Full download ebooks at https://ebookmeta.

com

7th Sea Second Wave Cities of Faith and Wonder

2nd Edition John Wick

For dowload this book click link below

https://ebookmeta.com/product/7th-sea-second-wave-cities-of-
faith-and-wonder-2nd-edition-john-wick/

OR CLICK BUTTON

DOWLOAD NOW
More products digital (pdf, epub, mobi) instant
download maybe you interests ...

Fixing Broken Cities 2nd Edition John Kromer

https://ebookmeta.com/product/fixing-broken-cities-2nd-edition-
john-kromer/

The Guest House by the Sea 1st Edition Faith Hogan

https://ebookmeta.com/product/the-guest-house-by-the-sea-1st-
edition-faith-hogan/

Radio Wave Propagation Fundamentals, Second Edition

Artem Saakian

https://ebookmeta.com/product/radio-wave-propagation-
fundamentals-second-edition-artem-saakian/

Microbial Diversity in Honeybees 1st Edition Wick

Charles Wick David

https://ebookmeta.com/product/microbial-diversity-in-
honeybees-1st-edition-wick-charles-wick-david/
Wonder and Education On the Educational Importance of
Contemplative Wonder 1st Edition Anders Schinkel

https://ebookmeta.com/product/wonder-and-education-on-the-
educational-importance-of-contemplative-wonder-1st-edition-
anders-schinkel/

Cartner on the International Law of the Shipmaster; On

the New Command at Sea; Second Edition John A C Cartner

https://ebookmeta.com/product/cartner-on-the-international-law-
of-the-shipmaster-on-the-new-command-at-sea-second-edition-john-
a-c-cartner/

Battle of Leyte Gulf The Largest Sea Battle of the

Second World War Images of War First Published Edition
John Grehan Alexander Nicoll

https://ebookmeta.com/product/battle-of-leyte-gulf-the-largest-
sea-battle-of-the-second-world-war-images-of-war-first-published-
edition-john-grehan-alexander-nicoll/

Foundations of Marketing 7th Edition John Fahy

https://ebookmeta.com/product/foundations-of-marketing-7th-
edition-john-fahy/

Cities and Cinema 2nd Edition Barbara Mennel

https://ebookmeta.com/product/cities-and-cinema-2nd-edition-
barbara-mennel/
 ®

Line Editor 7TH SEA: CITIES OF FAITH AND WONDER ©

2022 MOON DESIGN PUBLICATIONS LLC. ALL
JOHN WICK
RIGHTS RESERVED.
System Lead CHAOSIUM INC. AND THE CHAOSIUM
LOGO ARE REGISTERED TRADEMARKS OF
MICHAEL CURRY CHAOSIUM INC.
Based on a System by 7TH SEA IS A REGISTERED TRADEMARK OF
MOON DESIGN PUBLICATIONS LLC.
MIKE CURRY, ROB JUSTICE, and JOHN WICK
7TH SEA © 1999–2022 MOON DESIGN
PUBLICATIONS LLC. ALL RIGHTS RESERVED.
Mechanics by
NAMES, CHARACTERS, PLACES, AND
BRETT ZEILER
INCIDENTS FEATURED IN THIS WORK
ARE THE RESULT OF AN AUTHOR’S
Writing By IMAGINATION OR ARE USED FICTITIOUSLY.
ELIZABETH CHAIPRADITKUL (NIEUWEHOOP) ANY RESEMBLANCE TO ACTUAL PERSONS
MICHAEL CURRY (CITY BUILDING SYSTEM) LIVING OR DEAD, EVENTS, INSTITUTIONS,
OR LOCALES IS COINCIDENTAL.
JESSE HEINING, JONAYA KEMPER, ANDRÉ LA
ROCHE, KATHERINE BANKSON (VATICINE CITY) THIS MATERIAL IS PROTECTED UNDER THE
JAMES MENDEZ HODES (ISKANDAR) COPYRIGHT LAWS OF THE UNITED STATES
OF AMERICA. REPRODUCTION OF THIS
ANDREW PEREGRINE (CARLEON)
WORK BY ANY MEANS WITHOUT WRITTEN
TAMARA TRAINOR (PAIX) PERMISSION OF CHAOSIUM INC. AND MOON
ALAN BAHR (PORT CENDRES) DESIGN PUBLICATIONS LLC, EXCEPT FOR
JOHN WICK (CITY BUILDING SYSTEM) THE USE OF SHORT EXCERPTS FOR THE
PURPOSE OF REVIEWS AND THE COPYING
Art Direction OF CHARACTER SHEETS AND HANDOUTS
FOR IN-GAME USE, IS EXPRESSLY
ALIDA SAXON AND AARON ACEVEDO PROHIBITED.

Art By
BAD MOON ART STUDIO, VON CABERTE,
TYLER CLARK, DONALD CRANK, BIEN FLORES,
EMILIEN FRANCOIS, BASITH IBRAHIM, JEFF
KRISTIAN, MIRCO PAGANESSI, MAURICIO
CABALLERO PEZA, RICCARDO RULLO, ALIDA
SAXON, VINCENSO SIRIANNI, DIMITAR
SPASOV, JON TAYLOR, MATEUSZ WILMA,
WACLAW WYSOCKI

Graphic Design and Layout

ROBERT DENTON III

Edited by
DALE DONOVAN

1
Credits Page
2
 Foreward
by John Wick
I have always wanted to visit Venice. I have read books about the history of the city, seen movies
filmed on its streets, looked at photographs, but that was not enough. I wanted to feel the stones
under my feet, look up at the buildings and get lost in its twisting streets. When I finally got the
opportunity (thanks to my very generous Italian friends), the experience was more than I expected.
My partner Jessica and I did not use any map to explore, but instead, navigated via the Pokémon
Go app on our phones. We had no destination in mind, we just followed the game, spinning
Pokéstops, collecting little critters as we went. We walked through parts of the city we would have
never seen if we followed any tourist map, got lost in the center of the city, then found our way
back using virtual landmarks. It was the perfect way to explore Venice—just following invisible
navigation, discovering the city’s hidden wonders.
Whenever I travel, I love wandering around foreign cities. And yes, traveling around the United
States counts. The cities of my current home—Arizona—are not the same as the cities of Boston,
Texas, California or Utah. Each of them has its own character, its own wonders to discover. But you
have to be willing to wander.
The cities presented in this book are full of wonders. When I first set out to bring it to fruition,
I wanted a different voice for each of them, ensuring they would have their own character. I also
wanted to provide GMs and players a tool to help them make their own cities. And that’s the book
you have in your hands now.
Two of the cities—Vaticine City and Iskandar—are deep dives into two of the most important
cities of faith in Théah. They are the most “traditional” in approach when it comes to presenting
cities in a roleplaying game. But the four others are cut from a different cloth.
Mike Curry was kind enough to provide you (and me) with a City -Building System that presents
a list of choices that help you construct your own cities. After that, we have four cities—from four
different authors—using that system as examples of what you can make using that system. I asked
the writers to “show their work,” to give you a kind of look behind the creative process. So, when you
take a peek at Carleon, Port Cendres, Nieuwehoop and Paix, you’ll see not only four new cities for
you to explore, but also the decisions each writer made when they created their cities.
Use their example and start making your own. Then, go ahead and post your city up on the
Explorer’s Society on DrivethruRPG (link below). Share what you discovered about Théah with
others. I look forward to walking down your city’s streets.
John Wick, September 2, 2020
Explorer’s Society: https://www.drivethrurpg.com/cc/8/Explorers-Society

