The Project Gutenberg eBook, The Brochure Series of Architectural
Illustration, Vol. 1, No. 7, July, 1895, by Various


This eBook is for the use of anyone anywhere 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.net





Title: The Brochure Series of Architectural Illustration, Vol. 1, No. 7,
July, 1895

Author: Various

Release Date: March 6, 2005  [eBook #15270]

Language: English

Character set encoding: ISO-646-US (US-ASCII)


***START OF THE PROJECT GUTENBERG EBOOK THE BROCHURE SERIES OF
ARCHITECTURAL ILLUSTRATION, VOL. 1, NO. 7, JULY, 1895***


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



Note: Project Gutenberg also has an HTML version of this
      file which includes the original illustrations.
      See 15270-h.htm or 15270-h.zip:
      (http://www.gutenberg.net/dirs/1/5/2/7/15270/15270-h/15270-h.htm)
      or
      (http://www.gutenberg.net/dirs/1/5/2/7/15270/15270-h.zip)





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 "_lumiere 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.

[Illustration: XLIX. Wrought Iron Lantern on the Strozzi Palace,
Florence.]

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.

[Illustration: L. Wrought Iron Lantern on the Palazzo Guadagni,
Florence.]

L.

WROUGHT IRON LANTERN ON THE PALAZZO GUADAGNI, FLORENCE.

[Illustration: LI. Wrought Iron Lantern on the Palazzo Bocella, Lucca.]

LI.

WROUGHT IRON LANTERN ON THE PALAZZO BROCELLA, LUCCA.

[Illustration: LII. Wrought Iron Lantern on the Palazzo Baroni nel
Fillungo, Lucca.]

LII.

WROUGHT IRON LANTERN ON THE PALAZZO BARONI NEL FILLUNGO, LUCCA.

[Illustration: LIII. Wrought Iron Torch Holder, Public Square, Siena.]

LIII. WROUGHT IRON TORCH-BEARER, 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.

[Illustration: LIV. Wrought Iron Torch Holder, Siena.]

[Illustration: LV. Wrought Iron Torch Holder, Siena.]

LIV and LV. WROUGHT IRON TORCH-BEARERS, SIENA.

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

[Illustration: LVI. Wrought Iron Torch Holder, Siena.]

LVI. WROUGHT IRON TORCH-BEARER, 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,
"AEsthetic 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 archaeological.

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 Noelting, 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. Munoz, 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.

[Illustration]

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. 1, NO. 7, JULY, 1895***


******* This file should be named 15270.txt or 15270.zip *******


This and all associated files of various formats will be found in:
http://www.gutenberg.org/dirs/1/5/2/7/15270



Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions 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-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  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-tm 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-tm License (available with this file or online at
http://gutenberg.net/license).


Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
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-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm 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-tm 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-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm 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-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain 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-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm 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-tm 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-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside 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-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm 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 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.net

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (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-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm 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-tm 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-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

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-tm 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-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.net),
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-tm
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-tm 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-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm 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-tm
     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-tm 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-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm 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
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm 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-tm trademark, and any other party distributing a Project
Gutenberg-tm 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 F3.  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 MERCHANTIBILITY 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-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm 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-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm 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, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm 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-tm 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 web page at http://www.gutenberg.net/fundraising/pglaf.


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 principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org.  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://www.gutenberg.net/about/contact

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     gbnewby@pglaf.org

Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread 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 http://www.gutenberg.net/fundraising/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 including checks, online payments and credit card
donations.  To donate, please visit:
http://www.gutenberg.net/fundraising/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

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

Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain 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 Web site which has the main PG search facility:

     http://www.gutenberg.net

This Web site includes information about Project Gutenberg-tm,
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.