his last
writings and search the room. You can't
convince yourself that he was struck down
by fever.
Go to 110
 102
No one has seen Jérôme today.
Go to 140.
103
You approach the area where the ground
has been trampled. The tracks are indeed
gigantic; the creature must be at least five
heads taller than you. With the lantern, you
search for more tracks, but they get lost in the
beaten earth of the busy street, forming here
and there mud puddles amidst the snow.
At this hour, the street is deserted, but you
see a carriage stop in the distance and a
figure get down, heading towards you.
You wait to better discern the shadows
and the street around you, to identify the
figure approaching. Go to 53
You go towards the figure to see who it is.
Go to 34
You extinguish your lantern and hide
in the shadows between two buildings to
let the figure pass, at the risk of being seen.
Go to 82
You hurry back inside.
Return to 8
104
You slip outside through the door that
leads to the row of horses taken out of the
stables and tied to the rings on the boundary
wall, ready to head to the riding arena.
Luckily, the lads in charge of this task are
all busy trotting around the fine sand circle
with their animals. You fold the brim of your
hat over your forehead, turning your head to
the side, and move towards a thoroughbred
of the finest appearance. As you stroke its
193
flank to get it used to your presence, it
doesn’t even flinch, eager to stretch its legs.
While you adjust yourself on the saddle, the
rider you're following emerges through one
of the large doors and gallops towards the
guardhouse.
To avoid drawing attention, you quietly
detach yourself from the row of horses
waiting to go to the arena and trot in his
direction.
If necessary, when you reach the corner of
the building, if he has gained a lead in the
bustle of the streets near the Louvre, you can
break into a gallop.
Past the guardhouse, you see him about
thirty paces ahead of you. Riding a horse
through the streets of Paris is a perilous
exercise. Certainly, it can save time, but
given the nearly constant throng and the
wrought-iron signs of shops and taverns at
rider head height, it can prove to be a heroic
endeavor for those not nimble of body.
The man seems relaxed and knows where
he's going, not in a hurry. And if he looks
back from time to time, it's to greet a notable
with a bow of his torso, lifting his hat.
Cautiously, you vary the distance
between you and him, sometimes almost
losing sight of him when he's in a passage
you know all the exits of.
The rider eventually dismounts under a
wooden signboard suspended like an inn
sign, painted in crimson with a sword and the
word "Scherma."
He leads his horse delicately into the
courtyard of what appears to be a two-story
11 2 3 1 2
private hotel, through a large carriage gate
marked by the sign.
You tie your own horse's bridle to the
metal bars of the ground floor windows of a
convent upstream on the street and move to
circle the building.
Entering the courtyard would
immediately expose you. Yet it seems the
only way to access the interior of the
building. At least the rooms are well-lit.
There are windows nearly everywhere on
each face of the building. You quickly
conclude that the best observation point
would be the roof of the building facing the
entrance porch of the fencing school, as the
locals call it. You entrust your horse to the
stable boy of the nearest opulent inn, paying
him enough to take good care of it,
pretending your "master" will arrive soon.
Leaving it on the street would not have
been wise, as the surrounding commotion
would have made it nervous.
To reach a discreet observation point on
the roof, succeed in a difficult Stealth test or
a medium Climbing or easy Acrobatics test.
Then go to 28
If you fail, go to 83
105
The Andreani family are very friendly
towards you, showing you the ingenious
machinery under and above the stage. They
even show you several scripts of plays they
have written. Ruggieri isn't long; he returns
and offers to escort you home.
Go to 41.
194
106
Just as the man was about to aim at you,
you strike him squarely in the chest with
your dagger. The surprise is such that he
drops his rifle. As he reaches for the handle
to pull out the weapon, he collapses.
You return to your companions.
Go to 139.
Or, you go to retrieve your weapon and
ensure he lives his final moments. Go to 13.
107
Your quick turnaround was a lifesaver.
Once safe, out of the potential line of fire,
you catch your breath in a vestibule lit by a
skylight.
"We need to find Amanda and Lucia and
get out of here as quickly as possible! Keep
an eye on our backs while I look for them."
He immediately starts opening multiple
doors in a series of rooms, each different
from the last in size and appearance.
However, the furniture in each room is
always tastefully and modestly arranged.
Dagger and stiletto in hand, you move
backward whenever possible to see and hear
what might emerge. Ursulin seems to know
the place well, as in no time at all, you arrive
in a large room where two young girls are
practicing, one on the lute and the other on
the viola da gamba.
"Amanda, Lucia! Come quickly! I don't
have time to explain, but the Palace is under
attack by a band of brigands. We must flee
immediately. Is the boat at the dock?"
"Yes, I think so."
 Without delay, all four of you move
through increasingly larger rooms until you
reach a ballroom. At the end of the room, a
large circular bay window overlooks the
banks of the Oise.
"I'll take them to the dock and cast off. I
see you're armed. If, unfortunately, they've
already circled the building, I'm counting on
you to create a diversion."
Looking at the two young girls:
"Once we're in the boat, you'll need to lie
down flat. The current will quickly carry us
away."
You offer to go out first as a scout while
the other three follow. Go to 120.
Or, you cover the rear as your companions
flee. Go to 117.
108
If he's considered an outcast today, it's
because he got involved in the affair of La
Mole and Coconnas's favorites, by becoming
an accomplice of Hercule d'Alençon,
Catherine de Medici's son. He had made a
wax doll with a crown and stuck pins in it.
The doll was found in the possession of the
gentlemen who paid with their heads for this
attempt at enchantment. He was only
sentenced to the galleys and rowed for a few
months. Catherine had him released upon the
King's death, and he returned to his position
at the Louvre. Three years ago, he was
implicated again in a case of witchcraft
against his former protégé, now the King of
France and Navarre. He was arrested but
soon released, and the King forgave him.
I don't know what to make of these two
cases. There are so many stories...
We've never really broached the subject
frankly, him and I." Go to 126.

109
"I think highly of him. He's close to the
Court but has become its main outcast. I
The room is cold and quiet. Outside, it
believe he's drawn to us, the performers,
starts to snow. Then, a light appears on the
because he sees in us a freedom of
staircase. Someone is coming down. It's a
expression he no longer has. He's seldom
brunette woman in a banquet dress adorned
taken the stage with us, but when he did, I
with numerous shimmering jewels in the
saw in his eyes his joy, his appreciation of
flicker of the lantern she holds in her right
being among us, with us.
hand. In her left hand, she holds a closed blue
fan with lace. She pushes and slightly opens
He's also been a financial supporter. He's
the kitchen door, gesturing with her hand.
one of our main allies. And a skilled
Moments later, the man with the thistle and
astrologer. He knows about alchemy, too,
she stand in the small space under the white
because, you see, I have some knowledge in
stone staircase. They speak in hushed tones,
that art and have verified his skills. My
but you hear them clearly.
family hails from the island of Murano. We
have a long tradition of glassworking, passed
"Madam, forgive me, but I've followed
down from master to student. And to master
the master craftsman of the Louvre here: he
this art, one must also know a thing or two
demands that Concini show him where to
about alchemical elements.
12 3 4 2 3

