## The Project Gutenberg eBook of California Missions: A Guide to the Historic Trails of the Padres

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: California Missions: A Guide to the Historic Trails of the Padres

Author: Karl F. Brown

Author of introduction, etc.: Rexford Newcomb

Photographer: Floyd Ray

Release date: November 11, 2017 [eBook #55931]
Most recently updated: October 23, 2024

Language: English

Credits: Produced by Stephen Hutcheson and the Online Distributed
Proofreading Team at http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK CALIFORNIA MISSIONS: A GUIDE TO THE HISTORIC TRAILS OF THE PADRES ***

A Map Showing Location of the California Missions

# California Missions

A GUIDE TO THE HISTORIC TRAILS OF THE PADRES

By KARL F. BROWN

Illustrated with seventy-eight photographs
By FLOYD RAY

Foreword by
REXFORD NEWCOMB
Dean, College of Fine and Applied Arts
University of Illinois

COPYRIGHT 1939 BY KARL F. BROWN AND FLOYD RAY
GARDEN CITY PUBLISHING CO., Inc.
NEW YORK

4

Chapel, San Diego De Alcalá

5

Façade, San Diego De Alcalá

## Foreword

Along the strand of the Pacific between San Diego and Sonoma, the intrepid monks of the Order of Saint Francis strung that cordon of missions that were to become, as time went on, the outposts of civilization along the sunset coast of California.

Begun in 1769, this chain of churches along El Camino Real was complete by 1823, and in these establishments the devoted followers of Padre Junípero Serra sought to win for Christ and the Crown of Spain devotees among the dusky inhabitants of this land. How well they succeeded 6 may be judged when we learn that often in the more prosperous missions as many as two thousand Indians were being trained at one time.

Cloister, San Diego De Alcalá

And what was the routine by which these fervent priests of Old Spain hoped to convert the backward natives of the coast into God-fearing, self-supporting and self-respecting subjects of his Hispanic majesty, the king? The system of training prescribed plenty of work accompanied by instruction in the handcrafts and Christian doctrine. To this end, each day, the morning bell assembled the Indians in the chapel for prayers and mass. Following this, breakfast was eaten, after which each went to his assigned task. At eleven o’clock dinner was eaten; then a siesta. Work, resumed at 2 P.M., continued until an hour before sunset, when the Angelus recalled all to worship. After prayers and rosary, supper was eaten, after which recreation ensued until early bedtime.

7

Bell Tower, San Diego De Alcalá

8

Bell Tower, San Antonio De Pala

This was the happy pattern of life that obtained in these picturesque missions which at once comprised the early churches, the first schools, the first factories and the work-a-day habitations of 9 the priests and their charges. Viewed in this light these old buildings become real human documents and are therefore very precious to all interested in the beginnings of civilization within our broad land.

Chapel, San Antonio De Pala

Through the glamor that time and an exotic origin have cast over these old monuments, they continue to hold for us a fascination matched by that of few American structures. And, in journeying to these historic shrines, you will discover how these hard-headed priests, in sheltering their converts, created in simplicity and strength a type of architecture which considered from the standpoint of practical living, climatic background, materials of construction and ethnic significance, has rarely been equalled in any land. What a matchless artistic heritage they have left us!

Rexford Newcomb Dean, College of Fine and Applied Arts, University of Illinois

10

Bell Tower From Garden San Antonio De Pala

11

San Luis Rey

Entrance, San Luis Rey

12
13

San Juan Capistrano

## California Missions

San Diego was first visited by Juan Rodriguez Cabrillo in 1542, but it was not until two hundred and twenty-seven years later that the fear that Russia or England might take possession of California induced King Carlos III of Spain to organize an expedition to colonize the land. It was in 1769 that a band of about two hundred men set out by land and sea to settle in Alta California. In the last company to come overland was Padre Junípero Serra, who, although already advanced in age, had been appointed Padre Presidente of the missions. This extraordinary man entered into a life of utmost hardship with a fiery enthusiasm that was never dampened throughout his life, and to him we owe the chain of historic missions that provide the only link to connect us with the early life of California and Spain. Twenty-one of these were established in California, forming an irregular line reaching from San Diego to Sonoma, and connected by El Camino Real (The Royal Road). Today the modern highway along the coast, U. S. 101, follows so closely the course of this road established by the pioneers one hundred and seventy years ago that one can easily say one is following in the footsteps of Father Serra and his companions.

