The Project Gutenberg EBook of Bib-li-op-e-gis-tic (Pertaining to the art
of binding books.--Dibdin), by Unknown

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: Bib-li-op-e-gis-tic (Pertaining to the art of binding books.--Dibdin)
       to which is appended a glossary of some terms used in the craft

Author: Unknown

Release Date: February 21, 2012 [EBook #38946]

Language: English

Character set encoding: ISO-8859-1

*** START OF THIS PROJECT GUTENBERG EBOOK BIB-LI-OP-E-GIS-TIC ***




Produced by Chris Curnow, Jana Srna and the Online
Distributed Proofreading Team at http://www.pgdp.net (This
file was produced from images generously made available
by The Internet Archive)






  [ Transcriber's Notes:

    Every effort has been made to replicate this text as faithfully
    as possible, including any inconsistencies in the original.

    Italic text has been marked with _underscores_.
  ]




  [Illustration: Oliver Cromwell

  Green Levant--inlays of red and black leather. Decorative tooling in
  gold.]




  Bib-li-op-e-gis-tic

  (Pertaining to the art of binding books.--Dibdin)

  to which is appended
  a glossary of some
  terms used in
  the craft

  With Illustrations of
  Bindings Designed and Executed by
  The Trow Press, New York




Bibliopegistic


The craft of the bookbinder is older than that of the printer. Quoting
from Mr. Brander Matthews:

"Perhaps the first bookbinder was the humble workman who collected the
baked clay tiles on which the Assyrians wrote their laws; and he was a
bookbinder also who prepared a protecting cylinder to guard the scrolls
of papyrus on which Vergil, and Horace, and Martial had written their
verses."

Modern art in bookbinding began in Italy in the fifteenth century. The
invention of printing had so multiplied books that the work got out of
the hands of the monks, and workmen from other trades were pressed into
service, bringing with them their skill in working leather, as well as
their tools, and designs which they had previously used to decorate
their work.

At this time the libraries were shelves, so inclined, as to allow of the
books lying on their sides, inviting their decoration. At first the
embellishment was suggested or influenced by the work in the volume, and
very often there would be found on the cover, repetition of the
typographic ornaments used by the printer.

  [Illustration: Carols V. Gerichtsordnung (1597)

  Vine colored Levant--inlays of red and green leather. Interlacing
  bands and decoration tooled in gold.]

But with the associations and influence of the other decorative arts,
there came the use of interlacing bands, scrolls, and geometric designs,
followed by copies of patterns and parts of designs from laces,
embroideries, pottery and ironwork of the times. And with the broadening
in the ideas of decoration, came the use of inlays of leather of
harmonizing colors, and even of precious stones.

While the art was developing in Italy, largely under French patronage,
it was also beginning to flourish in France, where later it reached its
supremacy. So much so that up to the nineteenth century it was "France
first and the rest nowhere."

In no work more than in binding have the French shown their fine
artistic taste, and in the famous collections of the world the choicest
specimens are by French binders of the sixteenth to the eighteenth
centuries.

France to-day has many binders of great skill and good taste, but no
longer holds the supremacy of the earlier days. England has developed
some craftsmen of great skill and original artistic feeling, even though
their best efforts are many times but reproductions of older models.

Barely fifty years ago America did not have a binder capable of covering
a volume to compare with the work of the artisans of France or even
England. But in that time there have developed shops where work of such
merit is done that it is now no longer necessary to send one's precious
tomes abroad to be properly clothed.

The true book lover as well as the collector desires for his treasures a
suitable binding, and there is to-day an increasing demand for fine
binding on individual volumes as well as on sets.

This demand is not satisfied with "commercial binding" and is too
intelligent to accept extravagant work, extravagant in over-decoration
as well as in price.

The art of bookbinding is now so widely known and the taste and judgment
of the public so thoroughly educated by the efforts of the Grolier Club
and similar associations that good work and good material are
appreciated, genuine and suitable decoration recognized and the best
results obtained in the combination of an intelligent customer and a
skilled and artistic workman.

  [Illustration: The Book of the Presidents

  Maroon Levant--"arms" (Tiffany & Co. design) inlaid in colored
  leather. Plain mitred panels, tooled in gold.]

  [Illustration: The Book of the Presidents--Doublé

  Levant--national colors. Tooled in gold.]




The Trow Bindery


The production of fine bindings is not a new departure with us, but has
been carried on for many years in what has been aptly described as, a
"quality" department of a "quantity" business, where fine work can be
executed at prices that are not prohibitive.

It is under the direction of a skilled craftsman, and the workmen are
encouraged to excel in careful and conscientious work.