195
find the rabbi. You know that's impossible.
I didn't expect him to come here.
- It's normal, he is under Sardini's
protection, just like Raphaelo and me. He's at
the table with the other guests. Go back and
tell Concini not to worry. The rabbi is safe.
Valentino is in control. That brute of a
carpenter hasn't revealed all his secrets yet.
We'll keep him talking. Concini will have
further instructions during his next chess
game with Raphaelo.
- Very well, Lady Giorgiona. I will return
then. Should I continue to stay close to
Concino and Leonora?
- You're no longer needed there. You
might be needed for reinforcement at the
Ball. Loco, you'll be more useful in
uncovering the Carpenter's secrets. Keep
following him. I know from experience he
never stays long in the same city or on the
same project. By meddling in the kabbalists'
affairs of the Thistle Brotherhood, you're
going to get noticed. You'll likely need to
leave Paris soon. But for now, return to the
Savoye Delegation and wait for my signal.
It's safer. Have you dined? Grab something
before you leave."
She accompanies him to the door and
instructs the head chef to feed this gentleman
by the fireplace so he leaves warm and well-
fed. Then she heads back upstairs, passing a
servant coming down with a plate of meat.
Once the room goes dark and silent again,
you emerge from your hiding spot and
quickly and discreetly rejoin the street.
You hide again and wait for Ursulin to
come out. Go to 113.
196
You go home and tomorrow will inquire
with members of your theater troupe about
the various places you visited and characters
you approached. Go to 127.
You go home and tomorrow will check on
Jérôme at the Cour des épées. Go to 88.
110
You notice that under Jérôme's chest
and arms, there is an open poetry notebook.
His pale hand, with fingers stained with ink
from the blotting paper, is close to the quill
and inkwell. You slide the notebook to the
edge of the table and take it to read. Note the
current paragraph and go to 27, then return.
Beside the inkwell, there's a goblet with a
third of water left from the pitcher, among
other scattered papers. Your gaze now shifts
to the bed, which serves as an extension of
the too-narrow table-desk: scattered sheets
are strewn across the wool blanket. You see
the handle of an object between the sheets
and the cushion. It's a double-edged dagger
with a silver handle and guard, and a blade
of tempered steel. It's well-crafted and has an
intricately carved ivory pommel. Its sheath is
not original; it's made of wood covered with
cream fabric. No inscription on the blade.
But now as you run your fingers over the
ivory pommel, its features and carving
remind you of something - the ebony
pommel of the theater man's rapier.
It's shaped like a chess piece, a pawn, not
carved with the characteristic lateral slit of a
bishop. You sit on the bed, astounded by
your discovery, twirling the blade and handle
in your fingers, examining it from all angles
and thinking. You think of the masked man
from the theater fire... The pommel of the
dagger is loose. By fiddling with it, you
discover it unscrews, revealing a hollow
cylindrical cavity containing a small scroll of
parchment:
"To my beloved,
Met in the belly of a sardine, turned
whale,
But so beautiful, like Adonis, that he will
keep me breathless,
All eternity he leaves me to spin wool,
Or try to remove Cupid's arrow,
He so skillfully shot to pierce my heart.
Paris, November 11, 1600.
Giorgiona"
It's time to leave and join the crowd
of neighbors pressing with questions and
comments in the courtyard. If you've already
visited Jérôme, note the current paragraph
number, go to 135, and return.
If you've already visited Jérôme and
questioned him about his life and origins,
note the current paragraph number, go to 50,
and return.
If you vertically slip the goblet into the
pocket of your leather jacket, where it's snug
and wedged so its contents don't spill, go to
155.
Otherwise,
14 5 6go to4 32. 5
111
In the afternoon, neighbors, followed by a
hesitant and sparse crowd, gather in front of
Jérôme's door, each lacking any information.
The door is eventually broken down by the
forceful shoulder thrusts of several students
who came to check on him. They find Jérôme
stone dead, sprawled on his work table. It
197
seems he succumbed to fever, at least that's
what people crowding the doorway are
saying. You push your way through to enter
the room with the few people already there.
Go to 115.
Jérôme's body is moved from the room
and set up on the ground floor in the laundry
room for a vigil: between two sheets
stretched on either side of a table against a
wall and flanked by two candelabras with lit
candles. The body is covered with a shroud
made from a sheet similar to those hanging.
One of the students is sent to fetch his
relatives outside of Paris. You go to inform
Ursulin about Jérôme's death. Go to 12.
112
"Very well. But it happens that I had
planned to go out tonight. To the Hôtel de
Bourgogne, for a performance by the Gelosi
Company. Have you heard of them?
Mathilda must have told you about them?"
"No, who are they?"
"The Gelosi were the first troupe to
perform at court, nearly three decades ago."
The old man serves you a drink and invites
you to sit with him at his table, his tone
nostalgic. "They performed for King Henry.
Then, they were requested in Spain, the
Kingdom of Poland, the Holy Roman
Empire, and England. They haven't traveled
for a few years now. They are highly
renowned; even the great Torquato Tasso
dedicated a poem to Isabella."
"Do you know them?"
"Isabella Andreini Canali and her
husband, Francesco Andreini, are friends. I
had predicted to Francesco that he would
13 4 5 3 4
eventually leave the military career for
something much more prestigious, but he
had laughed in my face."
"Do I need to change my clothes to go
with you?"
"It's unnecessary. It's a theater, and after
all, you are in the profession. It would be a
shame not to be able to introduce you to my
friends after the show. Make yourself
comfortable, we will dine, and then head
there directly."
Go to 91.
113
It's only late at night when the lights on
the upper floor of the private hotel go out one
by one behind the shutters, that you see
Ursulin leaving alone through the main door.
He heads back to the House of Companions.
Chilled to the bone, you end your
surveillance and return home to warm up.
Tomorrow, you'll check on Jérôme. Go to 88.
114
Ursulin doesn't seem surprised that
Jérôme, feeling ill and having learned of his
friend's return, entrusted this precious
astronomical measuring instrument to a
friend to bring it to him. Jérôme knew he had
to return the telescope on Ursulin's next visit
to Paris. Go to 146.
115
When they lift Jérôme's slumped body
from the table that served as his desk, you
notice an open poetry notebook. Jérôme's
pale hand, with fingers stained from the
blotter, is near the pen and inkwell.
Pretending to tidy up after the body has been
taken to the mezzanine, you lean over the
notebook. Note the current paragraph and go
to 27, then return. A goblet with a third of
water left from the jug is next to the inkwell
among other scattered papers. As the last
visitors check the room to ensure nothing has
198
been disturbed, you head to the bed and
adjust the sheets to match the movement.
You place the few sheets scattered over the
blanket on the table. You arrange the clothes
that were at the foot of the bed on the chair.
You spot the handle of an object between the
sheets and the cushion. As you move around
the bed, crouching to adjust the sheet, you
slide the object into your boot. It's time to
leave and join the crowd of neighbors
bustling with questions and comments in the
courtyard.
If you have already been to Jérôme's, go
to 135.
If you have already been to Jérôme's and
questioned him about his life and origins, go
to 50.
If you vertically slide the goblet into the
pocket of your leather jacket, where it's snug
and positioned so that the little remaining
content doesn't spill, go to 155.
Once out of sight and away from prying
eyes, you take out the object you retrieved
from Jérôme's bed to see what it is. Go to 61.
Finally, go to 32.
116
You knock, but there's no response.
The group of students starts ascending the
stairs. You knock again, but the door remains
closed and the room silent. You call out to
Jérôme through the door and press your ear
against it.
You try the handle but find that the door
is locked from the inside. A latch becomes
slightly visible when you push the door away
from the frame. The students reach your
level. Go to 136.
117
While you're checking the surroundings,
the group has reached the boat. Amanda and
Lucia are now lying down out of sight.
Ursulin has untied the mooring rope and is
busy pushing the boat to gain momentum in
the current. He jumps aboard and extends his
hand to signal you to join them. But just as
you start to close the distance, men arrive at
both ends of the building.
At this point, you should make a test in
the Running skill, which you don't have.
Therefore, use Physical Aptitude (5), but the
Mask allows you to use the Talent of
Performance (9) to perform this test under
more feasible conditions.
Indeed, practicing the arts of Performance
should ensure you have enough physical
condition to carry out this long and perilous
action. You can also use your Prodigy point
for Precise Aim, which will allow you to
succeed automatically without testing, and
gain an extra short action, enabling you to
also succeed in your aim and jump into the
boat in the same sequence, after running as
fast as possible to join them.
Not using your Prodigy allows you to
save it for a potentially life-saving situation
later... It's your choice.
Make an easy Performance test.
If you succeed, go to 124.
If you fail, go to 118.
If you prefer to use your Prodigy,
go to 99.
118
Unfortunately, you arrive too late at the
riverbank: it's impossible to jump into the
boat, which is now too far from the shore,
carried away by a strong current. Gunshots
ring out behind you.
You jump into the water and attempt to
swim to it: easy Swimming test. If you
succeed, go to 63.
If you fail, go to 121.
199
119
February 18, 1601
For several weeks now, you have been
working in the Stables near the Tuileries.
Your main tasks, along with the other lads,
involve caring for and saddling the horses.
The available carriages at the Palace are few,
and the Coachman's role is mainly because
he meticulously maintains these exceptional
vehicles. By nature, they are reserved for
high nobility and certain royal
administrations that have the means to
maintain them and their crews. About twenty
lads and coachmen are handpicked by the
Coachman for maintaining the King's House
vehicles. You've tried several times to get
noticed for entry into this elite corps of the
Royal Stables, but to no avail until today.
Throughout the day, dozens of riders
come and go in and around the stables.
Distinguished visitors to the palace hand
over their mounts directly to the first lad they
see in the Stables. They know that when they
return, they will find their horse in a straw-
filled square, saddled or unsaddled,
depending on the instructions they left. Less
prominent visitors have ties, troughs, and
feeders at their disposal in front of the
Stables entrance. No lad will care for their
mount, but they know it is safe there for the
duration of their visit.
Thus, you have built a collection in your
memory of silhouettes and faces of men who
could match the man with a torch in hand
whose gaze you met on that sinister night of
the theater fire. And one day, or rather one
morning, luck smiles on you. You recognize
the famous ebony-pommeled rapier in the
square next to the one you were cleaning.
You were getting up after spreading the
straw on the ground and paused at the sight
of this figure, visible only from feet to waist.
You press yourself against the wall forming
a window between two beams and observe
the weapon swinging at the waist of the man
who talks to a lad while patting his horse's
back.
14 5 6 4 5
 "Remove the saddle, once he has rested
enough you can take him to the Queen's
House squares, his is marked Artaban."
Now that you see the black pommel up
close, you understand why its shape was so
firmly engraved in your mind, and why you
had an impression of déjà vu without being
able to identify the shape. It was simply the
shape of a chess piece, the bishop. It's now a
certainty. You just needed to see it again to
precisely identify the shape. And that's why
this detail of the attire had become an actual
obsession for you. The man has already left
the square and is heading for the exit.
Fortunately, you have finished your
current task. You place the scythe in the
wheelbarrow and go to store it in the square
used for storage and rack near the entrance,
following him closely.
Fortunately, he's unaware of you, and you
blend in perfectly with the environment. You
just pull your cap down a bit more to cover
your brows, remembering feverishly that
your gazes have already crossed.
Once outside, he walks rather slowly and
relaxed across the esplanade, along the
gardens. He seems to be gazing at the
windows of the Tuileries Palace, the Palace
dedicated to the Queen's apartments. You
then see him in full. He's a middle-aged man
with brown hair, a growing beard, and short-
cut hair. While all your attention was on the
weapon's pommel, you now remember his
voice, that characteristic, almost cooing
accent of the Italians. His attire is neat,
though the state of his mount shows he's
ridden for several hours. His clothes are
courtly without being flashy, with silver-
threaded borders, a ruff, puffed breeches,
and noticeable shoes with small heels and
prominent bows. As he walks, he loosens his
leather doublet and unbuttons his quilted
vest, then carefully removes light brown
leather gloves. You engrave as many details
as possible in your thoughts.
You step onto the esplanade but realize it
will be difficult to tail him without being
noticed. You lean against a wall and watch
from the corner of your eye the direction he
200
takes. He now walks along the Tuileries
building and rounds it. You must find out for
sure, so you try to catch sight of him after he
turns the corner.
When you reach the spot where he turned,
you just have time to see him ascend the
steps of the Queen's Palace and enter through
the main door. A gentleman of the guard
stationed at the door nods to him. He enters
without returning the greeting.
Note Artaban on your character sheet, to
remember this information. You rush to
consult your uncles about your discovery.
Go to 72.
You report your discovery to other
members of the Company.
Go to 47.
You retrieve your coat from the stables
and, risking your job, discreetly position
yourself with a view of the Tuileries Palace
entrance, waiting for the man with the
ebony-pommeled rapier to reappear.
Go to 10.
120
You cautiously peek outside. A heron
flies off from a clump of reeds by the river,
indicating that at least from that side, there's
nobody yet.
You check both left and right along the
outer walls of the Palace: nothing. You step
out and walk to the nearest corner of the
building to discreetly check the progress of
the troops hunting you.
You risk bumping into one of them... Go
to 129.
You urge your fellow escapees, signaling
that the coast is clear, while keeping an eye
on both ends of the building. Go to 52.
 121
Despite your repeated efforts to catch up
with the boat, you become exhausted and
start swallowing water. Your movements
become more imprecise and jerkier, then
slow down. Your vision blurs. Your last
moments are spent reaching out a cramped
hand towards the receding boat before
sinking. Your adventure ends here,
definitively.
END
122
You head to Rue des Boulangers near
Porte Saint-Victor, hoping to find most of the
comedians present to work on pieces and
acts for upcoming performances. The regular
members practicing on stage are:
- Mathilda Tasso, aka Mati (38 years old),
a Venetian exile and founder of
Dell’Mazorcco troupe, a remarkable actress
and costume designer. She is literate and
plays several instruments. Occasionally, she
portrays a Witch. In town, she's a tutor for
children of the Aubigné family, a Protestant
household.
- Célestin Couvré (17 years old), the
troupe's designated knife thrower, also an
excellent juggler. He's adept at running
errands in Paris, which he knows like the
back of his hand. In town, he remains a street
kid, taken in by the troupe. He has now made
his way and got hired as a footman for Jean
Lefèvre, the pamphleteer writer of the
Company's plays.
- Geoffrey Perrin, aka Colin (16 years
old), the troupe's dedicated acrobat on stage,
also an excellent juggler. He's equally skilled
at attracting new spectators as a town crier
and mocking the bourgeoisie. He loves
thrills. He's still discreet, having been hidden
in the theater for a long time after a run-in
with residents of the neighborhood where he
grew up. His former "bad associates" in the
201
Les Halles area hunted him for a while due
to a disagreement with a street gang accusing
him of working, meaning begging, for
himself.
In town, he's now employed as a valet for
an eccentric Protestant nobleman, Olivier de
Serres, Seigneur de Pradel (69 years old),
who wishes to plant mulberry trees in the
area.
- Benjamin Le Valois, aka Ambroise (31
years old), is wanted in his native region for
burning down a convent, a crime he didn't
commit. The troupe is now his only family.
He plays the roles of braggarts. In town, he's
a discreet Protestant baron with impeccable
attire. When equipped for hunting, he looks
dashing and truly in his element. He met
Mati at a service at the Temple of Grigny.
She invited him to join the troupe, pending
his return to favor.
- Jeanne Duval (25 years old) plays the
role of Columbine. Raised in the
countryside, she has a gift for clairvoyance.
She's a talented juggler and an exceptional
dancer. In town, she managed to get hired as
