## The Project Gutenberg eBook of The Brochure Series of Architectural Illustration, Vol. 01, No. 07, July, 1895

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.

Title: The Brochure Series of Architectural Illustration, Vol. 01, No. 07, July, 1895

Author: Various

Release date: March 6, 2005 [eBook #15270]
Most recently updated: December 14, 2020

Language: English

Credits: E-text prepared by Juliet Sutherland, Frank van Drogen, and the Project Gutenberg Online Distributed Proofreading Team

*** START OF THE PROJECT GUTENBERG EBOOK THE BROCHURE SERIES OF ARCHITECTURAL ILLUSTRATION, VOL. 01, NO. 07, JULY, 1895 ***

#### E-text prepared by Juliet Sutherland, Frank van Drogen,
and the Project Gutenberg Online Distributed Proofreading Team

# THE BROCHURE SERIES

# OF ARCHITECTURAL ILLUSTRATION.

#### VOL. I. JULY, 1895. No. 7.

## ITALIAN WROUGHT IRON.

The wrought iron of the middle ages, and of the time of the Renaissance, and even down to the last century, in Italy, France, and Germany showed, in the crudest examples, the principal virtues of all true decorative art. The reason is not far to seek. The difficulties in the way of working the material with ease imposed certain limitations in design and execution which could not well be disregarded. The lack of machinery (which is responsible for much of the uninteresting character of our modern work) necessarily compelled the use of comparatively simple and straightforward methods. It was difficult to avoid the tell-tale marks of the smith's work, and there were limits beyond which his skill could not carry it. Furthermore the designer, taking these limitations into account, learned to make the most of his possibilities, and to adapt his design to the material—to design in the material. How different from the methods generally in use now! Designs made to imitate something done in another material, turned out by the hundred from a machine which leaves no indication of its work, with all interest of craftsmanship lacking, except in places where it may be vulgarly thrown in your face to make it look as if it had been "hand-made."

Clever imitations of old work are produced, and indeed some of the examples shown in our plates are reproductions and not originals; and if we cannot have new designs of equal excellence this is the next most desirable thing. And so far as the illustrations are concerned the difference between the original and the reproduction could never be distinguished.

The subjects chosen for the illustrations of this number are lanterns and torch-bearers. The lanterns were in reality torch-bearers, as they were made for holding masses of combustible material which were held in place by the central spike.

The curious lanterns that decorate the Strozzi Palace at Florence, and of which similar specimens are still attached to the angles of the Riccardi Palace, once the famous residence of the Medici, in the same city, are among, the best examples of their kind still remaining. We are informed by Vasari that these "lumière miravigliosi" were the work of one Nicolo Grosso Caparra, a celebrated artificer of the time, by whom it is not unlikely that many of the beautiful rings and cressets which still decorate the old palaces of Siena may have been executed. On the centre spike was fixed a little iron barrel, containing tow and pitch, while on each of the other spikes a torch was fastened. In some of the old engravings of the festivities given at night by the Grand Dukes of Tuscany, the representations of the effect of this mode of illumination may be seen. It is said that the privilege of affixing such cressets to a residence was one conferred by the State only on the most distinguished citizens, as a peculiar honor, in acknowledgment of services performed.

XLIX. Wrought Iron Lantern on the Strozzi Palace, Florence.

This is one of the finest examples of Italian wrought iron work still existing, and has frequently served as a model for lanterns in recent times.

L. Wrought Iron Lantern on the Palazzo Guadagni, Florence.

LI. Wrought Iron Lantern on the Palazzo Bocella, Lucca.

LII. Wrought Iron Lantern on the Palazzo Baroni nel Fillungo, Lucca.

LIII. Wrought Iron Torch Holder, Public Square, Siena.

This is attached to a column which bears the group representing Romulus and Remus, and which is situated in the public square near the cathedral.

LIV. Wrought Iron Torch Holder, Siena.

LV. Wrought Iron Torch Holder, Siena.

These two plates represent the same torch-holder, viewed from front and side.

LVI. Wrought Iron Torch Holder, Siena.

This together with the preceding example are reproductions of old work.