3
Foreward
 Table of Contents
Vaticine City 6 Iskandar 76
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Foundations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 How to Use This Chapter. . . . . . . . . . . . . . . . . . . . . . . . . . 77
Adventure in a City of Faith . . . . . . . . . . . . . . . . . . . . . . . 9 Foundations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Navigating the City. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Influential Personages. . . . . . . . . . . . . . . . . . . . . 84
Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Ibn Guran, the Silent Song . . . . . . . . . . . . . . . . . . . . . . . . 84
Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Ali ben Izar, the Thieves’ Guildmaster. . . . . . . . . . . . . 86
Influential Personages. . . . . . . . . . . . . . . . . . . . . 19 Hediyeh, the Lost Angel, Angel of Peace and Love ������87
High Inquisitor Enrique Cortarini. . . . . . . . . . . . . . . . . 20 Eylül al-Nur, Sovereign of the Unseen. . . . . . . . . . . . . 88
Senior Archivist Ramon Alonzo . . . . . . . . . . . . . . . . . . . 22 Sehdi Reis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Esteban De Tierra, Captive Sorcerer. . . . . . . . . . . . . . . 23 Lord-Commissioner Cenk Cihanzadeh. . . . . . . . . . . . . . 91
Ursula Del Rio, Senior Knight of the Rose & Cross ������25 Fatima al-Nasi, Queen of the Ruined City. . . . . . . . . . 92
Lucia Del Sur, Captain of the Solomons. . . . . . . . . . . . 27 Serkhan ibn Hamad, the Bloody Doctor. . . . . . . . . . . . 94
Angela Del Sur, Noted Artist . . . . . . . . . . . . . . . . . . . . . 29 Mustafa Jezuraddin, Captain of the City Watch ����� 95
Vito, Master Merchant & Foreign Trader. . . . . . . . . . 31 Naaman of the Kurtanoglu, the Wolf of the Morning �������97
Thom, King of the Black Market . . . . . . . . . . . . . . . . . . 32 City Regions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
“Duke Juan,” Would-be King of the Underworld ������� 34 Latin Liman, the Golden Harbor of Iskandar. . . . . . 98
Cardinal Catalina Del Mont, The Pacifist. . . . . . . . . 36 The Grand Bazaar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Secret Societies & Conspiracies. . . . . . . . . . . . . 38 The Zurkhaneh Birlik. . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Conspiracies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 The Illustrious Houses of Many Sciences. . . . . . . . . . 107
Forbidden Knowledge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 The Tulip Gardens of Merevan . . . . . . . . . . . . . . . . . . . 110
Secrets & Relics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 The Ayaecclesia. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
The Vault Guardians. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 The Temple of Hymn and its Daxdana. . . . . . . . . . . . . 116
Relics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Susan Metena Camii, the Great Mosque of Iskandar �������118
The Vaticine Recovery Team . . . . . . . . . . . . . . . . . . . . . . . 61 Embassy of the 8th Sea. . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Speaker of the Rites. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Embassy of the Vaticine City. . . . . . . . . . . . . . . . . . . . . . 124
The Secret Police Headquarters. . . . . . . . . . . . . . . . . . 126
So You Want a Vaticine Story. . . . . . . . . . . . . . . 69
Thieves’ Guild. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
The Ruined City. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Faith in Théah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
I Tre Soldati . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
So You Want an Iskandari Story. . . . . . . . . . . 133

4
Table of Contents
City Building for the 7th Sea Game 137
La Colina Del Albañil (Mason’s Hill). . . . . . 142

Carleon 145
What Makes the City Different? . . . . . . . . . . 146
Districts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Landmarks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Secret Societies. . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Villains. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Power Brokers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Port Cendres 161

Three Descriptors. . . . . . . . . . . . . . . . . . . . . . . . . 162
City Name. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
What is the City’s Biggest Problem?. . . . . . . . 163
What Makes the City Different? . . . . . . . . . . 164
Districts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Landmarks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Secret Societies. . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Villains. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Power Brokers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Nieuwehoop 181
Reformed Objectivism. . . . . . . . . . . . . . . . . . . . . . 183
Districts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Landmarks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Secret Societies. . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Power Brokers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Paix 199
Districts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
Landmarks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Secret Societies. . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Villains. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Beyond Paix: The Province of Surlign. . . . . . 211

5
Table of Contents 5
Vaticine City
 Introduction

T
he soaring arches and vibrant Situated as it is upon the edge of Castille,
murals that dominate the skyline of not far from the rival power of Vodacce that
Vaticine City all serve the purpose of once housed the Church, Vaticine City is also
showcasing humanity’s achievements a site for diplomats and noble assignations. As
in pursuing the Riddle of Theus. By fostering an ostensibly neutral state, political scheming
beautiful architecture, the Vaticine Church of the can take place outside of courts dominated by
Prophets encourages the study of mathematics, various national interests. It is not uncommon
engineering and design aesthetic. By creating a to see visitors from noble families striding
city laid out to be functional, inspirational and through the streets and gardens, ostensibly
pleasing, the Church creates a home that fosters taking in the artistic and cultural sights of the
amity and neighborliness. The construction of city but in truth making secret arrangements for
Vaticine City serves to make a metaphorical diplomatic or personal reasons.
home for Theus to please the Creator, enrich So why did you come to Vaticine City? You
the mind and deepen the soul of humanity. came here because you need to meet with
They hope to create a functional city that serves the elite of the Vaticine Church. Or perhaps
as inspiration to all the other cities of the world. because it is also the capital of united Castille
Ideal designs and practical conditions collide, and the center of Good King Sandoval’s court.
of course; while the Church intended for Maybe you came here following a story about
Vaticine City to be a functional city that a powerful relic hidden in the Church’s secret
elevates its denizens, the people who occupy vaults…or perhaps you seek to work your steel
the city follow their own needs and desires. The against fencers of all kinds, so you have come to
city has no shortage of all the vices and flaws put the Church’s most elite guards to the test.
common to human habitation around Théah. You might be here for a diplomatic conference
Cathedrals may dominate the skyline, but one between delegates from the Church, from far-off
need not walk far beyond the soaring architecture Iskandar or the Théan colony of Quamontaigne,
to reach the coaching inns, docks and warehouses working to thread the treacherous tapestry of
that host the city’s needs, both licit and illicit. conspiracy while each group argues for its vision
Vaticine City hosts the most devout and of divinity. Perhaps you came here for secret
learned among the Church and also the most and forbidden knowledge in a library not far
ruthless. True believers fill the pews, and from the Hierophantic Basilica or to rescue a
the scent of power attracts those seeking to comrade from the dungeons of the Inquisition.
command them with Vaticine authority. The All that can be said for certain is that for a city of
libraries of the city hold copies of books from the devout, there is more than enough to keep a
antiquity, stretching back to the Numanari Hero busy!
Empire and beyond and carefully preserved by
the Church’s clerics, but the Inquisition has no
use for such distractions and instead maintains
the dungeons that hold heretics whose souls
will be delivered to Theus by mortification.