a maid for the priest at the Church of the
Holy Innocents.
Each of them knows your story briefly,
your arrival from Switzerland with your
three uncles, whom they've crossed paths
with at least once at the Cour des épées. But
there are also friends and protectors around
this tight circle, trusted men of the Company.
Less often present than the others, they don't
hesitate to lend a hand on busy days.
- Jean Lefèvre (46 years old), a
prosperous and free-thinking bourgeois with
a sharp mind, enjoys playing Scaramouche
occasionally and acts as the Company's
protector. In town, he frequents Clubs and
Salons, both to listen and to advocate his
ideas.
- Jules Dresde, known as Pedrolino (35
years old), is the "strong man" of the troupe,
taking on the role of a porter for acrobats. His
favorite character is Pedrolino (Pierrot), a
gluttonous, naïve, and honest servant. His
15 6 1 5 6
connections with the Guet (police) have
saved the troupe from trouble more than
once. In town, he's a zealous customs officer
who lives for his job.
- Cosimo Ruggieri, known as the
Astrologer (62 years old), is an early admirer
of the troupe (and Mathilda!). He is none
other than the King's Astrologer, though
somewhat out of favor at the Court in recent
years. He has occasionally played
Pantaleone.
When you arrive at the orphanage, sun
rays pierce and challenge the morning's chill.
A thin layer of snow has covered the outlines
of surrounding buildings and window sills.
Translucent icicles hang from some street
signs, melting into dripping water that flows
into the muddy gutters, leading to the old
moats on the other side of the Porte Saint
Victor walls.
The upstairs windows of the orphanage, a
building with walls made of straw and clay
mortar, whitewashed with lime, supported
by heavy oak beam frames, are open. Wool
and linen blankets hang over their edges,
forming a banner stretching from room to
room, ranging from ecru to black, with
shades of dark brown and midnight blue. A
hubbub of children's voices emanates from
them.
The cooperage warehouse, slightly lower
than the orphanage, seems to lean against it
as if it would collapse if the supporting
building were removed. It has the structure
of a barn, with similar oak beam trusses to
which thick boards of the same wood as the
orphanage are nailed in more or less tight
constellations. The carriage door is closed,
but the characteristic sound of a juggler's
clubs hitting the floor can be heard inside.
You enter the cooperage warehouse. Go
to 132.
You go to see if the orphans are alone on
the upper floor of the adjacent building. Go
to 157.
202
123
Your patience pays off a few hours later.
Indeed, late in the evening, Concini emerges
from the Fencing School's archway, leading
his horse by the bridle. You have repeatedly
rehearsed in your mind the steps and actions
necessary to discreetly retrieve your own
horse, hoping that he would take the right
path. The one that will allow you to follow
him without too much risk of losing sight of
him. As you exit the stable with your horse,
you breathe a sigh of relief: he is exactly
where you hoped he would be. The street is
clear enough and the night bright enough to
see clearly without a lantern. He mounts his
horse and starts to ride at a walking pace.
You keep a safe distance to avoid being
noticed, hiding in shadows and behind
physical obstacles to stay out of his potential
line of sight. He heads towards the Seine
quays, crosses over to Notre-Dame, and then
heads in the direction of the Porte Saint
Marcel. In the suburb of the same name, he
turns left into sparser streets, almost giving
the impression of the countryside with
houses more scattered, spaced apart, with
gardens and orchards. He stops under a
chestnut tree, dismounts, and ties his horse to
the enclosure of a sleeping poultry yard. He
continues up the street and finally stops in
front of the sixth house on the right side. In
this street, which looks more like an alley
than a street, all the buildings are arranged
similarly: a large courtyard around which
various dwellings and outbuildings are
organized. He approaches the door of a
house with a window facing the street,
barricaded with boards of various sizes. The
window does not open directly onto the
street but onto the courtyard entrance. He
turns around to survey the surroundings. You
just manage to hide in a shadowy corner. He
removes one glove and knocks six quick
times, followed by a more spaced-out knock,
and starts to remove the other glove.
Moments later, the door opens. He enters,
and it immediately closes behind him.
Note on your character sheet "6 Allée des
Cours" to remember this information.
 What will you do next?
Wait again. Go to 147.
Return home, thinking you know enough
to talk to your friends from the Commedia
del Marzocco troupe the next day?
Go to 122.
124
Upon reaching the river, you propel
yourself into the air towards the boat, but you
don't manage to land inside it. Instead, you
end up in the water just behind the boat.
However, a firm hand reaches out to you and
helps you aboard. It's Ursulin, who
immediately presses you down against the
flat bottom of the boat to avoid gunfire.
Meanwhile, shots ring out from the
riverbanks. You are safe. Go to 128.
125
You have crossed two-thirds of the
distance to the main entrance of the palace, a
circular alcove composed of eight glass
doors, each topped with Roman numerals
carved in stone.
"Halt there!"
You turn around to see a group of about
fifteen heavily armed men, their lower faces
hidden by scarves, calmly dispersing across
the park and walking towards you. The
nearest man, dressed like a gentleman with
hands likely crossed behind his back, has
called out to you. The group spreads out.
Your gaze meets Ursulin's, and you
understand each other without words: they
are the hired muscle of the Italians, probably
sent to capture the Carpenter for
203
interrogation. You have little time before
they reach you.
You are armed, but they are holding guns
and seem to know how to use them. Time
seems to have stopped, yet you see your
friend running full speed towards the shelter
of the Palace. You catch up with him without
difficulty, even overtaking him.
"Halt, or we shoot!"
But you are just a few meters from the
palace doors and increase your pace.
"To the left."
Ursulin rushes to the first door he finds,
thankfully open. Once he knows you are
inside, instead of barricading the door, which
would be futile given the multitude of glass
doors leading outside, he urges you to follow
him through the labyrinth of magnificently
ornamented rooms. Before losing sight of the
park through the glass windows, you see the
group approaching and beginning to
surround the building, under the gestured
orders of the gentleman who appears to be
the leader. Go to 107.
126
You find Mathilda busy with her work,
her living space and worktable covered in
mounds of fabric. A mannequin made of
rough wood, mounted on a tripod and pinned
with half of a ball gown, oversees her
shoulder.
She is delighted by your visit and offers
you a homemade herbal tea, thoughtfully
reviewing each member of the troupe you
inquire about. From her, you learn that all
members of El Marzocco are like her,
16 1 2 6 1
huddled in their homes, each busy with tasks
- some learning the lines of the latest play
written by Jean Lefèvre, others making sets
or props. Those with a job or duty commit to
it as much as they can or as the winter
severity allows.
Now it's her turn to get your news. She
listens attentively to what you have to say.
You ask her if she has seen Jérôme
Bonchamps recently. Go to 153.
You inquire about her thoughts on
Cosimo Ruggieri. Go to 108.
127
Among the troupe, the first companion
you think to visit is Cosimo Ruggieri, the
Court Astrologer. Go to 68.
128
The current takes you straight towards
Compiègne, almost as fast as a galloping
horse. Using the oars, you and Ursulin adjust
the boat's course to stay close to the opposite
bank, in case your pursuers get the idea to
mount a horse and try to catch up. You reach
Compiègne without any sign of pursuit.
Ursulin suggests abandoning the boat and
hiding it under branches. You don't enter the
town, but while Ursulin starts to cut stakes to
set up a camp for the night and prepare for
the last part of the journey – returning to
Paris where Amanda and Lucia's parents
await – you ponder the next steps. But that is
another story...
If you are a player, you are now ready for
a game with multiple players and a game
master. If you are a Mask, you can proceed
to read the introduction scenario in the next
chapter. END
204
129
You are halfway to the corner of the
building when a man wearing a wide-
brimmed leather hat and holding a rifle
appears at the angle. You have the element
of surprise. He likely didn't expect to see
you. You are within sufficient range to throw
your dagger.
You aim at the man by estimation, ready
to turn around if needed. Go to 2
You rush at him to knock him down. But
will you be quick enough to hit him before
he points his gun at you? Go to 20
130
It's your lucky day. The window
overlooks a living room with a large
fireplace crackling. You can see Ursulin's
strong stature from behind, speaking to a
smaller person standing in front of him. The
interior is quite luxurious, with portraits
decorating the walls and a marble statue of a
Greek goddess overhanging a sofa and
several armchairs. Musical instruments are
scattered around the room – a harp, a lyre,
and a theorbo. One of the armchairs, with a
painter's palette resting on its cushion, is
positioned in front of an easel bearing the
initial sketches of a portrait. He likely
entered through the double door on the left,
through which you see a servant exiting with
a tray. A door on the right opens and two
young girls with long brown hair enter, take
a few steps towards the center of the room,
and curtsy towards Ursulin and the figure
you haven't yet managed to see clearly. The
girls are wearing lace dresses reminiscent of
some you've seen in Mathilda's personal
wardrobe. Their earrings are set with semi-
precious stones, circled in silver. They wear
the same green silk bow tying their
differently styled hair. One is almost a head
taller than the other and appears to be her
sister. The younger one looks distractedly
towards the street windows. You tuck
yourself into a corner of the window where
you should not be seen. You strain your ears,
hoping the street noise won't drown out the
quiet conversation. Go to 80.
You've seen enough and return to your
observation post opposite the townhouse,
where you're less likely to be spotted. Go to
55.
You attempt to circle the block to check if
there's a way to enter from the back of the
building. Go to 69.
131
As you cross the Courtyard, you see a
hooded rider on a horse, leading another by
the bridle, pass in front of the porch from left
to right. When you reach the porch, you will
be behind him.
But at that moment, you stop because you
no longer hear the clip-clop of hooves. He's
stopped!
Nevertheless, you cautiously approach to
see what's happening. Go to 77.
Perhaps you can get a clearer, more
discreet, and safer view by climbing onto the
roof from the mezzanine? Go to 98.
These presences at Jérôme's and nearby
do not bode well. You prefer not to linger in
the area. After all, it's his business. He
receives whom he wants, whenever he
wants! Go to 141.
205
132
Inside, it's dark. Only Colin and Célestin
are there, practicing juggling by the light of
a torch.
"Where are the others?"
"Benjamin and Jeanne are taking care of
the orphans," Colin indicates a schedule
board where troupe members sign up for
orphanage duty.
"Mathilda's at Cour des épées. She has
several orders to finish," Célestin adds,
seemingly regretful as he packs juggling
clubs into a canvas bag.
"I want to use the Brighella mask to
restart our investigation into the theater
arsonists."
Colin objects. "This isn't the time, Flavia.
We're all just trying to survive. Discussing
playing avengers can wait until we have a
solid theater for our performances again, if
you don't mind."
You shrug and leave the street, noticeably
irked by their reaction, to avoid a pointless
outburst of anger.
The bells for mass ring at Saint-Victor
Abbey. Convincing the troupe members
won't be easy, given the unfavorable
circumstances. You decide to visit Mathilda
at Cour des épées. If she shares Colin and
Célestin's views, perhaps she could at least
offer some good advice? Go to 24.
Maybe it’s better to find a "real job" and
seek advice from your Uncles at the Louvre
Palace. Go to 43.
17 2 3 1 2
 If the regular members of the Marzocco
Company are hard to persuade, perhaps the
troupe's friends will be more receptive? After
all, they are influential, certainly more so
than a newcomer. Go to 127.
133
With your acrobatic skills, it's easy for
you to leap over the window ledge and land
in the street without falling.
A giant in clothes too tight for his large
frame strides away with firm, long steps,
carrying a heavy sack of burlap in each hand.
He heads to your left, where the street is
empty.
To the right, you hear the clatter of hooves
and a town crier in the main street leading to
the front entrance of the mansion.
In the direction the giant is heading, the
street corner seems blocked by a dark mass.
The surroundings are shrouded in
darkness, and although the giant is easy to
track, you move cautiously to avoid any
obstacles. He quickly reaches the end of the
street.
The dark mass turns out to be a covered
four-wheeled cart pulled by horses. Men
with their faces obscured by dark scarves and
hats await him, some holding drawn rapiers,
others sabers.
You slip into the shadows and attempt to
approach the cart as closely as possible to see
what's happening. Go to 58.
You turn back to rejoin Ruggieri and the
Count. Go to 100.
206
134
"Where are we going?"
"To the Satriani family palace in the
borough of the Chiry-Ourscamp Abbey.
Count Satriani is an old friend. I was
involved in building his palace. I meet him
when I'm in Paris at Sardini's bank, where
I'm sometimes invited. I secured a
scholarship for Jérôme’s studies through
Sardini. That brings us to what I needed to
talk to you about.
I suspect a regular guest at Sardini's
mansion: Gabrielle d'Este and her husband.
Recently, I saw this Concini at Sardini's, in
deep conversation with the couple. It’s not
the first time Gabrielle has tried to pry
information from Sardini, Satriani, and me.
She heard about a building project we did for
King Henry III and probably thinks there’s a
fortune to be extorted from it.
These Italian adventurers seem to be in
constant conspiracy. If Gabrielle is indeed
the link between Jérôme’s death and my
status as a master architect, I'd never forgive
myself."
Arriving in Compiègne, you negotiate
seats on a wine merchant’s cart heading to
Noyon. You urge Ursulin to be cautious
about your destination. Go to 87.
You take advantage of your elevated
viewpoint at the back of the cart to carefully
observe the surroundings, the landscape
throughout the journey, and every face you
encounter, ensuring you haven’t been
followed. Go to 154.
Go directly to 15.
 135
You notice that the astronomical
telescope, its tripod, and its case are no
longer present in the room.
Go to 115.
136
The group of students goes up to Jérôme's
door, knocking several times, but their calls
remain unanswered. They discuss in front of
the door. Neighbors from the Cour des épées
join them and come to the same conclusion.
There is concern. The students assert that
Jérôme has not been attending the University
for several days and that a relative delivered
a food basket meant for him, which they
brought with them.
The neighbors inform them that Jérôme
seemed to be unwell in recent days.
Everyone agrees to make some final checks
at his usual hangouts and with others who
know him. They plan to meet early in the
afternoon to force open his door, which is
locked from the inside, in case Jérôme
remains untraceable. The crowd disperses.
You plan to reposition yourself similarly
in the afternoon to observe what happens. Go
to 111.
You know it won’t be hard for you, using
the tip of your dagger, to slide the latch
locking Jérôme’s room from the inside. You
are skilled and have already figured out how
to do it. All that remains is to approach
discreetly once everyone has returned to
their activities and no one is left in the
courtyard. It will be the hardest part, but with
a bit of patience... Go to 101.
207
You intervene and ask the students' help
to break down Jérôme’s door. After all,
perhaps his condition has worsened. No one
seems to know what he might be suffering
from. You worry about him. Go to 25.
137
"A woman calling herself 'Giorgiona'
recently visited Jérôme. I discreetly followed
her to the porch of the Cour des épées, where
a man she called 'knight' was waiting with a
horse. I saw both of their faces." You
describe them to Ursulin. "I don’t know any
woman named 'Giorgiona,' and the
description you give me of these two
individuals does not ring any bells for me."
Go to 142.
138
Half an hour later, the man with the thistle
emblem exits the way he entered, bundled up
in his cape. Snow has begun to fall, slowly
covering the ground.
You follow him without much difficulty.
He walks slowly and doesn't look back,
visibility becoming difficult in the streets
swept by small gusts and swirling
snowflakes. He heads to a group of buildings
you recognize as the Italian Embassy-Hotel.
Italy, being a plethora of States and
Principalities, houses several delegations
and factions that more or less interact based
on affinity.
The Royal Administration manages its
noisy and boisterous guests, tenants, and
visitors with much difficulty, especially
since the arrival of the King's wife. You've
been here before, accompanying Célestin or
Colin in their courier activities. You manage
to follow the man to the bottom of a
18 3 4 2 3
staircase, from where you spot which floor You will knock on her door tomorrow
and which door he enters without knocking. morning. Go to 126.