## Reproduction of Architects' Drawings.

The development of photographic processes for the reproduction of drawings which has taken place within the past few years has led to a remarkable increase in the publication of architects' designs, both in the technical journals and in the popular magazines and daily press. Undoubtedly the recent progress of architectural design in America is largely due to the opportunity for comparison thus placed within the reach of architects and draughtsmen who could not otherwise place their productions beside those of their fellows. So important has this become that an architectural paper is now usually judged almost entirely upon the quality of its illustrations, the text matter being not only secondary, but in some cases serving only as a vehicle for the plates. In fact, some of the most valuable and most highly esteemed architectural publications are entirely devoid of text.

It naturally happens that many of the drawings made in the ordinary course of an architect's work sooner or later fall into the hands of the publishers of some of the architectural papers or are required for publication in other directions. When such drawings have been made without a proper knowledge of the requirements of the reproductive processes the result is frequently very unsatisfactory, and in many cases gives an entirely unfair impression of the design, while this difficulty might have been easily avoided by a little forethought, and without any additional labor.

A few fundamental points which can always be kept in mind will enable draughtsmen to make sure that their work will reproduce well, that is to say, will give a fairly truthful reproduction of the original drawing.

There are at present in use a large number of printing processes depending upon photography as a basis, by which drawings may be duplicated, but they can be roughly divided into two main classes according to the character of the original drawings. In general, line drawings may be treated by one process, while those in which there is a gradation of tones or tints, no matter in what way produced (except by distinct lines), require another and entirely different process. Line reproductions may be made in several different ways, but the requirements in the original drawing are the same in each. The first requisite is that a drawing shall be made in absolutely black ink on white paper, and with clear, firm lines. With a little care it is just as easy to make a drawing in this way as any other, and a satisfactory reproduction can be assured when it is kept in mind that nothing but black will give the best results. In the early days of process work it was customary to use India ink ground by the draughtsman, but excellent liquid inks, such, for instance, as that made by Charles M. Higgins & Co., have taken the place of this, at a great saving of labor and trouble. It is only necessary to take care that the ink is new and not too watery, and that a sufficient amount is carried in the pen to insure a black line. Gray lines, although full and continuous, are very apt to be ragged and broken in the reproduction. Aside from this first condition there are few others which are really mandatory. A drawing made with vigorous, well-defined lines and rather open in treatment will, as a rule, make the most satisfactory reproduction.

There is never difficulty in getting a good reproduction from such work as that by which Mr. H.P. Kirby or Mr. D.A. Gregg is known. For this purpose their style could hardly be improved upon. A drawing can be made with fine and delicate lines and still reproduce well if there is not too much difference in size between the original and the reproduction required. In general, the best results can be obtained by making the plate about two thirds the size of the original.

Drawings in colored inks on tinted paper are difficult to reproduce satisfactorily, and of all combinations a bluish ink upon a yellowish paper is to be avoided.

In general, it can be said that everything, even including line drawings in pen and ink, can be reproduced by the half-tone processes, the quality of the plate depending upon the character of the original. Water-colors, monochrome drawings in wash, pencil drawings and any combinations of these, are reproducible, but with varying success. The same conditions which apply to line work also hold good to a considerable extent in the present case. A combination of vigorous black ink lines and lighter more delicate work put in with thinned or gray ink will in all probability be very unsatisfactory, as the chances of holding the relation between the two, or in fact of preserving the lighter lines at all, without over-emphasizing the darker portions, will not be very great. Delicate drawings can seldom be reproduced without giving a background tint all over, and this usually destroys the life and snap of the original. This is especially true of drawings upon reddish or yellowish paper, which on this account should be avoided if possible. It should be borne in mind that yellow and red photograph dark; and blue, light. This often makes a great difference of effect in the reproduction and sometimes makes it impossible to get satisfactory results at all, especially in delicate drawings.

Pencil drawings made with light lines will not reproduce well, as there is too little contrast in color between the lines and the paper; but sketches made with a soft pencil and strong contrasts frequently give surprisingly good results.

When drawings are to be made, especially for reproduction, the question of expense is often of importance. Plates made from pen drawings now cost about ten cents a square inch, while half-tone plates made of metal for printing on an ordinary printing press with type matter cost about twenty-five cents a square inch.

By using specially prepared process papers, which, if not sold by a local dealer in artists' materials, can be had of Messrs. Wadsworth, Rowland & Co., or Frost & Adams, drawings can be made in pencil or black crayon which can be reproduced by the cheaper process, and will give excellent results. Considering the ease with which this work can be done and the satisfactory results obtained, it is surprising that it has not been more generally adopted. The only drawback to working upon this paper is the fact that no erasures or changes can be made without ruining the surface of the paper.