Our endeavor is to produce books which are not surpassed for elegance,
elasticity, and durability--the three great requisites of a well bound
book.

With technical knowledge to aid us in the selection of the best
materials, and excellent tools, we strive for that result which is
described as "flawless material faultlessly treated."

The decoration, if any, is designed in complete harmony with the text,
and where warranted, we call to our aid the foremost decorative
designers and artists of the day.

  [Illustration:
  No. 1. Vellum
  No. 2. Linen
  No. 3. Buckram

  Samples of specially designed "Marbled" cloths

  For sides and linings of half, three-quarter or full leather bindings]

The older models are followed where original designs are not required;
and where simplicity is desired, we hold to the belief in "the
undecorated surface of flawless material," bearing in mind the sobriety
of treatment, but careful execution which distinguishes the best work of
the past.

                   *       *       *       *       *

As a new departure we are showing the use of specially designed cloths
for sides and linings, in place of the German marbled papers and French
"combs," the most of which as Miss Prideaux says "produce the effect of
violent color thrown on wet blotting paper."

Used as sides on half or three-quarter leather styles, the cloth gives
greater durability, as the surface does not rub, nor will the edges wear
off where turned over, as happens with the use of marbled papers.

As linings they obviate the use of the extra cloth joint, which is
unsightly, but necessary for strength with the use of marbled paper;
with their use the folded edge is pasted in the joint, allowing the
cover to be lifted without drawing the end papers away from the book.

Good taste, and harmony of color are assured by their wide variety, and
in addition some new and novel effects may sometimes be secured.

  [Illustration: The Historic Hudson--Doublé

  Green Levant. Pictorial inlay and decoration tooled in gold.]




The Scope of our Work


We solicit the binding of a single volume, in any manner, whether it be
in half, three-quarter, or full leather, with simple or elaborate
treatment.

We will undertake the binding of a complete collection or library and
will submit quotations where desired, or proceed under an appropriation
by the customer.

We will carefully attend to special instructions for the extending,
interleaving or rebinding of extra illustrated work, presentation
copies, memorial editions, etc.

We also undertake the repairing of any bindings, carefully and
skillfully mending any torn leaves, and properly guarding any loose
sheets or inserts.

  [Illustration: Memorial Volume--Doublé

  Royal Purple Levant. Floral design inlaid and hand colored.]




Glossary of Terms


_Azured._ Ornamentation outlined in gold and crossed with horizontal
lines.

_Bands._ (1) The cord whereon the sheets of a volume are sewn. (2) The
ridges on the back caused by the bands raising the leather. _Head Band._
A knitting of silk or thread worked in at the head and foot of the shelf
back of the book.

_Boards._ A temporary binding with a cover made of boards and paper.
_Mill Boards._ The boards that are attached to the book, giving
stiffening to the cover.

_Bosses._ Brass or other metal pieces attached to the covers of a book,
for ornamentation or protection.

_Burnish._ The gloss produced by the application of the burnisher to the
edges after coloring, marbling or gilding.

_Collating._ Examining the signatures, after a volume has been folded
and gathered, to ascertain if they be in correct sequence.

_Dentelle._ A style resembling lace work, finished with very finely cut
tools.

_Doublé._ When the inside of the cover is lined with leather, it is
termed a doublé.

_End Papers or Lining Papers._ The papers, plain or fancy, placed at
each end of the volume and pasted down upon the boards.

_Fillet._ A cylindrical tool used in finishing, upon which a line or
lines are engraved.

_Finishing._ Comprises tooling, lettering, polishing, etc.

_Flexible._ A book sewn on raised bands, with the thread passed entirely
around each band, allowing the book to open freely.

  [Illustration: A Century of French Romance

  Edition work. French Levant with colored inlays. Decoration "stamped"
  in gold.]

  [Illustration: A Century of French Romance

  Edition work. Persian Morocco. Semis (powder or diaper design)
  "stamped" in gold.]

_Fore edge._ The front edge of the leaves.

_Forwarding._ Comprises all the operations between preparing and
finishing, including the forming and trimming of the books, and the
covering of the boards.

_Gaufre Edges._ Impressions made with the finisher's tools on the edges
of the book after gilding.

_Gouge._ A finishing tool forming the segment of a circle.

_Guards._ Strips of paper inserted in the backs of books, upon which
inserts are mounted, intended to prevent the books being uneven in
thickness when filled.

_Inlaying._ (1) Extending "extra" illustrations by inserting them in
leaves to correspond to the size of a book. (2) A style of Mosaic work
made by the insertion of vari-colored leathers or other material on the
cover or doublé.

_Kettle-Stitch._ A catch-stitch formed in sewing at the head and foot.