This door, prominently among others 142

decorated in the same fashion, features a
wooden panel painted in the shape of a Do you have several words copied on
shield. These shields bear arms and heraldic your character sheet? Choose which one to
symbols. The one of your man is yellow, use to recall events that might be linked to
crossed by a lateral black bar. Below the bar, Jérôme's death, if it wasn't accidental...
an open book. Above the bar, two red towers
bearing jesters' hats. Approaching would be Manège: go to 14.
imprudent, given the building's frequent
Gobelet: go to 156.
comings and goings, even at night.
Mouchoir: go to 74.
You would find it difficult to justify your
presence. You decide to return home.
Dagger with chess piece pommel:
Tomorrow you will check on Jérôme.
go to 39.
Go to 88.
After this conversation, go to 65.
139
143
You run towards the boat as fast as you
can. You recognize the rider who
accompanied the woman who visited Jérôme
Go to 118.
shortly before his death.

140
Return to 37.

You are in front of Jérôme's door. You

144
knock. No answer. You try the handle to
open the door. Go to 62. The man with the hat adorned with a black
feather and a jacket with embroidered cuffs
You look for a resident of the courtyard to
approaches you confidently, hands behind
ask if they have seen Jérôme Bonchamp
his back, walking with a martial stride.
recently. Go to 102.
He has a dried thistle flower in his lapel,
You decide to return later in the day. Go
which immediately brings to mind these
to 49.
words from Jérôme's poem: "for the man
with the sinister flower treacherously will
141
appear."
You decide to visit Mathilda. It's already
Return to 37.
late, and her shutters are closed.

208
 145
As your body begins to crave activity and
warmth, you hear footsteps on the mezzanine
and then down the stairs.
The woman visiting Jérôme seems to be
leaving, moving quickly. She passes very
close to you, so close that you have time to
study her face and even catch her scent. You
excel at avoiding detection.
She joins a cavalier who hands her the
reins. At this moment, you get a good look at
him from head to toe. He carries a rapier at
his side and pistols in his saddlebags, and
also sports a thistle flower button in the lapel
of his leather doublet. Both the man and
woman's attire and manners clearly indicate
they are not commoners.
After patting the horse's flank and kissing
its neck, the woman mounts side-saddle on a
dappled grey horse. "Your escort is most
appreciated, knight! It's not safe to travel
alone in Paris at this hour. Let's return!" She
spurs the horse on the left side, and it starts
to move.
The man lingers behind as if to ensure...
everything is alright. Then he catches up
with her at a walking pace. At this point, they
trot off, heading towards what seems like
Place de Grève. You give up on following
them. Without a horse, it's futile.
Note the code 'chartreuse' on your
character sheet. This may come in handy
later. If you've noted the code 'serpolette,'
write down the current paragraph number, go
to 85 and return. You're eager to get home.
It's time, as you're starting to feel cold.
Go to 141.
209
146
When you return the telescope to Ursulin,
he opens the case and unfolds the instrument
to check its condition. You tell him about the
letter that accompanied the telescope.
Go to 114.
If you've noted "Hydra" on your character
sheet, go to 7.
He packs the telescope back into its case,
having ensured it's in good condition. "Let's
ensure Jérôme has a dignified funeral. Then
I must be on my way." Go to 158.
147
Once the perfect silence and stillness of
the night return to the street, you approach
the building, circling it while being careful
not to linger in the courtyard, where you are
most exposed to the neighbors' gaze.
You try to listen at the door and shutters,
but the inside of the house remains silent. As
you return to your original observation point,
Concini emerges with a completely serene
face and then goes back to his horse.
This time, he seems to hurry his horse, but
you have no more difficulty following him,
as the night has advanced, which makes
moving around Paris easier. Concini returns
to the Louvre. Unable to continue your
tailing any further, you take advantage of
passing the guard post where you had left,
pretending, as a stable boy, to be bringing
back a noble's horse that stayed in town. You
return your mount to its nook. Tomorrow,
you will meet your fellow theater troupe
members and inform them of your discovery.
Go to 122.
19 4 5 3 4
 148
"I followed Concini at night to a
seemingly uninhabited house in the
Faubourg Saint Marcel. He seemed cautious
not to be followed. Maybe that's where he's
hiding your friend, the rabbi?
Indeed, that's curious. But most of the
courtiers around Concini carry rapiers and
know how to use them. I wouldn't knock on
that door without an armed and experienced
escort."
Go to 14.
149
Despite your speeding up, you hear the
spongy and heavy footsteps tailing and
accelerating behind you. You're about to be
caught. You run without looking over your
shoulder because that would slow you down.
You give it your all to reach the main street
and the relative safety of the private hotel
without turning back. Go to 78.
Despite everything, you throw a glance
over your shoulder to check if you are
distancing the creature and possibly see what
it's doing. Go to 70.
150
Monday, December 25, 1600.
The night has just unfurled its ink-black
curtain. The incessant bustle of Rue de la
Ferronnerie begins to quiet down, gradually
covered by the rumbling, clattering carts.
Jérôme welcomes you on the porch of his
candle-lit room. You go together to fetch
your portions of chicken in a pot. The cook
adds a dish with a good serving of vegetables
210
and some nuts for dessert. You settle on the
floor, on a sheet stretched out by Jérôme
before your arrival. He has filled a faience
pitcher with water from the courtyard well
while bringing up the dishes. You drink a
few swigs from wooden goblets as if it were
claret wine. The only table in the room is
covered with disordered parchments, among
which float a quill, an inkwell, blotting
papers, an almanac, and notebooks.
Scattered on the made bed are the leather
case of the telescope, a cloak, a bundle, and
more parchments, either blank or filled with
fine, elegant handwriting. A coat still damp
from melted snow hangs on a hook behind
the door. A walking stick has slipped into its
folds, balancing between the floor and a
corner of the wall. The telescope, already
aimed at the sky on a tripod, stands in front
of the room's only shutter. It's a really beauty
ful object, with sliding, shiny copper tubes
and an eyepiece glittering like a diamond in
the candlelight. The room, with you sitting
on the floor, takes on a monumental air of an
improvised picnic and seems less cramped
than when entering. As soon as the meal is
over, Jérôme takes his notes on his work
table and begins to adjust the telescope,
having moved the room's only chair to you.
"Take your seat for the show!"
It's the first time in the evening that his
smile really widens. This air of relaxation,
this different face, almost completely erases
the image of a student burdened with tedious
studies. Without losing interest in the
wonders of the astronomical telescope, you
steer the conversation so that Jérôme talks a
bit more about himself. Go to 40.
Determined to learn about the stars and
their secrets, you barrage Jérôme with
questions, so that he reveals everything he
knows about this new science. Go to 38.
151
Dressed in work attire, you present
yourself before the Voiturier of the Louvre
Palace. He constantly moves between the
Grand Stables, which house over a hundred
horses, and the Manege. These two buildings
border the Tuileries Gardens, so the entrance
to the Palace is quite a distance away, and
traffic in its dependencies is relatively
monitored by a few military patrols from the
royal buildings.
transport it. Upon arrival at the Manege, you
spot the Voiturier observing the ballet of
stallions, leaning on a barrier.
He seems satisfied with your first day and
hands you a denier, a rather "royal" pay. You
must now present yourself at each daybreak.
Go to 119.
152
As your body starts craving activity and
warmth, you notice the woman with the
capeline leaving the Cour des épées.

The Voiturier's work attire is of good She joins the rider who hands her the
quality, polished, and his demeanor leaves bridle. At that moment, you have time to size
no doubt: he presents and behaves as the him up from head to toe. He carries a rapier
master of the premises. Though his direct at his side and pistols in his saddlebags.
superiors are Antoine de Pluvinel and Roger
He also wears an ornamental carnation -
de Bellegarde, courtiers appointed by the
perhaps a dried flower - on the lapel of a
King, he does not have the manners of palace
leather doublet. The attire and demeanor of
nobility. Your uncles have previously given
the man and woman clearly indicate they are
you these two names, so you can quickly
not commoners.
recognize the two individuals who are almost
daily present and avoid any faux pas. He is a
After patting the horse's flanks and
commoner, certainly with a position that
kissing its neck, the woman mounts
should keep his family away from need and
sidesaddle on the dappled gray horse. She
the rigors of winter for several years.
utters a few words, of which you only make
out three: "Chevalier," "Paris," "Let's go
You therefore take the risk of not
back!" She activates the stirrup on the left
uncovering your head to introduce yourself
flank, and her horse starts to move.
to him. Under the cap, your hair is long and
tied back. Barely sizing you up, he entrusts
The man throws one last glance around,
you with cleaning three stable squares. Then,
lingering behind as if to ensure... everything
you must join a group of other lads for
is alright. You just have time to lean back.
saddlery maintenance. You must report a
Then he catches up with her, at a walk. At
parade saddle to the Manege when the others
that moment, the two figures start trotting
are finished. This is your trial. You perform
toward what seems to be Place de Grève.
your tasks zealously and integrate into the
You give up on following them. Without a
group of other lads without much difficulty.
mount, it's pointless to even consider it.
You manage to get explanations on which
Go to 141.
saddle to choose, how to equip it, and 20 5 6 4 5

211
 153
Jerome, a neighbor from Cour des épées,
has recently become your friend. Mathilda
points to a cylindrical leather travel case
between two piles of clothes. “He asked the
cook to drop this off for you.” You pick up
the object by the shoulder strap.
well at the Tavern of the Dark Brew, where I
will treat you to a feast in thanks for this
service, which will help maintain my
reputation as an honorable man. Sincerely,
Jerome.”
You read the second page of the letter
with the poem. Go to 27.

It's quite heavy and about one and a half You inspect the exterior and interior of
paces long. Mathilda moves some fabric the case. Go to 73.
aside on the table, inviting you to place it
there. At one end, a leather lace allows you You take everything and immediately
to untie and open the case. Inside, two head to the Carpenters’ Guild to summon
compartments are visible. From the first, you Ursulin. Go to 56.
pull out a metallic tripod roughly the same
size as the case, ending in a four-sided steel You go to knock on Jerome’s door to
point. The legs are reinforced with cork. The inquire about his health. Go to 88.
other compartment reveals a glass lens
154
encased in copper. You extract what turns
out to be a telescopic astronomical telescope,
It's an ancient Roman road, mostly
expandable into four retractable cylinders.
covered with loose soil and greenery,
The most fragile parts are all reinforced with
connecting Compiègne to Noyon. A few
copper. The cylinders are made of a
riders pass you by, and you encounter two
smoothly polished, spotted and speckled
peddlers, as well as a group of pilgrims
wood, almost the same color as the leather of
coming from Noyon. None of them are
the case.
armed or in uniform. You can see them from
afar, as the road is a straight line between the
Mathilda searches her apron pockets and
two cities. Go to 134.
pulls out a sealed letter, handing it to you.
155
“There was also this letter with the case.”
Knowing Mathilda's expertise in
“My Friend, Finding myself unwell and
Alchemy, you consult her to determine if the
owing my friend Ursulin from the
remaining liquid in the cup is indeed water.
Carpenters’ Guild the return of his
A slight deposit of white powder at the
astronomical telescope, I kindly ask you to
bottom of the glass makes you doubtful. An
deliver it to him. Last night, I had a dream
acidic smell suggests vinegar. After
that I transcribed into a poem. A strange
collecting some of this powder, Mathilda
feeling of extreme necessity compels me to
heats it. It turns yellow, emitting a rotten egg
share it with you. My request may seem
smell. Having spent her childhood with a
whimsical, but since childhood, I've learned
member of the Venetian sect guarding the
to trust my intuitions. I strongly advise you
secrets of the Murano glass masters,
to do the same. Let's meet as soon as I am

212
Mathilda can recognize certain substances
associated with poisons.
She's not certain, but it seems the powder
could have been used for that purpose.
Note GOBLET on your character sheet to
remember this information.
Go to 115 or return to the previous
paragraph.
156
“A yellow color and a rotten egg smell
after burning the powder, you say!? Indeed,
it's a possibility that Jerome might have been
poisoned. But why, and who would want to
harm him?”
Ursulin is dumbfounded by this
suggestion.
Go to 142.
157
Today, Benjamin and Jeanne have
decided to take care of the household. It's a
constant occupation requiring vigilance,
concentration, and a touch of benevolent
authority.
They don't have time to talk with you.
Even offering to help them, the task's
intensity means they will be exhausted by
day's end and thus not more open to
discussing Brighella.
You ultimately opt to go to the cooper's
warehouse. Go to 132.
Or, you try your luck with the friends of
the Company. Go to 127.
213
158
Most of your lodging neighbors were
present at Jérôme's funeral, even your uncles
got leave from their superiors. His parents
didn't request to repatriate the body to
Clermont, where they run a small inn
adjacent to the canons' house.
Realizing Jérôme now had his life and
friends in Paris, they chose to stay a few days
to begin their mourning. The entire small
community of the Cour des épées thus
accompanied the body to the Church of the
Saint-Innocents, across the street, then to its
cemetery.
Four adults and five children from his
close family accompanied and supported
Jérôme's parents. The Clermont priest
conducted the mass. Ursulin gave them a
purse to help with ceremony and burial
expenses. Once everything was finished, you
accompanied him back to the Carpenters'
House.
On the way, he explained that he was
about to hit the road for Chiry-Ourscamps, a
small village with an abbey on the banks of
the Oise. He would take the Telescope to
give to a new student.
If you searched Jérôme's room and will
talk to Ursulin about it, go to 142.
You seize this opportunity to offer to
accompany him? Go to 65.
Arriving at his lodging, you bid him
farewell and wish him a safe journey.
You decide to meet your actor friends to
discuss Jérôme's death and other events close
to your heart. Go to 122.
1 6 1 5 6
 159
You return the telescope in your
possession. Go to 146.
You keep the telescope, not mentioning
its existence to him. Go to 161.
You assist him in these various steps, and
afterward, Ursulin bids you farewell on the
steps of the Carpenters' House.
Then you visit the members of the
Commedia del Marzocco.
Go to 122.