7
Introduction 7th Sea | Vaticine City
 How to Use This Chapter you antagonists who work against your Heroes’
goals, or your Heroes might strive to become
This chapter details a set of hooks and characters members. You could even build an entire story
to help motivate a Hero in her adventures. You around Heroes who are all members of one of
will find descriptions of some of the places in these groups, navigating the treacherous waters
and around Vaticine City in here, but the focus of Vaticine City and the orthodox factions that
is on what kinds of adventures Heroes have in might oppose them.
this city. To that end, we have provided you with
a selection of important people—both members Section Four: Relics & Secrets
of the Church and otherwise—and of the kinds
Vaticine City harbors books, relics and strange
of power groups and hidden secrets to make
artifacts from earlier ages. Some have religious
interesting stories. Many of these descriptions
significance, while others may come from
also include information about the places to find
Syrneth roots, could be sorcerous devices or
those interesting stories, so you can set the stage
may simply be texts that hold ideas too heretical
for your Heroes’ adventures within the unique
to be released to the world but too important
architecture of Vaticine City.
to be destroyed. Any of these items could be a
quest for a Hero to recover, or the Hero might
Introduction find herself working for a Vaticine archivist to
You are here! This section gives you a very quick bring other items of ill fortune so that they can
overview of the chapter, a small glossary and a be safely held in the vaults below.
few reasons to use Vaticine City as a destination
in your game. Speakers of the Rite
A highly secretive sect within the Vaticine, priests
Section One: Foundations and devotees who wield the power of Theus
The roots of any city run deep, and here’s where directly, shaping the world to better reflect His
we’ll explore the city’s origins. perfect vision. Here you will find information
on the Speakers and their small but powerful
Section Two: organization, as well as rules on how to play one
of these righteous souls as a Hero in your game.
Influential Personalities
We start with a selection of people that your Section Five:
Heroes may encounter when visiting Vaticine
City and its environs. Each of these characters
So You Want a Vaticine Story
has a selection of Story Hooks to describe how If you are still not sure how to run a story that
Heroes might interact with them and to give you uses Vaticine City, here are a few helpful ideas
ideas for your own Stories. Each character has and hooks!
a position that could require the services of the
Heroes or could pit your Heroes against them. Section Six: Systems
If you want to play a trained Duelist from one
Section Three: of the Church’s exclusive schools, a bishop with
Conspiracies & Cabals Church authority or a student of the Church’s
hidden secrets, you will find new game systems
The Vaticine Church has its share of here. These rules help to flesh out Vaticine
sub-organizations and heresies, and many of characters and provide even more hooks for
them have offices that stretch all the way to the religious Heroes who have connections to
highest halls of power. These groups can give Vaticine City.

8
Introduction 7th Sea | Vaticine City
 Section One
Foundations

I
n antiquity, the Vaticine Church had the city with their devotion. Even after the
its home in Numa. With the fall of Prophet’s eventual death, the Vaticine Church
that empire, the Church remained remained in its new home. In the hundreds of
a sovereign and powerful city-state intervening years, the Church worked hand-
for a thousand years, carefully threading between in-hand with the Castillians to develop the
the interests of the Vodacce families who rose city from a nominal port town into a majestic
to absorb the power vacuum that formed after monument to Theus.
Numa’s collapse. The support of the Church’s When Good King Sandoval unified Castille,
center of power and the Hierophant’s home Vaticine City and its environs became the new
provided a source of considerable pride for the capital city of the country.
people of the Vodacce peninsula, who pointed to
the buildings and gardens of that city-state as an
example of the elevated arts of their people and Adventure in
their special connection to Theus.
a City of Faith
In the thirteenth century, the Third Prophet
For three hundred years after its establishment,
declared Castille the new home of the Vaticine
Vaticine City carefully walked the fine line
Church. This led to the Moonshadow
between being an influential world power and
War, a massive struggle in which the Third
remaining a neutral party that played host to all
Prophet worked to unify the Church under
the nations of Théah but (ostensibly) favored
his leadership and to project his force from
none. This position fractured with the War of
his island of exile. The location of the Third
the Cross starting in 1618 AV. The struggle to
Prophet’s exile proved to be a boon for him,
contain Objectionism forced the Church to wade
as at the time Castille was a badly fractured
more deeply into diplomatic waters. Instead of
country, riven by regional differences. Individual
simply collecting tithes and gifts from assorted
dons vied for the aid and support of the
noble patrons, the War forced the cardinals and
Prophet’s Church, allowing him to cement a
Hierophant to argue for the supremacy of the
wide range of alliances and thus to concentrate
Vaticine Church. Important kings and influential
his efforts abroad, rather than engaging in petty
nobles were invited to the City to receive
wars with each Castillian province.
blessings or warnings in exchange for promises of
Of course, the reconstruction of Vaticine City support against the Objectionist threat.
took decades—building a cathedral was and still
The War of the Cross concluded in a
is a generational undertaking. Still, many of the
stalemate in 1648 AV, leaving the Nation of
offices, gardens, libraries and residences went up
Eisen in ruins and the power of the Church
quickly around the estate while the Hierophantic
seriously challenged. The result was that
Basilica became the central hub of the city.
Vaticine City had to open its doors to a flood
The prosperity of Vaticine City and its of ambassadors, patrons and favor-seekers. The
development as the new international hub of internal struggles between cardinals became
the Vaticine Church deeply wounded Vodacce complicated with a web of external influences.
pride, but the Castillians continued to foster

9
Section One: Foundations 7th Sea | Vaticine City
 In the current day, Vaticine City, a center of Rather, focus on extraordinary places where
political and religious power, carefully straddles your Heroes will have memorable encounters.
the demands of the Castillian government in The mundane spaces in between, or the places
conjunction with its mandate as a guardian you will not visit, are not as important to your
of moral leadership. While the island upon story so you can fill them in with brief notes
which the City is built is still beholden to the of cracked stone streets or old structures and
Castillian crown, the Church has broad authority concentrate your descriptions on the sites
to exercise its own policing and governance, providing the greatest drama.
especially concerning matters of religion. Unlike many of the cities across Théah,
the heart of Vaticine City is not a sprawling
Navigating the City metropolis filled with craftspeople, markets,
taverns and academies. The city proper,
When using Vaticine City for your location which lies within a high stone wall, is built as
of adventure, there is no need to exhaustively a reflection of the “ideal city”—a place filled
detail every alley, building and outhouse. with meandering gardens, shrines, museums,

So Who’s In Charge, Exactly?