_Lacing-In._ Lacing the bands on which the book is sewn through holes in
the boards to attach them.

_Limp._ A cover without boards or other stiff materials, allowing the
sides to be pliable.

_Marbling._ A method of coloring the edges or end papers in various
patterns, obtained by floating colors on a gum solution.

_Mitred._ Tooled lines meeting at a right angle without overrunning.

_Morocco._ A fine kind of grained leather prepared from goatskin.
_Levant Morocco._ The skin of the monarch breed of goat; a large grained
Morocco.

_Overcasting._ Oversewing the back edges of single leaves of weak
sections; also called whipstitching or whipping.

_Pointillé._ The dotted style of Le Gascon.

_Preparing._ Comprising all the preliminary operations up to
"forwarding," including folding, gathering, collating, and sewing.

_Register._ When the printing on one side of a leaf falls exactly over
that on the other it is said to "register."

_Rolls._ Cylindrical ornamental tools used in finishing.

_Sawing-in._ When grooves are made in the back with a saw to receive the
bands.

_Semis._ A diaper design made up of the repetition of one or more small
tools.

_Signature._ Each folded sheet or section of a book.

_Squares._ The portion of the covers projecting beyond the edges of the
book.

_Tall Copy._ So called when the book has not been reduced in size by
trimming, with the leaves entirely uncut.

_Tooling._ Impressing the design or pattern in gold leaf, with finishing
tools, by hand. _Blind Tooling._ The impression of finishing tools
without gold leaf.

  [Illustration: Specimen decorative backs for half or full leather
  bindings. Edition work or single volumes.]




Interpretation of Styles


ALDINE OR ITALIAN

Ornaments of solid face without any shading whatever, such as used by
Aldus and other early Italian printers. The ornaments are of Arabic
character. A style appropriate for early printed literature.


GROLIER

An interlaced framework of geometrical figures--circles, squares, and
diamonds--with scrollwork running through it, the ornaments which are of
Moresque character, generally azured in whole or in part, sometimes in
outline only. Parts of the design are often studded with gold dots.
Time, first half of the 16th century.


MAIOLI

A style prior to and contemporary with the early (Italian) examples of
the Grolier. Generally composed of a framework of shields or medallions,
with a design of scrollwork flowing through it. Portions of the design
are usually studded with gold dots. Ornaments are of Moresque character.


ÈVE

A framework of various geometrical-shaped compartments linked together
by interlaced circles; the centers of the compartments are filled with
small floral ornaments, and the irregular spaces surrounding them, with
circular scrolls and branches of laurel and palm. An elaborate style
used at the end of the 16th and beginning of the 17th century.


MOSAIC

A design inlaid with different colors. The cover may be of any shade,
but the style is especially effective when the cover is of white vellum
in imitation of illuminated manuscripts.


LE GASCON

The distinguishing feature of this style is the dotted face of the
ornaments instead of the continuous or solid line. In vogue the first
half of the 17th century, immediately succeeding the period of Nicholas
and Clovis Ève.


DEROME

This style has ornaments of a leafy character, with a more solid face,
though lightly shaded by the graver and is best exemplified in borders.
The ornaments are often styled Renaissance, being an entire change from
the Gascon. Time, 18th century.


ROGER PAYNE

The ornaments of this style are easily identified, being free and
flowing in stem and flower; whereas before Payne's time they had been
stiff and formal. The honeysuckle is a customary ornament. The
impressions of the tools are usually studded round with gold dots,
whether used in borders, corners, or center pieces.


JANSEN

Without line or ornament either in blank or gold. It permits decoration
on the inside of the cover, but demands absolute plainness on the
outside, with the exception of lettering. It is only appropriate for
crushed levant, being dependent for its beauty on the polished surface
of the leather. It takes its name from the followers of Jansenius,
Bishop of Ypres, who were advocates of plainness in worship.


  [Illustration]

  Trow Directory, Printing and Bookbinding Company
  201-213 East 12th Street
  New York City





End of the Project Gutenberg EBook of Bib-li-op-e-gis-tic (Pertaining to the
art of binding books.--Dibdin), by Unknown

*** END OF THIS PROJECT GUTENBERG EBOOK BIB-LI-OP-E-GIS-TIC ***

***** This file should be named 38946-8.txt or 38946-8.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/3/8/9/4/38946/

Produced by Chris Curnow, Jana Srna and the Online
Distributed Proofreading Team at http://www.pgdp.net (This
file was produced from images generously made available
by The Internet Archive)


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 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 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 are 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.pglaf.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.  Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising.  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://pglaf.org

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://pglaf.org

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://pglaf.org/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.