160

To enter the Louvre without attracting too

much attention, Ruggieri advises you to pose
as his footman. While keeping an eye on
Ruggieri, in case he needs you, you can
leisurely observe the Queen's entourage.
You notice an Italian couple wearing
matching jewelry that immediately catches
your eye. The woman wears a necklace with
a chess piece as the centerpiece. A black
queen.

Her companion wears a similarly crafted

necklace but sturdier and coarser. His
centerpiece is a black king. You are bothered
by a young provincial of your age calling
himself Armand Jean Du Plessis, who has
noticed you're not what you pretend to be - a
young man serving Ruggieri, but a "curious
young lady observing the Queen's Court."

You manage to shake him off during the

evening but fail to gather more information.
Disappointed, you return to the Cour des
épées.

Tomorrow, you'll check on the other

troupe members, whom you haven't heard
from in a week. Go to 122.

161
In the following days, Ursulin ensures
that Jérôme receives a dignified funeral and
his family is informed. He goes with you to
the Cour des épées to meet people who knew Travel Days by Coach and Post
Jérôme.

214
 Introduction Scenario
The Winter Nuptials
-1600-
The Golem
The Story
A Golem is abducting and murdering the
bourgeoisie in Paris!
This is the striking event that will appear
in the scenario, and likely the rumor that will
catch the attention of the player-characters,
although it is somewhat trivial compared to
the political intrigues and factional stakes
that the plot may reveal.
This is an opportunity for an initial
approach to the Florentine Court brought in
the entourage of Marie de Medici
(comprising two thousand people), among
which the soon-to-be famous Concino
Concini and Leonora Galigai, at the dawn of
their careers as courtiers.
It also serves, from the Campaign's
perspective, as an occasion to cement
relationships within a group of characters,
revolving around the general plot outlined in
the epilogue.
Plot Summary
While a Golem is abducting and
murdering nobles and bourgeoisie in Paris,
The Chessboard, a secret organization
brought from Florence with Marie de
Medici’s Court, is trying to find the hiding
place of an inheritance of artworks and
inventions bequeathed by Leonardo da Vinci
to the King of France.
A mysterious prophecy uttered by a dying
young medium will guide the PCs to the said
cache to wrest these treasures from the grasp
of The Chessboard, thirsty for power and
intrigue to achieve their goals.
215
Foreword
Avignon, the city of popes and rabbis...
During their engagement in Avignon,
Concino and Leonora meet Ursulin, an
alchemist who hides a rabbi in his cellar. He
claims that a mysterious secret society "the
Brotherhood of the Thistle" is after the
rabbi's life, presenting him as a master
surpassing himself in the art of alchemy.
He offers to let the rabbi join Marie de
Medici's entourage for protection from
potential hunters that might show up at his
door any moment. In exchange, he promises
his support to the couple and teaches them
several tricks and operative principles of his
art.
With a few grams of red powder, he turns
lead into gold before the amazed eyes of
Concino. The couple, already unscrupulous,
seeing only their interest, agrees. He sets a
meeting in Paris at an undetermined date to
take back the rabbi under his protection.
A Florentine Swindle
Upon arrival in Paris, Leonora (21 years
old) and Concino indeed hide their new
guest: the rabbi. He doesn’t speak a word of
Italian or French. Convenient. To avoid
awkward questions during the journey, they
disguise him as a priest, claiming he comes
from Rome with them. The invitation
quickly turns into a sequestration...
This is when they detach themselves from
Sylvia Laura d'Este’s entourage (see
Protagonists) to become visible and present
only around Marie de Medici. Valentino,
Concini’s man of shadows, is tasked with
organizing a scam as soon as they arrive in
the capital. Indeed, the term "Italian
adventurers" is not an empty phrase for this
gang of brigand-courtiers about to settle
down. The Golem operation is thus initiated.
Barely two weeks are necessary to set
everything up. Leonora's relational qualities
and intuition, on one hand, and Concini’s
observatio n and persuasion skills, on the
3 2 3 1 2
other, work wonders. A "demonstration"
evening, attended by a few gullible nobles of
the Court, makes a great impact, ensuring
them covert publicity among the schemers at
Court.
Ruggieri, the King's astrologer, learns of
this and is concerned but decides to wait for
more information before speaking to the
royal administration. The demonstration
involves activating a golem and making it
work for the witnesses present. This is just
the first phase of a blackmail that will
culminate in making them pay a tax on life.
The Golem will then become, if all goes as
planned, the tax collector.
This is obviously a hoax and a fake
golem. The modus operandi of the scam will
be detailed later.
The Good Neighbors
The characters are neighbors and, with a
few exceptions, enjoy a cordial relationship.
They reside in the Court of Swords, the
fourth building on Iron Street, facing the
Saint-Innocents cemetery. The courtyard
forms a self-enclosed square with two
stories, where all the dwellings face each
other. Their landlord is Henri Picolet, who
has recently begun transferring part of his
business to his eldest son Grégoire (25 years
old). Grégoire announces to them that the
buildings will be requisitioned by the King
within thirty days unless he finds 500 pounds
to secure his Title of Ownership with the
royal administration. An easy roll in Legal
Affairs will reveal that the plan is to set up a
silkworm factory in place of the Court...
If nothing is done, the tenants will be
evicted. Indeed, expansion and relocation
works of the cemetery are underway.
Picolet's rival is named Bonacieux... and
he suspects Bonacieux of conspiring to make
him lose his properties on Iron Street (a red
herring). See plans of the Court of Swords in
maps & plans.
216
Prophecy and Lament of the Solitary
Great Briton.
"
When the bear, backwards in his lair,
shall be
a peaceful knight will come, an elixir of
long life to discover
in marshland earth, he'll drink the light
But first, the nurturing earth must be
quenched
with attentive pleas and the rigidity of
the Holy Grail
Thus, ancient omens shall be awakened
By his singular gaze
a child from the heavenly womb shall be
born
in the abode of its immaculate
conception
an immediate departure on an equal
steed he'll make
His blood will flow if the bowels of our
mother
stir more or less than Reason
His entire word to his companions will
be
for a man with the sinister flower
treacherously will appear
Therefore, he who follows the master of
Nola, his heart will extinguish
at that very instant, and from him a
legacy will gain
Then the sublime and perpetual torch
will ignite the morning dew
The splendor of his proud visage
will embrace
and the crossroad will shine
resplendently."
 This is a poem written in a moment of
clairvoyance, in the style of Nostradamus's
Centuries, by Jérôme Aurélien Bonchamp, a
discreet young man (22 years old) with
mediumistic gifts.
This text covertly reveals much of the plot
and outcome of the scenario...
This document must find its way into the
hands of the players, one way or another,
from the very first scenes of the adventure.
Indeed, Jérôme is friends with Ursulin, to
whom he has entrusted an item of great
value: Galileo Galilei's astronomical
telescope. Ursulin will come to retrieve the
telescope in the days following the first day
of play.
Jérôme is acquainted with a certain
Giorgiona, ten years his senior and of higher
social status. She visits the student very
rarely and late at night. Almost no one is
aware of this relationship.
217
The Chessboard Enters the Game
Giorgiona is none other than Sylvia
D'Este, a member of a secret organization
whose mission is to seize power from Kings
by placing its pieces in key positions. She
learned of Ursulin through Concini and seeks
to unravel the secrets of this initiate for the
organization. In her investigations in Paris,
she discovered that Ursulin is a master
renowned in most of the brotherhoods and
initiatory fraternities of Europe. Officially,
he is a master carpenter and stays at the
Corporation of the same name when visiting
Paris (Corporation – Medium, Liturgy –
Easy for an initiate). Unofficially, he is
known to be a trusted man of the old Scipion
Sardini, an unpopular banker and aesthete,
protected by Henri III (Etiquette - Difficult).
Scipion is said to have entrusted Ursulin with
managing the inheritance of artworks and
engineering left in France by Leonardo da
Vinci (Gossip & Rumors – Heroic) in
various royal residences. Ursulin is said to
have recently traveled to Rome, where he
gained the trust and works of Giordano
Bruno (Liturgy – Difficult for an initiate).
Ursulin was reportedly introduced to Henri
III along with Giordano Bruno by Sardini
(Memory - Easy for anyone present at the
Court at the time).
4 3 4 2 3

The Foundation of Western
Secret Societies
The basis of most Western secret
societies is rooted in esoteric Judeo-
Christian and Kabbalistic traditions
with content that is more or less
fruitful. Alchemy is practiced in
secrecy because if it is operational, it's
illegal: it equates to minting one's own
currency in place of the Sovereign.
And if it's speculative or spiritual, it
aligns with other esoteric practices.
The initiate secretly receives an
initiation and recognition signs that
create an invisible chain of solidarity
among all those who have undergone
the same trial. Among themselves, they
all call each other brothers. By
Tradition, the initiates understand both
the sciences of wisdom and the
philosophy of sciences...
Giorgiona is on the trail of Ursulin,
secretly hoping to discover the hiding place
of Leonardo da Vinci's works, to seize plans
of war machines, and to acquire some
original manuscript of Giordano Bruno. Not
to read it, but to use it as evidence of heresy
should she need to discredit an enemy. By
securing an invitation to Scipion Sardini's
private residence in Paris, on Rue de la Barre
near the Saint-Marcel suburb, where she
stayed while settling into the Court, she and
her husband were able to observe all the
comings and goings. It's there she notices
Jérôme visiting Sardini each month to
receive the scholarship funding his studies.
In a conversation, she discovers that the
student's protector is none other than Ursulin
and immediately sets out to seduce him to get
closer to the master alchemist.
Jérôme reveals to Giorgiona that he was
initiated into alchemy by Ursulin, but he
218
doesn't know when his protector will
reappear. He deems it unnecessary to
mention the telescope Ursulin entrusted to
him. According to Ursulin, the telescope is
given to an apprentice of the Art during their
training and then passed on to another
apprentice, to provide them with the best
study tools and to remind them of the
traditional lineage and the invisible bond
uniting all initiates. Ursulin has told Jérôme
that on his next visit, he will reclaim the
object to entrust it to a member of the
Satriani family.
For now, the telescope sits in front of the
young man's window, pointed at the Moon's
trajectory, with a notebook of uninteresting
astronomical observations at its feet (false
lead). What Jérôme doesn't know is that
Ursulin also plans to give the new
apprentice, along with the telescope, a key to
access another relic of the Traditional arts
long kept by the Satriani family. This key is
an inscription engraved inside the telescope's
leather case.
From here, three options are available to
you, depending on the level of immersion
into the main plot you wish to provide your
players, considering that after each one the
group of characters should be in possession
of Jérôme's poem and Leonardo's telescope:
Giorgiona, realizing Jérôme's
mediumship talent, drugs him to unwittingly
extract more information about Ursulin. Frail
by constitution, Jérôme falls ill. A player
who is his friend, or Grégoire Picolet,
worries about his health and visits him.
During this visit, Jérôme entrusts the
telescope to them, explaining that a friend
(Ursulin) who loaned it to him is back in
Paris and it would be kind to return it to the
Corporation, as he must stay in bed. The next
day, Jérôme is found slumped over his poetry
notebook, pen in hand, on the last
handwritten page where the poem is located.
It's up to you to decide if he is only in a coma
and can still speak, or if he is dead, poisoned.
A goblet on his work table still contains part
of the contents from Giorgiona's poison ring.
Alternatively, but with less detail: Jérôme
is found dead over his poetry notebook. The
entire Cour des épées community is shaken
by this grim discovery... for example,
through a cook who used to bring him meals
and finds him stiff dead. The next day, the
character acquainted with him receives a
visit from a fellow student of Jérôme or a
stable boy, or a trustworthy neighbor, who
forwards a letter from the young medium
along with a package:
"My Friend,
Finding myself ill, and owing my friend
Ursulin of the Carpenters' Corporation the
return of his astronomical telescope, I ask
you to kindly take it to him.
This night, I had a dream that I
transcribed into a poem.
In both scenarios, the characters can
discover that the young man, in his
correspondence, claims to keep a diary.
However, they will not find it in his room:
Giorgina has taken it as it refers to her and
likely holds information that could lead her
to Ursulin. Additionally, they will find a
dagger with an ivory pommel shaped like a
white chess pawn. The handle unscrews to
reveal it is hollow.
Inside, there is a love letter:
"To My Beloved,
Met in the belly of a sardine, turned
whale,
But so beautiful, like Adonis, keeping me
breathless,
Through all eternity he allows me to spin
wool for him,
Or try to remove Cupid's arrow, so
skillfully shot to pierce my heart.
Paris, November 11, 1600.
Giorgiona"

A strange feeling of extreme necessity

The reference to the sardine becoming a
compels me to share it with you. My request
whale alludes to the private house of Sardini.
may seem whimsical, but since childhood,
It is known that Jérôme is a student at the
I've learned to trust my intuitions. I can only
University of Paris. Anything learned from
advise you to do the same.
interacting with his fellow students or
professors will reveal that Jérôme is a
Let's meet as soon as I recover
discreet and reserved young man, yet
at the Black Brew Tavern so I can treat brilliant in his academic achievements.
you to a feast in thanks for this service, which
will contribute to maintaining my reputation
as an honorable man.
5 4 5 3 4
Yours sincerely, Jérôme"