Vaticine City is in a politically complicated situation because it lies entirely within the boundaries
of Castillian territory, and Good King Sandoval’s capital is likewise on the isle. So who is actually in
charge? That all depends on what is at stake.
In theory, the Church and Castille have two separate spheres of influence. The Crown handles
secular affairs such as prosecuting criminals, negotiating treaties and managing land. The Church
deals with moral issues such as heresy, charity and education. The two support each other and
cooperate in dealing with criminals and civic issues.
In practice, the Church often has wide latitude to detain people for nebulous offenses. Nearly anyone
can be accused of heresy or immoral behavior and kept by the Church for “correction.” Depending
upon who is involved, this could be anything from a stern lecture to a session of Inquisitorial torture.
Conversely, Castillian authorities, loath to step on Church toes, very rarely engage in disputes with
the Church when the gendarmes arrest someone—but they will take action against people who
cause problems in the city at large, especially for offenses not under Church jurisdiction, such as
forging official government documents or engaging in unsanctioned public duels.
The real answer, of course, is “Who will give your Heroes more of a hard time?” Even a Hero
innocent of any wrongdoing may find herself arrested if it is convenient to a Villain’s plans and if the
Hero does not have enough political clout to make it a major problem. (A politically savvy Hero with
lots of connections more likely finds himself invited to tea to talk than tossed into a cell.) Similarly,
a Hero protected from Church prosecution (say, a priest in good standing with patronage of an
archbishop or cardinal) might be arrested by the civil authorities of Castille on false or trumped-up
charges. A Villain can always get the local constables to take action by wielding Church influence and
his position to request their aid. What this means for you, Game Master, is that Heroes can run into
problems from either direction; a Hero who has protection due to position and prestige with Castille
can still be arrested by gendarmes within Church territory for “moral failings,” and a Hero with deep
ties to the Church can be detained by Castillian constables. Even if a Hero is not thrown into jail, just
losing time in an interrogation can be an uncomfortable situation.
And let’s face it—if your Heroes do not spend at least one session running from the police, they
are not getting into enough trouble!

10
Section One: Foundations 7th Sea | Vaticine City
 art galleries and the private residences of high- and lead to the various museums and residences
ranking Church officials, as well as guest quarters of the city, but visitors are not allowed in the
for visiting dignitaries or Church officials visiting gardens without an invitation. The Plaza itself
from their posts in other Nations. Surrounding opens to the Avenida de los Santos, a main
this idyllic center, an elegant city houses the thoroughfare through the primary gate in the
Church buildings within and further serves as outer wall lined with cafés, shops and services
a major port of call for Castille. Visitors find that provide for the needs of Vaticine City.
access to much of the inner Church-owned The walled grounds also include a suite of
part restricted to those who have an invitation museums, extensive libraries, three smaller
or business inside, but it is not hard to do such churches, palaces for the Hierophant and visiting
business—servants come and go to bring food, cardinals, offices for the administration of the
clean laundry, see to the upkeep of the gardens city, the Vaticine Bank, a college, a convent,
and sometimes provide more salacious services. multiple libraries and, of course, countless
fountains, statues and art pieces. Welcome
Seeing the Sights visitors likely stay in guest rooms staffed by
A simple way for a Hero to keep track of her servants (or even attended by low-ranking
location is with the Hierophantic Basilica, which members of the Church, if the guests are very
towers over the rest of the city. From any place important); a Hero sneaking about uninvited
in the city, its spires are visible. The Plaza of quickly discovers that he must leave the walled
the First Prophet, outside of the Hierophantic city to find food and lodging, unless he finds his
Basilica, provides a large open space, one of the way into the secret chambers and catacombs
few locations therein open to public visitors. beneath and manages to avoid notice.
Paths meander through gardens from the plaza

11
Section One: Foundations 7th Sea | Vaticine City
 Located as it is on an isle off the coast of discovers the Church uses this office to conduct
Castille, Vaticine City has changed hands many business in the outer city or as a private location
times between Numa, Vodacce and Castille. for an official who has reasons to work outside
The Third Prophet, exiled to the island, of the shadow of the Hierophantic Basilica.
converted the city and turned it into a central As the city has grown, areas outside of Church
location from which the Church could launch control have sprung up on the outskirts, creating
its reforms (and conquests) under his direction. a series of nested areas of influence with the
The style of the City’s buildings thus reflects Vaticine Church in the center, the day-to-day
a combination of Castillian and Numanari city businesses supporting the Church as a
buildings, with soaring peaks and pillars, rooms middle ring and non-Church-owned homes and
connected by outdoor arcades rather than businesses beyond that. If your Heroes include a
interior doors and baroque styles inherited from noble from Castille, he might even own property
Vodacce but incorporating Castillian elements next door to one of the Vaticine buildings, which
influenced by the dry climate of southern presents its own set of challenges—he may find
Castille. This means paintings and precious the Church snooping on his business or uncover
metals line all the tall, angular towers, high a conspiracy on the neighboring land but be
arches and the domes of the churches, but many legally unable to challenge it!
of the attached buildings have flat slate roofs
and arched arcades. Architecture of some of How Long Does it Take to Get
the fountains and guesthouses emulates that of
the Crescent Empire, with a focus on geometric
There? Where’s My Map?
shapes instead of artistic depictions. You do not need a map of Vaticine City. Really,
you do not.
A Hero moving about incognito finds that
she can easily enter the city-within-a-city under What is important to your Heroes is that
the guise of a local laborer from a Castillian- they have adventures in a series of interesting,
controlled area, although some of the servants interconnected scenes. This means that a
are well-known enough that residents might map exhaustively showing every park bench,
raise questions if they do not recognize her. apartment and rain barrel fills up your scenes
The Castillian buildings tend to have flat roofs with trivia that adds little to the game. If the
that offer ample opportunities for nighttime Heroes get into an altercation in a city street,
roof-running, and many of the residences and it is up to the Game Master to set the scene
libraries have secret passages—especially the and the players to help describe it as it unfolds.
ones that lead to the meeting places of heretical Is one of the Heroes in one of the gardens,
groups or Inquisitors. chasing a mysterious messenger? Of course
she jumps over hedges and fights around
In addition to the properties in the walled
fountains and scrambles to avoid trampling an
portion of Vaticine City, the outer city is part
exotic flowerbed or a memorial marker. On the
of the city-state at large and still under Vaticine
streets of the city outside the wall? Naturally,
authority, even though much of it has the
Heroes find all the same carts, animals, vendors,
trappings of normal urban life. A Hero could
beggars, stalls, alleys, balconies and construction
be walking the esplanade near Rio de Dios in
scaffolds that you see anywhere in Théah.
what otherwise looks like a southern Castillian
city, only to discover an office emblazoned But how long does it take to get from one
with the crest of the Church and guarded by end of the Avenida de los Santos to within the
a pair of Solomons—the elite soldiers and Hierophantic Basilica of the Prophets? Why, it
bodyguards of the Church. The Hero soon happens at the speed of plot, of course.