14

Ruins of Chapel, San Juan Capistrano

15

Inner Court, San Juan Capistrano

Bell Court Fountain

16

Mission Shops, San Juan Capistrano

Ruins of Cloister

17

Fountain Inner Court, San Juan Capistrano

18

On July 16th, 1769, sixteen days after his arrival in San Diego, Father Serra established the first mission in California—the Mission San Diego de Alcalá. The original site was unsatisfactory so a spot was later chosen six miles back from the ocean in Mission Valley where the present buildings now stand. San Diego was one of the wealthiest of the missions. It had extensive orchards and vineyards, irrigated by an aqueduct which brought water from the valley. Parts of the old mission dam which was twelve feet thick, may still be seen. The olive trees around the Mission form the mother orchard of all California mission olives. The whole Mission has been restored in every detail. Its belfry, one of the most magnificent of all the missions, is a three-story wall pierced by five arches in which hang the old bells.

Entrance to Church, San Gabriel

Bell Tower, San Gabriel

Four miles inland from Oceanside, in a beautiful valley, stands Mission San Luis Rey de Francia. The present buildings were started in 1811 by Father Peyri, who managed the Mission for thirty years. It is now used as a church and a Franciscan college. A feature not found in any other mission is the mortuary chapel, a small octagonal shaped room off the main chapel. San Luis Rey is typically Spanish in its architecture and while not one of the most beautiful, it has a stately magnificence that none of the other missions possesses.

19

Side Entrance to Chapel, San Gabriel

20

Façade, San Fernando Rey

Fountain, San Fernando Rey

21

Façade, Ventura

Twenty miles inland from Mission San Luis Rey stands San Antonio de Pala, founded as an asistencia. In its chapel are Indian frescoes covered for many years with a coat of whitewash given the wall by a well-meaning padre. Its campanile, in which hang the original bells, stands in the old cemetery. Pala, nestling at the base of the Palomar Mountains, is a spot of enchanting beauty.

22

Side Door, Ventura

23

Chapel, Santa Barbara

The first attempt to found San Juan Capistrano was in 1775, but due to an Indian uprising Father Lasuén was forced to return to San Diego. The next year Father Serra came and established the Mission. It took nine years to build and was the largest and most beautiful of all. In 1812 there was an earthquake that destroyed the buildings and killed forty Indians who were worshiping in the chapel. All of the buildings have been rebuilt except the chapel, of which one of the seven large domes still stands in its lonely grandeur, a delight to the artist. Capistrano, elaborately decorated and artistically constructed, is sometimes called “Jewel of the Missions.”

24

Façade, Santa Barbara

25

General View, Santa Barbara

San Gabriel Arcángel was a welcomed pause in the long journey from Mexico to Monterey; it was the first stop after crossing the desert and mountains. It is distinctively Moorish in its architecture. Its high buttressed walls are stone to the windows and brick above and have an outside stairway to the choir loft and campanile. In the courtyard is one of the largest and oldest grape vines in California.

Doorway

26

Altar, Santa Barbara

27

Detail of Cloister

28

At one time Mission San Fernando Rey de España had an Indian population of eleven hundred. Today nothing remains of the Mission but one large building. In it one can see the wine cellar and the large copper brandy still. Across the street is a large star-shaped fountain copied from one in Cordova, Spain, a monument to the artistic work of the Indians.

Detail of Façade, Santa Barbara

Half-way between San Diego and Monterey, Father Serra founded the Mission Buenaventura. It was the last founded by him. On a hill above the mission he planted a cross that could be seen from both land and sea. Today, a replica of the cross stands in the same place. Ventura was noted for its beautiful gardens but of these nothing remains except two tall palms. The chapel has been restored and is used daily as a place of worship.

29

Side Door Detail

30

Cloister, Santa Inez

Detail of Façade

31

Detail of Cloister

32

Chapel, Santa Inez

Mission Santa Bárbara has never fallen into a state of decay like its less fortunate sister missions, as it has always been in the hands of its founders, the Franciscans. Although damaged by numerous earthquakes, the last in 1925, it has always been faithfully restored. The light above the altar has never gone out, the old bells have faithfully rung the call to Mass. Its walls, six feet thick and mellowed by time, impart a lasting beauty. The bodies of over four thousand Indians lie in its tree-shadowed cemetery. In front of the Mission the trickling water from an old fountain gives one the restful feeling of the old Spanish siesta. It was at this mission that the great historian, Father Engelhardt, 33 wrote his great book, “Missions and Missionaries of California.”

La Purisima

Mission Santa Inéz was founded to convert the Indians who lived east of the Coast Range. The Mission not only suffered from earthquakes but also from an Indian uprising. Today it has been restored to its former grandeur. Its campanile with its three bells reminds one of Mission San Gabriel. In its museum is a collection of old vestments and books.