219
 The Sorbonne is renowned for its
immense prestige, especially in the
fields of philosophy and theology.
Formed as the association of all
Parisian colleges located on the Left
Bank, it provided the training for all
clerics, meaning all the administrative
staff and agents of royal institutions
(State Council, parliaments, courts,
audit offices, tax departments) and
ecclesiastical bodies (education,
hospitals, libraries, research, bishops,
abbots).
Winter 1600
The Florentines arrive in Paris.
Introductions and Stage Entries
These scenes offer various ways for
players to enter the scenario, either in group
settings or as short solo play sequences (one-
on-one with the Mask) before assembling a
group of characters who are already
acquainted. Especially when playing with
beginner players, it's important to connect
the characters through their backgrounds to
ensure a minimum sense of teamwork among
them.
Scene I: Welcome Ball.
Once the Florentines are settled, a
welcome ball is hosted at the Louvre.
The King and Queen open the dance.
The Queen introduces her ladies-in-
waiting, her court, and her servants to His
Majesty.
Among the guests is a character who may
become important during the plot, or even be
the patrons' employer: Ruggieri, none other
than the King's astrologer.
Ensure that at least one player witnesses
the meeting between Ruggieri and Leonora
(inspired by the Merlin-Vivianne encounter
in the 1981 film Excalibur). The young (15-
220
year-old) Marquis de Chillon (Richelieu!), a
student at the Collège de Navarre, might be
spotted searching for his brother Alphonse
(Bishop of Luçon) among the guests...
The ball starts early and lasts only two
hours in total.
After the Ball
Guests wishing to continue the evening in
a more informal setting are invited to the
Italian Embassy Hotel or the Hotel de
Florence. The latter term is a misnomer as
Italy, as we know it today, is far from
existing as a unified geographical entity.
Indeed, it's an annex building of the
Florentine Court, not far from the Louvre,
housing offices of representatives from the
mosaic that is Italy at the time: the Republics
of Venice, Genoa, the States of Savoy, Milan
under Spanish rule, Tuscany, the Kingdom
of Naples, the Swiss cantons, the Order of
Malta, and of course the Papacy. This entire
milieu is in turmoil, especially since the
House of Habsburg has been scheming in the
region against the rest of Europe...
The invitations are sparingly distributed
by a few prominent figures of the Florentine
Court, primarily.
Scene II: The Pheasant.
- Valentino: A Resourceful Man.
A carpenter from the Louvre is working
on a secret commission. It's a chest-table,
with a removable top. It features a hidden
pedal in the leg that allows for the
disappearance of anything placed on the
table, akin to a magician’s trick.
6, Alley of the Courts.
The Rabbi is put in a safe place.
Upon learning that Ruggieri's spies are
surrounding the house, a mason from the
Louvre, who is working on the completion of
the Grande Galerie, is brought in. He walls
up the Rabbi in the basement but leaves a
large, unsealed stone to meet the vital needs
of the detained guest. The guests: three men
and a woman wearing a ruffled mask,
accompanied by a servant.
The Bait, the Ambush, the Lure.
Leonora wastes no time.
The tactic is straightforward. She is
responsible for luring the court pigeons,
whom she sends to Valentino. Concini
simply oversees the operations, gathering
necessary information about the pigeon and
intervening in case of trouble. He has men
supplied by Valentino outside the Louvre,
and two gentlemen within the Palace.
Ruggieri notices Leonora's scheme, and
his spies trace it back to 6, Alley of the
Courts. Concini immediately spots
Ruggieri's men. Rather than changing his
plans, he opts to use this new element in his
strategy to intimidate Ruggieri. However,
one problem remains: The Rabbi's security.
It's impossible to move him, as three of
Ruggieri's men stand guard day and night
outside the house.
To prepare for any search, he decides to
wall up the Rabbi in the basement and
organizes fake convoys. Concini's men carry
chunks of meat (cleverly arranged to mimic
a massive body) on a door turned stretcher,
covered with a black sheet. Then, he just has
to lead Ruggieri's men on a wild goose chase
through Paris while operations proceed
elsewhere. Especially at the Cemetery of the
Holy Innocents, an ideal place for ambushes
and the birth of the wildest rumors...
Scene III: A Golem in Paris
Desecrations and undead at the Cemetery
of the Holy Innocents...
Disappearances and attacks on notables in
Paris.
The characters are contacted by a
nobleman among their acquaintances who
221
claims to be the victim of blackmail. They
are invited to his private hotel on the fateful
evening when the life tax collector is due to
come. The Golem will arrive. It's a mute
giant from the slums, painted with chalk and
with fake screws embedded in the head. He
is brought in a carriage, its coat of arms
concealed by a black veil (bearing the
Medici arms).
Inside are either Concini or Leonora. The
coachman is none other than Valentino.
It's up to you whether the noble pays the
amount (300 Livres). If the characters
intervene, the Golem will attempt to use
force (which he is capable of). However, if
he realizes he's at a disadvantage, he will
retreat, even without the money.
Then he won't hesitate to escape through
a window by breaking it or to smash through
a wall.
Valentino has prepared for a chase: he has
installed smoke bombs at the four corners
under the carriage, which he activates with a
pedal from the coachman's seat. This should
give the carriage a fair chance to pick up the
Golem and disappear in Paris. Additionally,
a gang of 4 to 8 thugs armed with clubs has
been recruited by Valentino to beat up
anyone who dares to follow the Golem as it
exits the private hotel.
As for the desecrations, these are
Concini's men leading Ruggieri's men on a
chase: an opportunity for a few skirmishes
and a first encounter with Concini's
henchmen (see Scene II, The Pheasant).
Example of Introduction
Count Bassompierre is a victim of the life
tax, intended to finance Professor Torino's
research.
To get out of it, he turns to Ruggieri who
puts him in contact with the player characters
to solve the case.
6 5 6 4 5
 On the evening Bassompierre receives the
player characters, he shows them the traces
of the Golem's first visit (a shattered window
on the ground floor, deep and imposing
footprints of bare feet in front of the
window).
And before he can say more, in another
room on the ground floor, a window breaks.
The player characters, if they rush over, just
have time to glimpse a creature (test in the
table relating to supernatural phenomena)
climbing over what remains of the window
with the Count's eldest son under its arm...
Scene IV: The Return of Ursulin
Ursulin comes to check on the health of
his Rabbi. He is also expected at the
Satriani's to deliver an inheritance from a
great-uncle in Rome. However, he knows the
Brotherhood of the Thistle is still on his trail.
All these events will follow Ursulin's visit to
the Court of Swords. If a character starts
tailing, they will undoubtedly see Ursulin
having a heated discussion with Concini.
It is also very likely that Salustre de
Salteur, the Knight of the Thistle, who is part
of both the Brotherhood and the Chessboard,
will find him and try to learn where
Leonardo's wonders are located.
Scene V: The Satriani Family
The residence of Count Satriani is located
in Chiry-Ourscamp. Most of the castle's
inhabitants are at their private hotel in Paris
to welcome the Florentines: Count Lucian de
Satriani, his wife Louise, and their servants.
Amanda (20 years old) and Lucia (16 years
old), their daughters, remain at Chiry-
Ourscamp due to illness. The Satrianis come
from one of the first ambassadors of
Florence to Paris.
Ursulin, once he has retrieved his
telescope, will go to their private hotel.
He has long been acquainted with the
count, not least because he was part of the
222
team of engineers and architects who built
his castle upon his arrival in France. The
count and he are also initiates, members of
the same esoteric fraternity (the
Rosicrucians). Ursulin, in agreement with
Amanda's father, will initiate her in esoteric
disciplines (astrology, alchemy, tarot,
angelology, theosophy) and entrust her with
the astronomical telescope. Then, he will
reveal to her the mysteries hidden in the
Ourscamp Palace, of which the Satriani
lineage are the guardians: the hiding place of
the rosewood box containing two esoteric
codices (see Final Scene) and the secret
room where Leonardo's wonders are stored
(helicopter prototype, tank, submarine...).
(see maps and plans)
Final Scene: Galilei's Telescope and the
Resolution of the Mystery
The inside of the thick leather case
protecting it is bra nded with a hot iron:
"The Hydra alarms the sixth part of the
circumference when the cup that the crow
overturns under our very pure guest is filled."
In this riddle, astronomy enthusiasts will
understand that it refers to Virgo (the very
pure guest). The Hydra represents the
Lernaean Hydra with its seven heads.
By analogy, it symbolizes the seven parts
of the house. And of course, it's in the sixth
wing of the castle that one must search. The
crow is on a tapestry next to an alcove
dedicated to the Virgin.
The stone behind the tapestry, where the
crow is depicted, comes loose easily,
revealing a well-made chalice.
The pedestal of the Virgin's statue has a
secret cavity shaped like a funnel diving into
the base. Pouring more or less water than the
chalice can hold causes the entire wing of the
building to collapse in less than thirty
seconds (the last drops are accompanied by
increasing tremors).
 Before the collapse, the chest descends
into a narrow well 30 meters deep, collapsing
as it falls, so the codex becomes inaccessible.
The correct amount of liquid makes the base
pivot, revealing a rosewood box. Inside are a
copy of Arnaldus de Villanova's Rosary, and
the "Codex Magnifica", author unknown.
The first person to touch the Codex
Magnifica will briefly envision a monk on a
pyre in a densely populated city square,
evoking what happened to Giordano Bruno.
The character gains the "Rituals &
Spells" skill and "Liturgy" with a minimum
base of 6, and a point of Prodigy, or a new
Level 1 Prodigy named "Mystical Vision".
But opening the manuscript chest also
triggers another mechanism:
On the esplanade in front of the terrace to
the right of the palace entrance, the entrance
to a 3-meter-wide underground passage will
have appeared, sloping gently down into a
buried building containing prototypes of the
helicopter and the tank designed by
Leonardo...
The Protagonists
The Medici Family
The Medici family had up to ten banking
branches: in Venice, Rome, Naples, Milan,
Pisa, Geneva, Lyon, Avignon, Bruges, and
London.
In the arts, the Medici were a dynasty of
patrons and collectors; the last of the Medici
bequeathed her collection to the city of
223
Florence, on the condition that the treasures
remain in the city, turning it into a "glory of
the World," comprising over 50 museums.
Marie de Médicis
Marie quickly became pregnant and gave
birth to the Dauphin Louis on September 27,
1601, to the great contentment of the king
and the kingdom, which had been awaiting
the birth of a Dauphin for over forty years.
Marie continued her role as wife and bore her
husband many children.
Marie de Médicis did not always get
along with Henry IV. With a very jealous
temperament, she could not bear her
husband's female affairs and his many
indelicacies towards her. Indeed, he forced
her to associate with his mistresses and often
refused her the necessary funds to cover all
the expenses she intended to make to
demonstrate her royal status to everyone.
Domestic quarrels occurred between the
spouses, followed by periods of relative
peace. Marie de Médicis was eager to be
officially crowned Queen of France, but
Henry IV, for various reasons, especially
political ones, postponed the ceremony.
It was not until May 13, 1610, and the
anticipation of a long absence o f the king -
Henry IV leaving to conduct "an armed
stroll" to resolve a political problem between
princes of the Holy Roman Empire, the affair
of Cleves and Juliers - that the queen was
7 6 1 5 6
crowned in the Basilica of Saint-Denis and
made her official entry into Paris.
The next day, the king was assassinated…
The Chessboard
This secret organization born in Florence
aims to seize the relics that will allow it to
topple the European monarchies and seize
supreme power! Just that. Sylvia d'Este and
Michele di Carma, infiltrated as courtiers of
the Florentine Court, are its agents in Paris.
They are tracking Ursulin to seize the
secrets he holds: they know he is linked to
Sardini and get themselves invited to the
latter's home to learn more. They are aware
that Sardini inherited the artistic and
engineering patrimony left by Leonardo da
Vinci during his time in France and that
Henry III entrusted the old Italian banker to
keep this heritage safe and ready for use,
should the Crown need it. They know this
through indiscretion from Sardini's
entourage in Italy or France. Having learned
through Concini and Leonora Galigaï, whom
they support in the Golem operation, that
Ursulin is no longer in Avignon, they hope
to catch him in Paris, especially when he
comes to reconnect with Concini to inquire
about the rabbi.
If Concini delivers Ursulin to the
Chessboard, he, along with Leonora and
Valentino, can aspire to join the organization
and will be given its recognition signs.
Among these signs are weapons with hollow
and screwable pommels made of mother-of-
pearl (white), ebony (black), or ivory (white)
featuring a chess piece (dagger, rapier,
sword...). Their origin and role in the
campaign will be developed later, but for
now, it's just important to know that
Giorgiona gave Jérôme Bonchamp a white
pawn pommel dagger. She also entrusted
Concini with a black knight pommel rapier
and a black queen effigy pendant to Leonora,
telling them that these serve to signal to the
Chessboard people that they are dealing with
friends and that these emblems will belong
to them definitively once they join the
224
organization: but to do so, they must first
deliver Ursulin...
Sylvia Laura d'Este, known as
Giorgiona
(The names in italics are code names used
within the organization)
She is an intelligent woman in her early
forties. Her godmother is none other than
Anne d'Este, superintendent of Marie de
Médicis, granddaughter of Louis XII, a very
old woman but one of the most important
personalities at the French Court. Thanks to
her godmother's favor, Sylvia will be out of
reach of any action taken against her through
Etiquette (Heroic). Even the King will
struggle to issue a decree against her, as it
will be immediately followed by a request
from Anne d'Este, acting as Louis XII's
granddaughter, to annul or at least soften it.
Michele Roberto di Carma, known as
Raphaelo
He and his companion are the real
henchmen of the Black King in Paris.
Raphaelo is the guardian angel of Giorgiona
and Concini. Cunning, he calculates all his
moves in advance. He is most likely the
right-hand man of the head of the
organization. Like Concini, he sports a rapier
with an ebony pommel depicting a knight
pawn.
The Thistle Knight
(black bishop), known as Loco, Knight
Mistral Salteur de la Serraz, Cousin of
Salustre de Salteur, Lord of Samoens.