12
Section One: Foundations 7th Sea | Vaticine City
 Vatican City vs. Vaticine City
In keeping with the dramatic traditions of
7th Sea, your scenes should not be dictated by Vaticine City in 7TH SEA does, of course, have strong
analogues to the real-world Vatican City, but the differences
a chart telling you that it is a five-minute walk
are significant. Foremost among these is that Vaticine City
from the Hierophantic Basilica to the Secundus is a much more recent city, founded just after 1000 AV and
Library, but twenty minutes from the Secundus built in a different environment with a different climate. As
Library to the Vaticine Bank. If your Heroes are the spiritual heart of Castille as well as the Church, Castillian
not in a hurry, then it does not matter. If they are architecture and styles are very common, though some
places “borrow” the baroque style of Vodacce. The massive
in a hurry, then what matters is not whether they
artistic frescoes and statues of old Numa could not be safely
make a die roll to make it somewhere in time, but relocated, so controversy still rages over which art is more
rather what happens along the way and how they “classical,” but modern artists have committed their work
react if they cannot get there in time. to Vaticine City—which means that Théah’s equivalents
of the Sistine Chapel and the Last Judgment all exist in this
So instead of asking yourself, “Can the Heroes city rather than in Vodacce. Nevertheless, wealthy Vodacce
make it there in time?” try asking, “What choice patrons still employ painters and sculptors to make great
do they have to make to get there in time?” or works of inspirational art for the homes and churches of the
“What will they do if they do not make it?” island princes, as if a competition is going on.
Additionally, the division of the state of Vatican City and
Your Heroes race down the streets to get from
the Holy See that exists in our modern world came about as
outside the outer wall into the plaza and down a result of the Lateran Treaty of 1929. In 7th Sea, Vaticine
into a secret chamber where the Inquisition City remains a part of Castille, and while the Church has wide
tortures an innocent ally…and the Solomons stop latitude to handle its internal affairs, much of the island upon
them at the plaza and tell them they cannot enter which the city is built belongs to Castille and is administered
under Castillian laws and culture. The strong reverence that
the city without a written document. If they fight,
Castillians hold for the Church makes this situation tenable,
they might win, but it may take so long that they but uncomfortable political struggles do sometimes happen.
cannot save their ally. If they try to talk their way
past, they could run into the same time crunch.
Can they find another way in? Can they plead to a layout from any southern European city—in
a passing official for a temporary pass so that they this age of the internet it is not too hard, and it is
can race inside? Do they lie outrageously to get more important to make your story dramatically
past the Solomons? How they proceed tells you interesting than to make your vision of Vaticine
about who they are and what they value. City exactly the same as someone else’s vision.
Your Heroes have just learned that a Villain
has planted petards around the Secundus A Few Notable Areas
Library and plans to blow them up in five Here are some spots that your Heroes should
minutes! The players ask how long it takes to visit while in Vaticine City.
get there. Instead of looking on a chart and The Hierophantic Basilica of the Prophet is,
saying, “Well, according to the book, you’re of course, the massive heart of the Church. This
lucky because it only takes three minutes to get soaring structure is over five hundred years old and
there from the Hierophant’s Palace,” you just decorated with sharp towers, massive domes and
say…“Too long.” Now what do the Heroes do? elaborately painted murals throughout the interior.
See 7th Sea: Second Edition Core The intent is to take away the viewer’s breath with
Rulebook, page 186, for information about the sheer scope and beauty of the place—visiting
setting up a Dramatic Sequence. it is, itself, a religious experience. The Church still
Use locations to set up tension and force the holds regular services, though usually only locals
players to react quickly. They will surprise you! and special invitees can attend since there is not
(And if you absolutely must have a map, snag enough room to house the entire city.

13
Section One: Foundations 7th Sea | Vaticine City
 The Hierophantic Basilica also has stairs that The Secundus Library (sometimes called the
descend into the necropolis, as well as secret exits in “Soaring Archives” because of its grand, vaulted
case an army ever attacks the city and the attending bookshelves) is the largest library in Vaticine City.
priests need to evacuate quickly. Heroes visiting for This library holds copies of every religious text
the first time are likely to be overwhelmed by the relevant to the Church, as well as many classical
sheer scale and beauty of the Cathedral, and the texts and quite a few that are heretical or from
faithful sometimes report being moved to visions. other faiths. (The latter are kept under lock and
(A religious vision is, of course, a great way to key and only the head librarian and his assistants
motivate your Heroes in a cryptic fashion.) can allow access to them.) The Archives also hold
Outside of the Hierophantic Basilica is a large copies of important official documents such as
plaza that once held gardens inside the wall and proclamations by past Hierophants and copies
buildings outside, but these were demolished a of treaties, land grants and records of Church
century ago and slowly replaced with a massive appointments. A visitor should not always expect
open space so that visitors can gather and view the to find every book he wants, though—books can
Cathedral, listen to pronouncements and assemble be on loan to scholars and clerics in the city or
outside the gate without choking traffic in and abroad, and some very rare books might be found
out of the city. The plaza is finished with smooth only in private collections (though the archivists
stone marked with narrow grooves and a central do, if pressed, pay handsomely for authentic
obelisk. While the obelisk functions as a sundial, historical texts relevant to the Church and to
secondary grooves radiate from the main lines and philosophy and learning in general). A Hero
create the appearance of grand geometric shapes can also win friends and favors by donating or
hidden in the stone. Rumor holds that viewing the recovering important books.
plaza from exactly the correct angle allows one to The Archives do, of course, contain a significant
see the lines forming some kind of design, though set of secret rooms, passages and basements, some
nobody could say what its purpose might be. of which hold private reading rooms or special
collections, especially for books about sorcery,
early or pre-Vaticine theology and suppressed or
heretical doctrines. If your Heroes seek forbidden
knowledge, it is probably in here somewhere,
likely protected by lectors and librarians—and,
of course, the Inquisition. See page 46 for more
information about the Secundus Library.
The Vaticine Bank handles the financial
transactions of the City. This includes both the
mundane business of collecting funds from the
Church’s holdings abroad and the business of
supporting the Hierophant and the cardinals.
The Bank can hold valuables in trust for visitors,
and rumor has it that the Bank still holds certain
documents or treasures left decades or centuries
ago by visitors now deceased. The Bank occupies
a precarious position because it is not supposed
to engage in usury. Furthermore, the Hierophant
is supposed to be a spiritual office, but many
Hierophants have engaged the trappings of
wealth. Thus, the continued existence of the Bank