Nothing remained of Mission La Purísima Conceptión but a few crumbling arches, till it was taken over by the state. Today it stands in all its former glory, faithfully restored in every detail. The Mission site was made a State park and the restoration carried out by the Civilian Conservation Corps. Purísima stands as a monument to a nation’s industry, but lacks the peaceful state of religious tranquility found in the other missions.

34

Restored Interior, La Purisima

35

Detail at end of Cloister La Purisima

36

San Luis Obispo

It was at Mission San Luis Obispo de Tolosa that tile was first manufactured. The buildings have lost much of their Spanish atmosphere, but the interior is in a fair state of restoration. It is now the active Catholic Church of the city which was named after it. A few miles from San Luis Obispo is the Asistencia of Santa Margarita, unique in that the entire ruins have been covered over by a large hay barn. Horses and cattle quietly munch their hay through the arched window openings.

37

Sacristy, San Miguel

38

San Miguel

The very walls of San Miguel Arcángel, due to its sympathetic restoration, seem to echo the footsteps of the old padres. Inside the chapel the huge rafters, crudely hewn from logs, are painted in bright colors. The design painted on the walls by the Indians show large fluted pillars with a balcony and railing above. The floor is of burned brick, worn smooth by the tread of bare feet. Its crudely decorated pulpit and confessional are the same as the day they were built. The Mission did not have a bell-tower so the bell was mounted on a wooden scaffold. To enter the ancient edifice is to enter directly into the past.

39

Detail of Cloister, San Miguel

40

Forecourt, San Miguel

Chapel

41

Gate to Forecourt

Entrance to Cloister

42

Ruins of Arches, San Antonio De Padua

Double Arched Window

A few rain-washed adobe walls around which the wind blows constantly is all that is left of Mission Nuestra Señora Dolorissima de la Soledad. A picture of dreary desolation and aptly named, Our Lady of Solitude.

43

Side View

Arches

44

Façade, San Antonio De Padua

45

Doorway to Sacristy, San Antonio De Padua

46

Father Serra founded his third Mission, San Antonio de Padua, in a well wooded valley. When the bells rang in celebration an Indian appeared out of the trees, and for the first time a native was present at the founding of a mission. Its quiet surroundings are very much as they were in the past. The buildings were constructed of brick instead of adobe. Parts of a stone-walled irrigation ditch which brought water for many miles still stand near at hand.

Monterey was used as a mission for but one year and then became the Presidio Chapel. Behind the Mission is the tree under which the first Mass in California was offered. Many of the old relics of the early Church are preserved here. It is now the San Carlos Parish Church.

Soledad

47

Tower at San Juan Bautista

48

When Father Serra decided to move the Mission from Monterey he chose a site about five miles away where the Rio Carmelo enters the sea. Here he founded Mission San Carlos Borromeo, which became the headquarters of the Padre Presidentes of the California missions. In its quiet sanctuary are the graves of Father Serra, Lasuén, Crespi and López, names famous in the history of the missions. Father Serra spent most of his life at San Carlos. His cell, measuring about eleven feet square, has been restored. The building is Moorish in style.

San Juan Bautista

A replica in concrete has been built of Mission Santa Cruz. It is about half the size of the original and stands on the old Mission grounds.

Mission San Juan Bautista stands facing the plaza in the old pueblo of San Juan. It was here that Helen Hunt Jackson began her famous story, “Ramona” and Joaquin Murrietta, the famous Mexican bandit, worshipped. San Juan saw great activity during the gold rush as it was a stage stop on the road to the mines. The long arcade that extends the whole length of the building, contains twenty arches. In the garden is a sundial, placed there by the padres. Its old cemetery is in an olive grove whose trees cast fantastic shadows on the time worn headstones.

49

Cloister

Window

50

Doorway at San Juan Bautista

51

End of Cloister

Garden, San Juan Bautista

52

Cemetery at San Juan Bautista

Arches

On the site of Mission Santa Clara de Asís stands a concrete structure, the chapel of the University of Santa Clara. All that remains of the old buildings are a few tiles in the roof, and a part of the garden wall. In front of the Church stands the old 53 redwood cross, raised in 1777. It is now encased in a sheathing of pine.

Parish Church, Monterey

Mission San José de Guadalupe was at one time the most prosperous of all the missions. In livestock alone it had 12,000 cattle, 13,000 horses and 13,000 sheep. It was the centre of social life for the surrounding ranches and the stopping place for the Forty-niners who used the Mission Pass between San Francisco and the mines. Only a part of the living quarters remains today. Beside this building is the old cemetery, back of which is the Mission garden.