Knight is the first of the noble titles.
The eldest son of a baron inherits his
father's title only upon his death, and
this title is necessarily linked to lands.
This is why younger sons of noble
families often pursue ecclesiastical or
military careers, sometimes the only
way to maintain or advance socially.
That's why most gentlemen hold the
title of knight before inheriting their
father's title.
He is the devoted
follower of Raphaello
and Giorgiona,
equivalent to Valentino,
but a level above for
Concini and Leonora.
He will play a significant role in the final
scene of this scenario as he is the "man with
the sinister flower - who - will treacherously
appear." Indeed, Giorgiona, in one way or
another, will eventually trace back to the
Satriani Palace. At worst, this could simply
arise from a meeting between her and the
Satrianis at the Italian Embassy Hotel, at
Sardini's, or at the Court. As soon as their
connection with Ursulin is established and
the existence of the Chiry-Ourscamp Palace
is known, she will send Salteur there to
intercept Ursulin and check if the residence
harbors any hidden artworks or inventions by
Leonardo da Vinci. Once there, our knight
will notice the presence of the Satriani
sisters. If events turn against him, he will
likely decide to kidnap them, whether as a
safety measure or a means to pressure
Ursulin.
A delegation of Knights from the Duchy
of Savoy arrived with the Florentine Court.
Salteur, his cousin Salustre (hereinafter), and
others (see below for some names to use if
needed to create NPCs or perhaps PCs) came
225
to seek glory and fortune in Paris as younger
sons in their families, unable to count on a
prestigious career in Savoy. Only Salteur is
an agent of the Chessboard, a fact of which
none of them are aware. Perhaps one or two
others frequent the Thistle Brotherhood
(Parisian alchemists and esotericists) with
him. He owns a rapier with an ebony
pommel shaped like a black bishop. He
identifies so much with the Thistle
Brotherhood that he has added its emblem to
his coat of arms: he always wears a thistle
flower in his lapel.
Salustre - House of
Salteur – Savoy Heraldry
and Nobility
Gules, a band checky or
and azure of three tiers,
accompanied by two gold (or silver) stars.
Motto: FIDES ET OFFICIUM
Other branches:
Salteur de la Serraz, Salteur La Salle,
Salteur-Balland
Originally from Culoz (Bugey).
Magistrate ennobled in ?. Marquis of
Samoëns (1699), Serraz (1755), counts of
Saint-Pierre-de-Soucy; lords of Châtel de
Culoz, Curtilles, Landaize, Molettes,
Montprovens, La Salle, Villette.
Concini
He is the mastermind of the operations.
His burgeoning authority over his new
companion will emancipate and continue to
strengthen. He will quickly understand who
Ruggieri is and will attempt intimidation to
have free rein over the Court concerning
8 1 2 6 1
occult sciences. His plan is to make the old
astrologer believe he is dealing with a real
mage and that he should capitulate.
Leonora
She lives in a three-room apartment in the
Louvre, just above the Queen's apartments.
Her mother was the Queen's wet nurse. Thus,
they were raised together. She does not share
Concini's opinion about Ruggieri. She
believes there is much to learn from this
cunning old man who is well-established and
knowledgeable in his field. Besides, she
wants to steal his secret (if he has one!), so
she aims to seduce him.
Valentino
A juggler, magician, childhood friend of
Concini but has traveled and lived more than
him. It takes him a day to recruit La Brue,
another to rent 6, Allée des cours, and a week
to contact the carpenter, provide him with the
plans for the table-chest, and receive it. He
introduces himself as "Professor Torino" at
the Louvre Court, but his appearances there
are very brief, and Concini will only bring
him there under this identity in cases of
extreme necessity. He prefers to let
Valentino operate in the shadows...
La Brue
Valentino rescued La Brue from prison
and hired him for the job. Weighing 130 kg
and standing 2.05 meters tall, La Brue is
mute due to a punishment for false testimony
and is also a eunuch. His head is shaved (he
wears a wig during the day), and his face is
smeared with chalk. He also has two fake
screws bolted to his body, giving the
impression of protruding from the flesh, in
the form of a necklace and headband. With
226
some difficulty or a challenging game, one
can learn he's a wrestler in fights organized
in the back room of the Tavern of the Dark
Brew.
Ruggieri Cosimo
Physician and astrologer to Catherine de'
Medici and Henry IV (?-1615)
His story... (Difficult Rumors & Gossip or
Moderate Etiquette)
Implicated in the affair of La Mole and
Coconnas's minions, accomplice to Hercule
d'Alençon (son of Catherine de' Medici).
Ruggieri made a wax doll with a crown and
stabbed it. The doll was found in the
gentlemen's possession, who paid with their
heads for this attempted enchantment. He
was only sentenced to the galleys and rowed
for a few months. Catherine had him released
upon the King's death, and he returned to his
place at the Louvre. In 1598, he faced new
charges of witchcraft against his former
protégé, now the King of France and
Navarre. He was arrested but soon released,
and the king forgave him. From 1604, he
regularly published, until his death in 1615,
highly reputed annual almanacs for their
astrological predictions.
It was for Ruggieri that the Queen Mother
built her observatory column. The Old
Sorcerer's Tower... (in the Hôtel de Soissons)
She had great confidence in his predictions,
to the extent that she changed residences
because in 1572, he foretold she would die
near Saint-Germain. She thus left the
Louvre, near the Saint-Germain de
l'Auxerrois Church, abandoned the Tuileries
she was building, and had a new and
splendid residence built with a magnificent
garden: the Queen's Hotel, later called the
Hôtel de Soissons in the next century.
Catherine died in January 1589 at the
Château de Blois, and the last sacraments
were administered by an unknown young
priest who, when asked his name, replied:
"Madam, my name is Julien de Saint-
Germain."
Observatory Tower
In the scenario...
He knows that any mistake could be fatal
for him. The good King Henry promised him
a stake for any suspicion or any wax doll in
sight. Ruggieri knows he is being brought a
formidable rival (his intuition has never
failed him), but has no idea of its nature. He
will do everything in his power to prevent
this rival from arriving and making a mark at
the Court. Ruggieri is Florentine and is wary
with good reason. He learned that a potential
rival had slipped in among them and could
steal his place at the Court. Later, he
discovers the little game of the lovers and,
upon further investigation, the existence of
the golem. This might be an opportunity for
him, given his advanced age, to recruit a
team of trustworthy men and women to
further his investigations and gather
evidence against his rivals from the
Florentine Court. An ideal entry for a group
227
of PCs, with the only downside being that
Ruggieri is not the most virtuous character...
He will welcome them to the laboratory
connected to his observatory tower...
The Rabbi
This character is Ytsac Loew, a 50-year-
old man who is the son of the Grand Rabbi
of Prague, Juda Loew. His only understood
language is Hebrew. His equipment includes
a seven-branched candelabrum, the Talmud,
and the Zohar. Ytsac is an Initiate and is
using his escape to ensure the proper
establishment of structures desired by the
Esoteric Hierarchy (also known as Invisible
Masters), which is a secret plan to ensure the
victory of the forces of good over evil in the
world. He knows the formula for
creating/destroying the Golem: EMET. He
could easily hypnotize La Brue and subject
him to his will, but he waits for the right
moment.
Ursulin
Ursulin is essentially the key to the whole
story. A simple master journeyman carpenter
residing on the banks of the Seine at the
Carpenters' Guild. The guilds maintain
common houses where any member can stay
as long as they wish, participating in
collective activities and city projects. Ursulin
is also one of the leaders of a broader esoteric
brotherhood of good-hearted scholars
forming a network across Europe: the
Rosicrucians. He has a Renowned Talent of
15, which rises to 18 among initiates (5 cases
in reputation). Originally from Avignon, he
travels at least twice a year for the
brotherhood's affairs, visiting cities like
London, Hamburg, Amsterdam, St.
Petersburg, Rome, Seville, etc. His status as
a master carpenter opens doors for him at
10 3 4 2 3
local guilds. He was part of a team that
designed and built the Chiry-Ourscamp
Palace. Amanda and Lucia's father agreed
with Ursulin to have a secret room within the
palace's foundations, owned by His Majesty
Henry III, not knowing its contents or
location. Satriani, though initiated into
alchemy and a Rosicrucian, is more of a
sympathizer than a convicted member but
greatly admires Ursulin, even making him
the godfather of his two daughters.
Sardini
He met Ursulin while the latter was a
foreman building one of his homes. They
quickly bonded, with Sardini appreciating
Ursulin's humility and erudition (qualities he
lacks). Sardini, shrewdly suspecting
Ursulin's affiliation with a somewhat
dubious fraternity, overlooks his parallel
activities to carpentry due to fear of higher
guild fees. Realizing Ursulin, although rarely
in the capital, was trustworthy, he was the
first choice when King Henry III wanted to
safeguard Leonardo da Vinci's legacy.
Scipion knows the treasure is in the
Palace and that the "key" (a parchment
explaining the operation in the final scene)
was entrusted to the King, who logically
must have ensured its passage to his
successor. Happy to have resolved this tricky
issue, today he only remembers it if
reminded.
The Brotherhood of the Thistle
This is a secret society of alchemists and
charlatans, political intriguers, fanatical or
not. More than half of their ranks are
infiltrated by people from various factions
and interests (curious, papists, Huguenots,
foreign powers).
228
Philosophy: Knowledge should be shared
by all. It's necessary to fight the Synarchy, a
myth concerning the occult government of
the world by a secret society. Emblem,
Symbol, Reference: the thistle, "The Prince"
by Machiavelli.
Recognition Signs:
- "The day decreases, the night increases,
remember." One initiates part of the phrase,
the respondent must complete it logically.
- "The Prince has summoned his lackeys
to the scholars' valley." A call for assembly
at the headquarters.
Recruitment: Selected based on what the
individual can bring to the brotherhood,
especially if they can open new horizons
with their knowledge. Upon contributing
significant insights, they are offered
initiation.
Meeting Places: Every Friday to Saturday
night, weekly, in a textile warehouse next to
the Jardin des Plantes. About fifteen people
work around an athanor and a library.
Membership: About thirty in Paris, a
hundred in France, and a few sympathizers
throughout Europe.
Hierarchy: Daisy Tellers (apprentices),
Fair Lovers of the Rose (companions), The
Elders or Thistles (masters).
Leaders: "The Prince," Charles, Count of
Jumendon. A young, idealistic alchemist
who is starting to lose control over his
creation.
Ursulin, who has associated with them,
commented on their rituals and traditions,
and then performed one or two miracles.
This was enough to ignite a spark and draw
the ire of The Prince. The Thistle brothers
follow him under the pretext of uncovering
the plans of the Synarchy, but most, being
less evolved, mainly covet the secrets of the
great initiates. The problem is that Ursulin
truly believes he has a mission for the S.I.
(Invisible Superiors) - past masters of
esoteric fraternities who continue to assist
the world from beyond in achieving the
"Greater Light."
 Some members include:
- Baron d'Arbois, Rue aux fers, who
exchanged books with Aurélien.
- Baron d'Espouasses.
- Salustre and his cousin Salteur de la
Serraz.
The Teutonic Mercenaries
These men are employed, for a hefty
price, by Rudolf II (the Holy Roman
Emperor from 1576 to 1612, known for his
pronounced taste for the occult arts), to bring
the Rabbi back to Prague.
They managed to track him to the Alps,
where he evaded them. In Avignon, a
member of the Brotherhood of the Thistle
put them back on the trail of the Hebrew
priest. He has arranged to meet them in Paris
at the inn of "The Yellow Tinder."
This person does not consider them
dangerous and plans to rid himself of them
when the time comes. Randolf, the Captain
of the Guard, devoted and loyal, ensures the
persistence of the hunt. Granulf, Gutrud,
Weber are less scrupulous but generally do
their job well. One of them owns a "coded
manual to find the dwarves' gold," purchased
from a peddler in Bavaria.
If the character performing the test
has a Skill directly related to the action
being taken, consider that results of
double EVENS also count as an
additional success.
Furthermore, if a Talent also assists
in the action, double ODDS also
become successes. For example, with
skill + talent: On a 3d6 roll, a result of
1, 1, 6, then constitutes 2 successes.
229
Optional Rule
Regarding Attribute Tests
There are no planned tests for
attributes, as all rolls should be made
in skills and abilities.
However, there may be a need for
occasional tests of Perception,
Strength, or Endurance. Will the Pjs
notice a detail in the setting?
Remember a detail (Memory) or solve
a complex puzzle (Mind)?
To maintain balance with other rolls
in the game system, these tests should
be more difficult to perform and
should not be compared on the
universal resolution table,
emphasizing the character's risk-
taking. Therefore, the roll is almost
like for Initiative:
1 to 4 six-sided dice (d6) under the
tested attribute. The player chooses the
number of d6 to roll when the Mask
asks. Thus, if they exceed their
attribute score, they fail.
Results of 6 per die are counted as a
"success". Example: With a Perception
of 13, the player chooses to roll 2d6,
resulting in a 2 and a 6. They therefore
achieve a success and see what there is
to see.
This allows the Mask to refine their
descriptions and differentiate between
several players making the same test
simultaneously, with 1 to 3 levels of
success, depending on the tests
requested:
1 success is normal
2 successes are remarkable
3 successes are exceptional
With 2 successes, a test score of at
least 12 and up to 18 is displayed, with
3 successes.
11 4 5 3 4
 Visited Locations, Maps, and
Plans
Florentine Court Embassy Hotel.
A Botticelli in the entrance hall sets the
tone. Across three floors, different embassy
offices and apartments, ranging from modest
to luxurious for dignitaries, intermingle. The
ground floor is almost entirely taken up by a
ballroom that also serves as a diplomatic
audience hall. Two Swiss guards with
halberds stand on the porch, day and night.
The servants reside in an adjoining building.
Important Note About Italy
It should be noted that Italy did not exist
as a constituted country until the modern
era.
230
The Court of Swords
It runs along Rue aux fers, opposite the
Cemetery of the Holy Innocents.
Roof view downloadable here
https://ouvaton.link/Wc16BC) as a floor
plan for 25- or 15-mm figures and tokens.
The building starts at g15, goes up to the
tip of v15, then up to the tip of v1, and back
to g1. The entrance facing the street is at d7,
8, 9.
For the sake of simplification in
gameplay and by convention, we use the
terms "Italy" and "Italians" in the game and
its supplements. However, during the time
of "The Mask and the Sword," Italy was
made up of a multitude of free cities,
republics, and small states that were
perpetually at war or had ever-changing
geographical boundaries.
 Ground Floor View