In connection with what has already been considered in relation to the reproduction of drawings, it may be well to refer to the making of plates from photographs. The selection of a good photograph is of the first importance. It should be brilliant, and with all the contrast of light and shade and as much detail as possible, for something is always lost in both these respects in the process of reproduction. A good plate can be made from a good photograph, but cannot from a bad one. The process is the same as that referred to above for the reproduction of wash drawings, etc., and the cost the same, about twenty-five cents a square inch. The half-tone plates in THE BROCHURE SERIES, made by The Blanchard & Watts Engraving Company, Boston, are good examples of first-class work of this description.

### The Brochure Series of Architectural Illustration.

Published monthly by
Bates & Guild,
6 Beacon Street, Boston, Mass.

Subscription Rates per year—50 cents, in advance
Special Club Rates for five subscriptions—$2.00
Entered at the Boston Post Office as Second-class Matter.

No subject at present occupies so important a place in the thoughts of American architects as that of architectural education, if the space given to it in recent publications is an indication of its importance. The proceedings of the annual convention of the American Institute of Architects, held last autumn in New York, have just been published, and no less than five papers are included which deal with one or another phase of this subject. The later numbers of the professional journals also contain several noteworthy contributions to the discussion. Mr. Barr Ferree's criticism in The Architectural Review, of the methods of training pursued in the School of Fine Arts in Paris, have led to several papers by adherents of the French system and to a well-considered editorial in the same paper. But the most important contribution to the question is that of Mr. Henry Rutgers Marshall in the last number of The Architectural Record, which also contains a descriptive article upon the Royal Polytechnicum at Berlin and its course of study.

There is very little in any of these articles which adds to the existing knowledge on this largely discussed subject; it is what might be considered a rethreshing of old straw, and the main value of all of the articles is in the presentation, which may appeal to readers who have not before thought of the matter in all of its bearings. The papers read before the convention begin with the report of the committee on education, by Mr. Henry Van Brunt. In this Mr. Van Brunt advocates the careful and systematic study of architectural history; and it was the purpose of the report to bring out discussion which might lead to valuable suggestions to the architectural schools upon the study of this subject. Mr. Geo. B. Post, of New York, Professor Ware, of Columbia College, and several others took part in the discussion which resulted in merely recommitting the question to the committee on education, as it was not considered advisable to take any definite action which would bind the Institute to a settled policy on this question. Mr. Louis H. Sullivan, of Chicago, in a thoughtful paper complained that education stifles and kills the spirit of modern architectural work, and that the natural and spontaneous love for beauty found in all human beings gives place, under our modern systems of instruction, to the dry formalities of reproducing old and dead styles.

Mr. Frank Miles Day and Mr. R.W. Gibson, each in his own way, described the advantages of foreign travel and the best methods to pursue, as well as the most important ends to be attained.

Mr. Russell Sturgis, in a scholarly paper upon the subject of Greek architecture applied to modern buildings, gave a number of precepts for the proper use of Greek forms and methods of building as applied to our modern conditions. He closed his article with a lot of receipts much in the style of an architectural cook book, for the application of his theories concerning Greek architecture.

These articles, as will be seen from the above indications, dealt in most cases with one phase only of architectural education. They are all of course important in their way, as contributing to the general discussion of the subject, but each in turn gives only a partial view.

Mr. Marshall, however, starts with the intention of making a full and fair statement of existing conditions and logically draws his inferences as to the best methods of meeting them. He has the valuable qualification of being able to consider his subject judicially and of writing excellent and readable English, as has already been pointed out in these columns, in the review of his recently published book, "Æsthetic Principles."

He divides the subject for convenience into three main headings: first, the use of tools, including in his classification the executive function of handling men as well as tools in the narrower and legitimate sense; second, the nature of materials employed; and third, the general principles of beauty. Under the first heading Mr. Marshall makes one important suggestion, which is at variance with common practice among architects. After pointing out the importance of studying design in the solid, that is, constantly keeping in mind that the forms which are to be designed have three dimensions, and that a geometrical projection, such as a plan or elevation, only partially represents its appearance, he advocates the more general use of perspective drawing in designing. By this is not meant the making of pretty sketches after the design is all determined, to mislead impressionable clients, but the serious study of a design to determine its appearance from different points of view. In fact his suggestion is that the usual order of proceeding shall be reversed, and that the design shall be made in perspective and then translated into accurate terms of such geometrical projections as are needed to guide the practical workman in carrying out the work.