54

Doorway, Monterey

55

San Carlos De Borromeo

56

Doorway, San Carlos De Borromeo

57

Fountain Detail

Gateway to Cemetery

There was nothing in the original plans of the missions to name one after St. Francis, the founder of the Franciscan Order. The Mexican Visitador said, “If Saint Francis wishes a mission, let him show you a good port, and let it bear his name.” When Portolá discovered San Francisco Bay he decided that it was the place the Visitador meant, but it was not until seven years later that the Mission San Francisco de Asís was founded. It was commonly called Dolores after a small river that flowed through the Mission grounds. It is quite different in its architecture from the other missions. It has neither archway nor towers but a massive façade. Today it stands in quiet simplicity, surrounded on all sides by modern buildings of the Catholic Church.

58

Bell Tower, San Carlos De Borromeo

59

Santa Cruz

In the city of San Rafael stands a mission bell guidepost, marking the site of Mission San Rafael Arcángel.

Santa Clara

60

San José De Guadalupe

Porch

61

San Francisco De Asís

Entrance to Cloister

62

Fear of the Russians caused the Governor to ask Father Altimira to establish a mission at Sonoma. He did this without the sanction of the Church authorities. Mission San Francisco Solano was the last and the most northerly of the twenty-one missions. It is a plain low building, facing the plaza.

Of the twenty-one missions originally built one is completely gone, another a crumbling wall of adobe, and the remainder in only partial restoration. May they all some day be restored to their original grandeur, and the romance and history of Old California again be found in their splendid old walls.

Entrance to Chapel

Cloister, San Francisco De Solano

63

## LOCATION OF MISSIONS IN THE ORDER OF THEIR FOUNDING

Name | Date | Location
--- | --- | ---
San Diego de Alcalá | July 16, 1769 | In Mission Valley six miles N.W. of San Diego.
San Carlos Borromeo | June 3, 1770 | On the outskirts of village of Carmel which is five miles from Monterey.
San Antonio de Padua | July 14, 1771 | Six miles from Jolon. Jolon is twenty miles from King City. Can also be reached from San Simeon Highway over very mountainous road. Advise going by way of King City.
San Gabriel Arcángel | Sept. 8, 1771 | In city of San Gabriel which is 10 miles from Los Angeles.
San Luis Obispo de Tolosa | Sept. 1, 1772 | In centre of city of San Luis Obispo.
San Francisco de Asís (Mission Dolores) | June 29, 1776 | In San Francisco at 16th and Dolores Streets.
San Juan Capistrano | Nov. 1, 1776 | In village of San Juan Capistrano which is 65 miles south of Los Angeles on the highway to San Diego.
Santa Clara de Asis | Jan. 12, 1777 | In the grounds of the University of Santa Clara which is in the city of Santa Clara.
San Buenaventura | March 31, 1782 | Located in city of Ventura which is 60 miles north of Los Angeles.
Santa Barbara | Dec. 4, 1786 | In the city of Santa Barbara.
La Purísima Concepción | Dec. 8, 1787 | Five miles north of town of Lompoc.
Santa Cruz | Aug. 28, 1791 | In city of Santa Cruz.
Soledad | Oct. 9, 1791 | Ruins of this Mission are about two miles from the town of Soledad.
San José | June 11, 1797 | About 15 miles north of San Jose on the Oakland Highway.
San Juan Bautista | June 24, 1797 | In town of San Juan Bautista.
San Miguel Arcángel | July 25, 1797 | Ten miles north of Paso Robles on U.S. 101.
San Fernando Rey | Sept. 8, 1797 | On outskirts of town of San Fernando.
San Luis Rey | June 13, 1798 | Five miles east of town of Oceanside.
Santa Inéz | Sept. 17, 1804 | Three miles east of town of Buellton.
San Rafael Arcángel | Dec. 14, 1817 | Nothing remains of Mission. Site now marked by guidepost in city of San Rafael.
San Francisco Solano | July 4, 1823 | In city of Sonoma, thirty miles north of San Francisco.
Pala | 1816 | Twenty-one miles from Mission San Luis Rey in the village of Pala at base of Palomar Mountain.
Royal Presidio Chapel | June 3, 1770 | In city of Monterey.

## Transcriber’s Notes

- Copyright notice provided as in the original—this e-text is public domain in the country of publication.
- Silently corrected palpable typos; left non-standard spellings and dialect unchanged.
- Moved some captions closer to the corresponding pictures.
- In the text versions, delimited italicized text by _underscores_.

*** END OF THE PROJECT GUTENBERG EBOOK CALIFORNIA MISSIONS: A GUIDE TO THE HISTORIC TRAILS OF THE PADRES ***
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.