14
Section One: Foundations 7th Sea | Vaticine City
Another random document with
no related content on Scribd:
[188] The Labour Gazette, October, 1919, p. 418.
[189] Great Britain Home Office, Report of the Chief Inspector of
Factories and Workshops for 1915, pp. 14, 15.
[190] 6 and 7 Geo. 5, 1916, Ch. 31.
[191] Great Britain Ministry of Munitions, Health of Munition Workers
Committee, Memorandum No. 4, “Employment of Women,” p. 7.
[192] Great Britain Ministry of Munitions, Circular L6.
[193] Under this head were included (1) cloakrooms having separate
pegs and arrangements for drying clothes, (2) wash rooms with hot and
cold water, soap and towels, (3) sanitary conveniences, (4) rest and first
aid rooms, separated, if the latter were used by men, (5) chairs or
stools, (6) caps and aprons.
[194] John and Katherine Barrett, British Industrial Experience during
the War, Sen. Doc. 114, 65th Cong., 1st Sess.
[195] John and Katherine Barrett, British Industrial Experience during
the War, Sen. Doc. 114, 65th Cong., 1st Sess.
[196] Great Britain Home Office, Report of the Chief Inspector of
Factories and Workshops for 1916, p. 9.
[197] Ibid.
[198] Barbara Drake, Women in the Engineering Trades, p. 74.
[199] The Woman Worker, January, 1917, p. 13.
[200] Great Britain Ministry of Munitions, Health of Munition Workers
Committee, Final Report, April, 1918, p. 58.
[201] The New Statesman, February 3, 1917, pp. 415-416.
[202] Great Britain Ministry of Munitions, Health of Munition Workers
Committee, Final Report, April, 1918, p. 76.
[203] Memorandum No. 2, “Welfare Supervision,” January, 1916.
[204] John and Katherine Barrett, British Industrial Experience during
the War, Sen. Doc. 114, 65th Cong., 1st Sess.
[205] B. Seebohm Rowntree, “The Value of Welfare Supervision to the
Employer,” System (Eng. ed.), June, 1916.
[206] Rebecca West, “Mothering the Munition Maker,” The New
Republic, Oct. 13, 1917, p. 300.
[207] Women in the Engineering Trades, p. 75.
[208] Women’s Trade Union Review, Jan., 1917, p. 12.
[209] Great Britain, Health of Munition Workers’ Committee, Final
Report, 1918, in United States Bureau of Labor Statistics, Bulletin No.
249, p. 263.
[210] Women’s Industrial News, April, 1917, p. 19.
[211] Great Britain Ministry of Munitions, Health of Munition Workers
Committee, Memorandum No. 17, “Health and Welfare of Munition
Workers Outside the Factory,” 1917.
[212] Great Britain Ministry of Munitions, Health of Munition Workers
Committee, Memorandum No. 2, “Welfare Supervision,” p. 3.
[213] Ibid., Memorandum No. 4, “Employment of Women,” p. 5.
[214] Rebecca West, “Mothering the Munition Maker,” The New
Republic, Oct. 6, 1917, p. 267.
[215] June, 1918, pp. 206-210.
[216] A number of soldiers may be assigned to a town, and
householders may be required to furnish them with board and lodging
at a fixed rate.
[217] Final Report, April, 1918, p. 127.
[218] Vide Appendix K, p. 245.
[219] Owen R. Lovejoy, “Safeguarding Childhood in Peace and War,”
Child Labor Bulletin, May, 1917, p. 74.
[220] United States Department of Labor, Children’s Bureau, “Child
Labor in Warring Countries,” Bureau Publication No. 27, 1917, p. 12.
[221] Great Britain Ministry of Reconstruction, “Juvenile Employment
during the War and After,” Reconstruction Pamphlet, No. 15, p. 3.
[222] House of Commons, Debates, August 10, 1917, p. 790.
[223] Labour Year Book, 1916, pp. 88-89.
[224] Great Britain Board of Education, Circular 898, March 12, 1915.
[225] United States Bureau of Labor Statistics, Monthly Review, June,
1917, p. 889.
[226] The Woman Worker, May, 1916, p. 3.
[227] Great Britain Board of Education, Report of the Chief Medical
Officer of the Board of Education for 1915, p. 106.
[228] Ibid., p. 103.
[229] Ibid., Circular 943, February 29, 1916.
[230] Great Britain Board of Education, School Attendance and
Employment in Agriculture, Returns 1st September, 1914, to 31st
January, 1915, p. 3.
[231] Labour Year Book, 1916, p. 89.
[232] Great Britain Board of Education, Annual Report for 1915 of the
Chief Medical Officer of the Board of Education, p. 106.
[233] Ibid., Summary of Returns supplied by Local Education Authorities
for the period of September 1, 1914, to January 31, 1915, p. 4.
[234] Page 4.
[235] Vide p. 123.
[236] Great Britain Ministry of Munitions, Dilution of Labour Bulletin,
February, 1916, p. 2.
[237] London Times, Educational Supplement, March 15, 1917.
[238] February, 1917, p. 49.
[239] The Labour Woman, August, 1916, p. 44.
[240] Great Britain Ministry of Reconstruction, “Juvenile Employment
during the War and After,” Reconstruction Pamphlet, No. 15, p. 27.
[241] Great Britain Ministry of Munitions, Health of Munition Workers
Committee, Memorandum No. 13, “Juvenile Employment,” 1916, p. 4.
[242] Ibid., Interim Report, 1917, p. 103.
[243] Great Britain Ministry of Munitions, Health of Munition Workers
Committee, Memorandum No. 13, “Juvenile Employment,” p. 5.
[244] Great Britain Ministry of Munitions, Health of Munition Workers
Committee, Memorandum No. 5, “Hours of Work,” pp. 7-8.
[245] Following is the section of the general order regulating hours for
boys under eighteen:
Scheme D. (Overtime for Boys.)
This scheme applies to male young persons of 16 years of age and
over provided that the superintending inspector of factories shall have
power in cases where the work is of a specially urgent character to
extend the application of the scheme to male young persons between
14 and 16 years of age.
Such young persons may be employed overtime on week days other
than Saturday subject to the following conditions:
(1) The total hours worked per week (exclusive of intervals for
meals) shall not exceed 65.
(2) The daily period of employment (including overtime and
intervals for meals)
(a) Shall not commence earlier than 6 a.m. or end later than 10
p.m.
(b) Shall not exceed 14 hours.
Provided that where overtime is worked on not more than 3 days in
the week the period of employment may in the case of boys of 16 years
of age and over be 15 hours.
 (3) Intervals for meals amounting to not less than 1½ hours shall
be allowed during the period of employment with an additional half
hour if the period of employment is more than 13½ hours or an
additional three-fourths of an hour if the period of employment is 15
hours.
(4) On Saturday the period of employment shall end not later
than 2 p.m.
[246] Great Britain Ministry of Reconstruction, “Juvenile Employment
during the War and After.” Pamphlets on Reconstruction Problems No.
15, p. 8.
[247] Great Britain Ministry of Munitions, Health of Munition Workers
Committee, Memorandum No. 13, “Juvenile Employment,” p. 6.
[248] Great Britain Ministry of Munitions, Health of Munition Workers
Committee, Interim Report, p. 103.
[249] Great Britain Ministry of Reconstruction, “Juvenile Employment
during the War and After,” Reconstruction Pamphlet No. 15, p. 24.
[250] The Labour Woman, July, 1916, p. 34.
[251] Great Britain Ministry of Munitions, Health of Munition Workers
Committee, Memorandum No. 4, “Employment of Women,” pp. 3, 10.
[252] Great Britain Home Office, Report of the Chief Inspector of
Factories and Workshops for 1915, pp. 9-10.
[253] Great Britain Ministry of Munitions, Health of Munition Workers’
Committee, Final Report, April, 1918, pp. 21-22.
[254] Ibid., p. 72.
[255] Great Britain Home Office, Report of the Chief Inspector of
Factories and Workshops for 1915, p. 14.
[256] Dr. Rhoda H. B. Adamson, “Future Possibilities for the Work of
Women,” Common Cause, February 7, 1919, pp. 512-514.
[257] British Association for the Advancement of Science, Labour,
Finance, and the War, p. 117.
[258] Labour, Finance, and the War, p. 129.
[259] Ibid., p. 84.
[260] Great Britain Ministry of Munitions, Health of Munition Workers
Committee, Memorandum No. 4, “Employment of Women,” p. 4.
[261] Great Britain Ministry of Munitions, Health of Munition Workers
Committee, Memorandum No. 4, “Employment of Women,” p. 4.
[262] An Inquiry into the Prevalence and Aetiology of Tuberculosis
among Industrial Workers, with Special Reference to Female Munition
Workers, p. 4.
[263] Great Britain Ministry of Munitions, Health of Munition Workers
Committee, Memorandum No. 4, “Employment of Women,” p. 5.
[264] Committee of Industrial Women’s Organizations, The Position of
Women After the War, p. 9.
[265] June 23, 1917, p. 271.
[266] Great Britain Home Office, Report of the Chief Inspector of
Factories and Workshops for 1916, pp. 6, 7.
[267] Great Britain Ministry of Reconstruction, Reconstruction Pamphlet
No. 1, “The Aims of Reconstruction,” 1918, p. 4.
[268] The Women’s Employment Committee of the Ministry of
Reconstruction held that the question of what disposition should be
made of the national factories was also one of major importance. The
committee suggested that work in these factories, if they were retained
by the government, could be so regulated as largely to prevent
unemployment by manufacturing goods for which an early demand
could be foreseen. Great Britain Ministry of Reconstruction, Report of
the Women’s Employment Committee (Cd. 9239) 1919, p. 4.
[269] Great Britain Ministry of Reconstruction, Civil War Workers
Committee, First Interim Report, p. 5.
[270] Vide p. 246.
[271] Vide Appendix L for detailed figures on unemployment among
women workers after the armistice.
[272] United States Bureau of Labor Statistics, Monthly Labor Review,
May, 1919, pp. 242-243.
[273] Vide The Common Cause, May 9, 1919, p. 1.
[274] Labour Gazette, May, 1919, pp. 171 and 187.
[275] Committee of Inquiry into the Scheme of Out-of-Work Donation.
Interim Report (Cmd. 196), Final Report (Cmd. 305).
[276] London Times, May 1, 1919.
[277] Violet Markham in The Labour Woman, June, 1919, p. 59.
[278] Vide p. 55.
[279] Vide p. 62.
[280] G. D. H. and M. I. Cole, Regulation of Wages, p. 17.
[281] Labour Gazette, August, 1918, p. 307.
[282] Tobacco; aerated waters; boot and shoe repairing; paper bag
making; brush and broom making; hair, bass, and fibre trade; laundries;
corsets.
[283] Great Britain, Ministry of Labour, Labour Gazette, December,
1919, pp. 514, 515.
[284] Vide Appendix M (p. 249) for list of “unsuitable” occupations.
[285] The report of the “Machinery of Government Committee” took a
similar position, advocating in a rather guarded way the increased
employment of women in the civil service, including the upper division,
from which they had been excluded before the war.
[286] Great Britain, Report of the War Cabinet Committee on Women in
Industry, Minority Report, p. 255.
[287] Scientific American, June 7, 1919.
[288] The Labour Gazette, December, 1919, p. 524.
[289] The Labour Gazette, December, 1919, p. 524.
[290] Great Britain Ministry of Reconstruction, Pamphlets on
Reconstruction Problems, No. 15, “Juvenile Employment,” 1919, p. 19.
[291] Not owned by government.
[292] Includes arsenals, docks, government shell filling factories, etc.
[293] Includes teachers and transportation workers for municipalities.
[294] Not owned by government.
[295] Includes arsenals, docks, government shell filling factories, etc.
[296] Includes teachers and transportation workers for municipalities.
[297] Not owned by government.
[298] Includes arsenals, docks, government shell filling factories, etc.
[299] Includes teachers and transportation workers for municipalities.
[300] Not owned by government.
[301] Includes arsenals, docks, government shell filling factories, etc.
[302] Includes teachers and transportation workers for municipalities.
[303] The order expired and was not renewed.
[304] The order expired and was not renewed.
[305] The order expired and was not renewed.
[306] The order expired and was not renewed.
[307] The order expired and was not renewed.
[308] The order expired and was not renewed.
[309] A new order, which was allowed in all nontextile works not
otherwise provided for. It allowed greater elasticity than was provided
by the Factory Acts, and permitted, for example, such moderate
overtime during the week as could be compensated by an earlier stop
on Saturdays.
[310] Figures for Oct. 3 and 10, on account of special arrangements
made during the railway strike of these weeks, are not given.
[311] Great Britain Ministry of Reconstruction, Report of the Committee
on Women’s Employment, p. 82.
[312] Includes “Paper Making.”
 Transcriber’s Notes:

The cover image was created by the transcriber, and is in the public domain.
Old or antiquated spellings have been preserved.
The footnotes have been moved to the end of the index.
Typographical and punctuation errors have been silently corrected.
 *** END OF THE PROJECT GUTENBERG EBOOK ECONOMIC
EFFECTS OF THE WORLD WAR UPON WOMEN AND CHILDREN IN
GREAT BRITAIN ***

Updated editions will replace the previous one—the old editions

will be renamed.

Creating the works from print editions not protected by U.S.

copyright law means that no one owns a United States
copyright in these works, so the Foundation (and you!) can copy
and distribute it in the United States without permission and
without paying copyright royalties. Special rules, set forth in the
General Terms of Use part of this license, apply to copying and
distributing Project Gutenberg™ electronic works to protect the
PROJECT GUTENBERG™ concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if
you charge for an eBook, except by following the terms of the
trademark license, including paying royalties for use of the
Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is
very easy. You may use this eBook for nearly any purpose such
as creation of derivative works, reports, performances and
research. Project Gutenberg eBooks may be modified and
printed and given away—you may do practically ANYTHING in
the United States with eBooks not protected by U.S. copyright
law. Redistribution is subject to the trademark license, especially
commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE
 PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the

free distribution of electronic works, by using or distributing this
work (or any other work associated in any way with the phrase
“Project Gutenberg”), you agree to comply with all the terms of
the Full Project Gutenberg™ License available with this file or
online at www.gutenberg.org/license.

Section 1. General Terms of Use and

Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand,
agree to and accept all the terms of this license and intellectual
property (trademark/copyright) agreement. If you do not agree
to abide by all the terms of this agreement, you must cease
using and return or destroy all copies of Project Gutenberg™
electronic works in your possession. If you paid a fee for
obtaining a copy of or access to a Project Gutenberg™
electronic work and you do not agree to be bound by the terms
of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only

be used on or associated in any way with an electronic work by
people who agree to be bound by the terms of this agreement.
There are a few things that you can do with most Project
Gutenberg™ electronic works even without complying with the
full terms of this agreement. See paragraph 1.C below. There
are a lot of things you can do with Project Gutenberg™
electronic works if you follow the terms of this agreement and
help preserve free future access to Project Gutenberg™
electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the
collection of Project Gutenberg™ electronic works. Nearly all the
individual works in the collection are in the public domain in the
United States. If an individual work is unprotected by copyright
law in the United States and you are located in the United
States, we do not claim a right to prevent you from copying,
distributing, performing, displaying or creating derivative works
based on the work as long as all references to Project
Gutenberg are removed. Of course, we hope that you will
support the Project Gutenberg™ mission of promoting free
access to electronic works by freely sharing Project Gutenberg™
works in compliance with the terms of this agreement for
keeping the Project Gutenberg™ name associated with the
work. You can easily comply with the terms of this agreement
by keeping this work in the same format with its attached full
Project Gutenberg™ License when you share it without charge
with others.