In treating of materials Mr. Marshall takes up separately the materials of construction and the materials of design, meaning by the latter the vocabulary in which the architect expresses his ideas, or the accumulation of architectural forms making up the various historic styles, so-called. He emphasizes the importance—in which point he agrees with all the other writers above referred to—of a wide and catholic knowledge of architectural history and a careful study of all styles.

In summing up in the portion of the article devoted to the general principles of beauty as applied to architecture he gives a clear and concise statement of the reasons why beauty is in itself a necessary and desirable element in architecture, and roughly analyzes the conditions under which it exists.

## Brochure Series Competition, No. I.

>The judges in the BROCHURE SERIES COMPETITION No. I, for a Piano Case have awarded the three prizes as follows:—First Prize, $25.00, to Mr. A.B. Le Boutillier of Boston; Second Prize, $15.00, to Mr. Edward F. Maher of Boston; Third Prize, $10.00 to Mr. James C. Green of Brooklyn, N.Y.

The report of the judges with reproductions of the prize designs will be given in the next issue of the BROCHURE SERIES.

The drawings have been retained by the H.F. Miller Piano Co. for exhibition at their warerooms and will be returned by them at the close of the exhibition.

## Clark Medal Competition.

The seventh annual competition for the Robert Clark Testimonial, under the auspices of the Chicago Architectural Club, is herewith presented.

CONDITIONS.—The competition is open to architectural draughtsmen under thirty years of age, residents of the United States, and not practicing architects.

The author of each design must execute all drawings without assistance, and non-adherence to these conditions will cause the rejection of the design or designs in question.

The awards will be made by the adjudicating committee on the "Robert Clark Testimonial Competition," and are: First prize, gold medal; second prize, silver medal; third prize, bronze medal.

The two designs receiving honorable mention will receive special bronze medals.

The three prize drawings shall become the property of the Chicago Architectural Club.

AN ART SCHOOL.—A gentleman wishing to share his large and valuable collection of paintings, statuary and architectural fragments with his townsmen, has decided to place them in a building which he proposes to erect for the study of architecture, painting and sculpture.

The building is to face the town square, and is to be not more than one hundred and fifty feet in its greatest dimensions.

It shall consist of one story and a high basement.

The first story shall contain the following rooms:

1st. A large entrance gallery for the placing and hanging of statuary and paintings. This hall should be the main feature of the plan, and should be carefully arranged for convenient and advantageous display, without destroying the architectural effect. It may be one continuous hall or divided into parts, at the discretion of the architect. It may be lighted from above.

2d. A large glass-covered court to contain architectural fragments.

3d. An amphitheatre, to seat about two hundred, for lectures on art subjects. A library and an assembly hall.

4th. Four class rooms. These rooms should be well-lighted and of easy access to the court and gallery.

5th. A janitor's room and an office for the custodian. These rooms may be small, but should be conveniently placed either at the entrance to the building or to the grounds.

As the number of the students is limited, the size of the rooms is of less importance than the circulation, convenience and artistic beauty of the whole.

The building, being the home of the arts, should be pure in style and classical in feeling, though not necessarily archæological.

Drawings required, viz.: One plan and one section at the scale of one-sixteenth of an inch to one foot, and the front elevation at the scale of one-eighth of an inch to one foot.

Drawings to be rendered at will; to be mounted on strainers 28x40, without frames or glass.

A sealed envelope containing the name and full address of the author, with place and date of birth, must be securely fastened to each drawing; the drawings and envelopes themselves must not be marked by a device of any kind.

Drawings must be delivered to John Robert Dillon, secretary, Chicago Architectural Club, at the club house, 274 Michigan Avenue, Chicago, on or before Friday, November 15, 1895, charges to be prepaid. All drawings not receiving prizes will be returned at the expense of the contributor.

L.J. MILLET, Chairman;
R.C. SPENCER, JR.
IRVING K. POND,
The Adjudicating Committee on the Robert Clark Testimonial.

## Personal.

The death of Richard Morris Hunt, at Newport, R.I., on July 31, deprives the architectural profession in this country of the man who, since the death of Mr. Richardson, has been its most distinguished representative. His influence upon American architecture is possibly less directly traceable than that of Richardson, and was more of a personal nature through association with his brother architects, while Richardson's example was his most important legacy to the profession.