Downloadable here
s14: Cook's room
(https://ouvaton.link/z55WDC)
n14: Laundry and communal
as a floor plan for 25mm or
bathroom
15mm figurines and tokens.
h14: Apartment
c11: Room of a small
f2: Room of a groom or a
craftsman
noble's lackey in l2.
l2: Apartment of a baron or
gentleman. Possibly a player
character (PC).
s10: Communal kitchen

12 5 6 4 5

231
First Floor View

Downloadable here
(https://ouvaton.link/rmMFRU)
as a floor plan for 25mm or
15mm figurines and tokens.
t6: A hidden door leading to a
small storage space.
t7: Secret passage, blocked by
a wardrobe.
f2: Student room of Jérôme
Bonchamp with the astronomical
telescope in front of the window.

232
 View of the Satriani Palace

at Chiry-Ourscamp (Oise)

and its surroundings

The small paved entrance

courtyard opens onto the six
sections of the palace, which are
announced in the front with
Roman numerals engraved in
stone, in the form of medallions,
just under the roof (allows
verification of the theory of the
"sixth part of the
circumference").

13 6 1 5 6

233
 Interior View l11: living room

J15: Statue of the Virgin Mary g13: private dining room

on a 1-meter high pedestal. v10 and y10: formal dining
F14: Count's bedroom room

g19: Amanda and Lucia's A22: chapel

bedroom F21: sculpture and drawing
e19: library room

q5: servants' quarters J19: game room

l11: ballroom Q14, Q18, Q21: guest

bedrooms
u1 to z6: kitchens
O21: guest dining room
v16 and z16: hall

d2: bathroom

f3: latrines

234

Chronology
Real historical events have been included
in this timeline to provide additional
interaction ideas for the scenario.
Summer 1600:
Prague - Rabbi's escape; the pack is on his
trail.
to marry him, will engage in a failed
conspiracy (1604).
Conference of Fontainebleau:
Debate between the bishop of Évreux,
Jacques Du Perron, a converted Calvinist,
and the Protestant Philippe Duplessis-
Mornay.
December 17: Marriage of Henri IV of
France and Marie de Medici in Lyon.

Autumn 1600: Florence. Science and Technology:

February 4: First meeting between Tycho
Winter 1600:
Brahe and Johannes Kepler at Benatek
Avignon - Consino-Leonora's wedding;
Castle. Kepler becomes assistant to the
meeting with Ursulin.
Danish astronomer Tycho Brahe at his
Paris:
observatory near Prague.
February 17: Giordano Bruno is executed
Apollonius Gallus by Viète.
in Rome.
William Gilbert publishes his "Treatise
February 27: Treaty of Paris with Charles
on Magnetism."
Emmanuel I of Savoy.
"Theatre of Agriculture and Farming" by
March: Edict on the taille tax.
Olivier de Serres.
Arrest of La Fontenelle on Bréhat Island
"Oeconomia Ruralis et Domestica," a
by the Parliament of Brittany's order. He will
treatise on agronomy edited by Coler in
be pardoned by the king in July 1601.
Germany.
August 11: France declares war on Savoy.
"Ornithologiae tomus alter" by Ulisse
French expedition to Chambéry; Siege of
Aldrovandi.
Nice by Henri IV.
Europe: December 18 - Floods in Venice.
August 23: Edict of Nantes registered by
the parliaments of Rennes and Aix-en-
Winter 1601:
Provence. It's a tolerance edict signed in
Period of warm springs and summers
April 1598 by Henri IV, granting religious
from 1601 to 1616.
freedom to Protestants within certain limits
Plague across Europe.
and conceding two main "warrants": a
Kepler (1571-1630) succeeds Tycho
significant number of safe places and an
Brahe (1546-1601) as imperial
annual indemnity paid by the royal finances.
mathematician and astronomer at the court of
September 23: Vincent de Paul is
Emperor Rudolf II in Prague.
ordained a priest.
January 17: Treaty of Lyon with Charles-
October: Emperor Rudolf II suffers from
Emmanuel I of Savoy, negotiated by
depression (1600-1606). He worries about
diplomat Pierre Jeannin: Lyon is secured
his mercenaries tasked with finding the
against Savoy incursions; France acquires
Rabbi.
Bresse, Bugey, Valromey, and Pays de Gex,
October 5: Proxy marriage of Henri IV of
integrated into Burgundy. Savoy acquires the
France to Marie de Medici in Florence. The
Marquisate of Saluzzo. Nice remains
king seeks closer ties with the Pope. His
Savoyard. French pr omise Savoy the
mistress Henriette d'Entragues, who wanted
14 1 2 6 1

235
Spanish Milanese and guarantee Geneva's
independence.
April: Manufacture des Gobelins opens in
Paris.
May: Protests in the provinces against
new taxes.
August 25: Establishment of a new
chamber of justice.
French military intervention to deter the
Spanish besieging Ostend held by the Dutch.
June: Edict of Fontainebleau on mines
and mining.
Edict regulating artillery in France (royal
monopoly on the production and use of
gunpowder)
Removal of Parisian waste by carts under
the general lease of 1601.
Olivier de Serres (1539-1619) writes his
Agricultural Treatise and, with Laffemas,
unsuccessfully attempts to acclimatize the
mulberry tree in Île-de-France. Jean Robin
(1550-1629), French botanist and royal
gardener, introduces the acacia to France.
The tree, now in Square René Viviani, is Paris - Plan of the exteriors of the
reputed to be Paris's oldest tree. Louvre and the Manege (Grande Ecurie)
Brazilian sugar exports reach 750,000 where Flavia works :
arrobes (1 arrobe = 14 kg).
Creation of the French East India
Company.

December:
1st week - Arrival and
setup of the Golem
operation.
1st week -
Demonstration and sale of
Golem services.
January: - Blackmail
and extortion.
- Ursulin arrives and
wants to recover his Rabbi.
- Ursulin needs to
deliver an inheritance to the
Satriani family.
February: - Amanda and
Lucia Satriani are
kidnapped.

236
 Ageing of Characters Bibliography
In the Old Regime society, marked - "Les Foulards rouges" – Frédéric H.
inequality is evident, particularly in life Fajardie
expectancy. This table offers attribute - "The Three Musketeers" - Dumas
maluses based on the current social class of - "Twenty Years After" - Dumas
the character. This table is quite generous, - "The Spinoza Clan", Mathieu Roevere
and depending on the atmosphere you want - "Perfume", Suskind
for your campaign, you can make it stricter. - "Murders at the Potager du Roy",
For the lowest social classes, life expectancy Michèle Barrière
was only about 25 years. In a campaign - "Don Quixote": for the Battle of
where characters age, the maluses are not Lepanto, Cervantes captive to the Barbary
cumulative. Apply only the malus indicated pirates.
for the character's age bracket relative to
their initial score. Filmography
- "Barry Lyndon"
A character whose Movement and/or - "Dangerous Liaisons"
Vigor attributes fall to 1 or 2 is considered - "Amadeus"
dying. - "All the Mornings of the World" ("Tous
les matins du monde")
At 1 or 2 in Sense, they are considered - "Ridicule"
blind or deaf. - "Delusions of Grandeur" ("La Folie des
Grandeurs")

Comics
- "The Seven Lives of the Sparrowhawk"
("Les Sept vies de l’Epervier")
- "The Treacherous Indies" ("Les Indes
fourbes")
- "Of Cape and Fangs" ("De Cape et de
Crocs")

Discography
- "Le Pelot d’Hennbont"
- "Le Roi a fait battre tambour"
- "La Conduite" - Malicorne
- "Guerre Guerre, vente vent" - Tri Yann

15 2 3 1 2
237
 Age-Related Attribute Malus Table
Age Range
13-25 years 26-35 years 36-45 years 46-55 years 56-65 years 66+ years
Social Class
- 3 in Vig - 9 in Vig
Pauper – Serf - -1 in Vig
No modifier - 3 in Sens - 5 in Sens Natural Death Na
Beggar +1 in Willpower
- 3 in Mov - 9 in Mov
- 6 in Vig - 9 in Vig
-2 in Vig
Worker - Domestic + 1 in Disp No modifier - 4 in Sens - 5 in Sens Natural Death
-2 in Mov
- 6 in Mov - 9 in Mov
- 6 in Vig - 9 in Vig
-2 in Vig
Farmer - Craftsman No modifier + 1 in Vig - 4 in Sens - 5 in Sens Natural Death
-2 in Mov
- 6 in Mov - 9 in Mov
- 3 in Vig - 6 in Vig - 9 in Vig
-1 in Vig
Petty Bourgeoisie No modifier No modifier - 2 in Sens - 4 in Sens - 5 in Sens
-1 in Mov
- 3 in Mov - 6 in Mov - 9 in Mov
- 2 in Vig - 6 in Vig - 9 in Vig
-1 in Vig
Grand Bourgeoisie No modifier No modifier - 2 in Sens - 4 in Sens - 5 in Sens
-1 in Mov
- 2 in Mov - 6 in Mov - 9 in Mov
- 2 in Vig - 5 in Vig - 7 in Vig
Rob Nobless - 1 in Disp No modifier No modifier - 2 in Sens - 3 in Sens - 5 in Sens
- 2 in Mov - 5 in Mov - 7 in Mov
- 2 in Vig - 5 in Vig - 7 in Vig
Sword Nobless No modifier No modifier No modifier - 2in Sens - 3 in Sens - 5 in Sens
- 2 in Mov - 5 in Mov - 7 in Mov
- 2 in Vig ; - 2 - 4 in Vig ; - 4 - 6 in Vig : -
Court Nobless -1 in Disp No modifier No modifier in Sens ; in Sens ; 5 in Sens ;
- 2 in Mov - 4 in Mov - 6 in Mov

Le Capitan

238
Blank Character Sheet

Blank Character Sheet to download : PDF https://bit.ly/41JH515 – ODT http://bit.ly/3H0CIoP

239
 A Dedicated 2D Metaverse

Gather Town is a web-based spatial video

conferencing app that allows you to connect
for free via a simple browser or smartphone.
It features most of the locations from the
introduction scenario in the form of floor
plans and a large, color map of Paris where
you can wander around with multiple
avatars, while seeing each other in video
conference...

The connection link is:

https://ouvaton.link/C2ZE8p

A brief introduction video:

https://youtu.be/YQDf0IJPbU8

and the recording of a game session in this

metaverse during a virtual convention:
https://youtu.be/DS5kR7kyVTY

You can use the spaces as a game master,

just as you would with any Virtual Table Top
(VTT).

Le Masque et l’Epée is also present on Metavers Architect:

Facebook through its Page: www.vanhille.fr
https://www.facebook.com/profile.php?id=
100063661236136

And its Group:

https://www.facebook.com/groups/9619431
8785

240
Of the same author

https://www.amazon.com/dp
/B0CPWD24FZ

16 3 4 2 3

241