1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside
the United States, check the laws of your country in addition to
the terms of this agreement before downloading, copying,
displaying, performing, distributing or creating derivative works
based on this work or any other Project Gutenberg™ work. The
Foundation makes no representations concerning the copyright
status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project

Gutenberg:

1.E.1. The following sentence, with active links to, or other

immediate access to, the full Project Gutenberg™ License must
appear prominently whenever any copy of a Project
Gutenberg™ work (any work on which the phrase “Project
Gutenberg” appears, or with which the phrase “Project
Gutenberg” is associated) is accessed, displayed, performed,
viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United

States and most other parts of the world at no cost and
with almost no restrictions whatsoever. You may copy it,
give it away or re-use it under the terms of the Project
Gutenberg License included with this eBook or online at
www.gutenberg.org. If you are not located in the United
States, you will have to check the laws of the country
where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is

derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of
the copyright holder), the work can be copied and distributed to
anyone in the United States without paying any fees or charges.
If you are redistributing or providing access to a work with the
phrase “Project Gutenberg” associated with or appearing on the
work, you must comply either with the requirements of
paragraphs 1.E.1 through 1.E.7 or obtain permission for the use
of the work and the Project Gutenberg™ trademark as set forth
in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is

posted with the permission of the copyright holder, your use and
distribution must comply with both paragraphs 1.E.1 through
1.E.7 and any additional terms imposed by the copyright holder.
Additional terms will be linked to the Project Gutenberg™
License for all works posted with the permission of the copyright
holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project

Gutenberg™ License terms from this work, or any files
 containing a part of this work or any other work associated with
Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute

this electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1
with active links or immediate access to the full terms of the
Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form,
including any word processing or hypertext form. However, if
you provide access to or distribute copies of a Project
Gutenberg™ work in a format other than “Plain Vanilla ASCII” or
other format used in the official version posted on the official
Project Gutenberg™ website (www.gutenberg.org), you must,
at no additional cost, fee or expense to the user, provide a copy,
a means of exporting a copy, or a means of obtaining a copy
upon request, of the work in its original “Plain Vanilla ASCII” or
other form. Any alternate format must include the full Project
Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,

performing, copying or distributing any Project Gutenberg™
works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or

providing access to or distributing Project Gutenberg™
electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive
from the use of Project Gutenberg™ works calculated using the
method you already use to calculate your applicable taxes. The
fee is owed to the owner of the Project Gutenberg™ trademark,
but he has agreed to donate royalties under this paragraph to
the Project Gutenberg Literary Archive Foundation. Royalty
 payments must be paid within 60 days following each date on
which you prepare (or are legally required to prepare) your
periodic tax returns. Royalty payments should be clearly marked
as such and sent to the Project Gutenberg Literary Archive
Foundation at the address specified in Section 4, “Information
about donations to the Project Gutenberg Literary Archive
Foundation.”

• You provide a full refund of any money paid by a user who

notifies you in writing (or by e-mail) within 30 days of receipt
that s/he does not agree to the terms of the full Project
Gutenberg™ License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg™ works.

• You provide, in accordance with paragraph 1.F.3, a full refund of

any money paid for a work or a replacement copy, if a defect in
the electronic work is discovered and reported to you within 90
days of receipt of the work.

• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project

Gutenberg™ electronic work or group of works on different
terms than are set forth in this agreement, you must obtain
permission in writing from the Project Gutenberg Literary
Archive Foundation, the manager of the Project Gutenberg™
trademark. Contact the Foundation as set forth in Section 3
below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend

considerable effort to identify, do copyright research on,
transcribe and proofread works not protected by U.S. copyright
law in creating the Project Gutenberg™ collection. Despite these
efforts, Project Gutenberg™ electronic works, and the medium
on which they may be stored, may contain “Defects,” such as,
but not limited to, incomplete, inaccurate or corrupt data,
transcription errors, a copyright or other intellectual property
infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be
read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except

for the “Right of Replacement or Refund” described in
paragraph 1.F.3, the Project Gutenberg Literary Archive
Foundation, the owner of the Project Gutenberg™ trademark,
and any other party distributing a Project Gutenberg™ electronic
work under this agreement, disclaim all liability to you for
damages, costs and expenses, including legal fees. YOU AGREE
THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT
EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE
THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY
DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE
TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL,
PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE
NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you

discover a defect in this electronic work within 90 days of
receiving it, you can receive a refund of the money (if any) you
paid for it by sending a written explanation to the person you
received the work from. If you received the work on a physical
medium, you must return the medium with your written
explanation. The person or entity that provided you with the
defective work may elect to provide a replacement copy in lieu
of a refund. If you received the work electronically, the person
or entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund.
If the second copy is also defective, you may demand a refund
in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set

forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’,
WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR
IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF
MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied

warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this
agreement violates the law of the state applicable to this
agreement, the agreement shall be interpreted to make the
maximum disclaimer or limitation permitted by the applicable
state law. The invalidity or unenforceability of any provision of
this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the

Foundation, the trademark owner, any agent or employee of the
Foundation, anyone providing copies of Project Gutenberg™
electronic works in accordance with this agreement, and any
volunteers associated with the production, promotion and
distribution of Project Gutenberg™ electronic works, harmless
from all liability, costs and expenses, including legal fees, that
arise directly or indirectly from any of the following which you
do or cause to occur: (a) distribution of this or any Project
Gutenberg™ work, (b) alteration, modification, or additions or
deletions to any Project Gutenberg™ work, and (c) any Defect
you cause.

Section 2. Information about the Mission

of Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new
computers. It exists because of the efforts of hundreds of
volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the

assistance they need are critical to reaching Project
Gutenberg™’s goals and ensuring that the Project Gutenberg™
collection will remain freely available for generations to come. In
2001, the Project Gutenberg Literary Archive Foundation was
created to provide a secure and permanent future for Project
Gutenberg™ and future generations. To learn more about the
Project Gutenberg Literary Archive Foundation and how your
efforts and donations can help, see Sections 3 and 4 and the
Foundation information page at www.gutenberg.org.

Section 3. Information about the Project

Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-
profit 501(c)(3) educational corporation organized under the
laws of the state of Mississippi and granted tax exempt status
by the Internal Revenue Service. The Foundation’s EIN or
federal tax identification number is 64-6221541. Contributions
to the Project Gutenberg Literary Archive Foundation are tax
deductible to the full extent permitted by U.S. federal laws and
your state’s laws.

The Foundation’s business office is located at 809 North 1500

West, Salt Lake City, UT 84116, (801) 596-1887. Email contact
links and up to date contact information can be found at the
Foundation’s website and official page at
www.gutenberg.org/contact
 Section 4. Information about Donations to
the Project Gutenberg Literary Archive
Foundation
Project Gutenberg™ depends upon and cannot survive without
widespread public support and donations to carry out its mission
of increasing the number of public domain and licensed works
that can be freely distributed in machine-readable form
accessible by the widest array of equipment including outdated
equipment. Many small donations ($1 to $5,000) are particularly
important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws

regulating charities and charitable donations in all 50 states of
the United States. Compliance requirements are not uniform
and it takes a considerable effort, much paperwork and many
fees to meet and keep up with these requirements. We do not
solicit donations in locations where we have not received written
confirmation of compliance. To SEND DONATIONS or determine
the status of compliance for any particular state visit
www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states

where we have not met the solicitation requirements, we know
of no prohibition against accepting unsolicited donations from
donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot

make any statements concerning tax treatment of donations
received from outside the United States. U.S. laws alone swamp
our small staff.

Please check the Project Gutenberg web pages for current

donation methods and addresses. Donations are accepted in a
number of other ways including checks, online payments and
credit card donations. To donate, please visit:
www.gutenberg.org/donate.

Section 5. General Information About

Project Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could
be freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose
network of volunteer support.

Project Gutenberg™ eBooks are often created from several

printed editions, all of which are confirmed as not protected by
copyright in the U.S. unless a copyright notice is included. Thus,
we do not necessarily keep eBooks in compliance with any
particular paper edition.

Most people start at our website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,

including how to make donations to the Project Gutenberg
Literary Archive Foundation, how to help produce our new
eBooks, and how to subscribe to our email newsletter to hear
about new eBooks.