Mr. W.S. Hebbard will, on September 1, occupy new offices in the Grant Building, San Diego, Cal., which he is just completing for U.S. Grant, Jr., Esq.

Among the recent additions to the working force of Mr. Aiken, Supervising Architect of the Treasury, are Mr. F.B. Wheaton, formerly with Messrs. Longfellow, Alden, & Harlow, and Mr. Rice, formerly with Wheelwright & Haven.

Mr. Geo. H. Ingraham, who has recently opened an office at 6 Beacon Street, Boston, is now absent on a short European trip.

Mr. George E. Barton, for several years with Cram, Wentworth, & Goodhue, of Boston, has just started for a tour of England and France, with the special purpose of studying the domestic and church architecture of the smaller cities and towns.

Mr. C.H. Alden, who has lately returned from six months' travel, mostly in Italy, has made a careful study of the brick and terra-cotta architecture of Northern Italy. He has just entered the office of Messrs. Wyatt and Nölting, Baltimore.

Each year since the University of Pennsylvania Traveling Scholarship was founded, a prominent member of the T Square Club has been the winner; and that Mr. Percy Ash, ex-president of this club, should carry off the prize this year is particularly gratifying.

Mr. Ash has twice before competed, and each time came out a close second; but his old luck did not entirely forsake him, for in his venture for the Roman Scholarship Prize he was very near to the front, winning honorable mention.

H.L. Duhring, Jr., was a close second for the U. of P. Scholarship.

At the last regular T Square Club meeting, but two sets of drawings were submitted. The program called for a "Garden for a Palatial Country House," and required a plan of the house and terrace at 1/8" scale, and a plan and section of the entire garden at a scale of 1/32 of an inch.

The problem was modeled after the projet given at the Ecole des Beaux-Arts, and required so vast an amount of graded wash work in color, as to intimidate many of the regular competitors. A.C. Muñoz, who won first mention, submitted three drawings, two of them nearly three by four feet, while Albert Kelsey was disqualified for not having fulfilled the requirements by omiting the 1/8" scale plan.

Some discussion advocating the postponement of the competition took place, but Kelsey seemed to prefer being disqualified rather than further exert himself; and possibly the knowledge that three draughtsmen in Day's office and two in Cope & Stewardson's office had two unfinished designs to complete, may have influenced him. In spite of the result of this competition the eleven points previously won by Mr. Kelsey give him the highest average for the past year's work.

## Notes.

Of the many minor or industrial arts which enter into a complete architectural production, that of the smith is one of the most fascinating, and strangely enough, it is one which at the present time has the fewest workers who can be worthily compared with those of the past. In the estimation of many of the most prominent and exacting architects of the country there is but one maker of ornamental wrought iron in America who can be trusted to intelligently carry out the spirit of a fine design. Why this should be so it is hard to say, but the fact remains that most of the best iron work done in this country in recent years has come from the shop of John Williams of New York; and architects, it may be said, instinctively turn to him for work of this class.

The characteristics which distinctively belong to the art of the smith, the limitations of material and the purpose for which the finished work is intended are all taken into account and each element given its due importance. To Mr. H.B. Stillman, associated with Mr. Williams, who has for a number of years taken personal charge of this branch of the business, is largely due the success which has attended the efforts of his house.

The suburban house architecture of the towns about Boston is of exceptional interest and its quality is generally considered to be equal, if not superior, to that of any other locality in the country. The reason for its superiority in design and consequent interest is largely traceable to the influence of such architects as Peabody & Stearns, Winslow & Wetherell, Andrews, Jaques & Rantoul, Hartwell & Richardson and a number of others who have given especial attention to residence work.

One of the most attractive collections of houses of this class which we have seen is contained in a finely printed little booklet issued by Dexter Bros., of Boston. It contains photographic illustrations of eleven houses designed by the architects named above, and others. The houses themselves are hardly more attractive than the excellently chosen and finely reproduced photographic views. Messrs. Dexter Bros., upon application, will send this booklet to any architect or draughtsman.

For fastening any sort of work to stone or brick the clever expansion bolt, patented and manufactured by Isaac Church, of Toledo, is, on every count, the best device to specify. Patterns for every special use imaginable are made by him and fully described in his catalogue.

*** END OF THE PROJECT GUTENBERG EBOOK THE BROCHURE SERIES OF ARCHITECTURAL ILLUSTRATION, VOL. 01, NO. 07, JULY, 1895 ***
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.