The Project Gutenberg eBook of The Brochure Series of Architectural Illustration, vol. 06, No. 11, November 1900
    
This ebook is for the use of anyone anywhere in the United States and
most other parts of the world at no cost and with almost no restrictions
whatsoever. You may copy it, give it away or re-use it under the terms
of the Project Gutenberg License included with this ebook or online
at www.gutenberg.org. If you are not located in the United States,
you will have to check the laws of the country where you are located
before using this eBook.

Title: The Brochure Series of Architectural Illustration, vol. 06, No. 11, November 1900

Author: Various

Release date: January 9, 2015 [eBook #47921]

Language: English

Credits: Produced by Juliet Sutherland, Haragos Pál and the Online
        Distributed Proofreading Team at http://www.pgdp.net


*** START OF THE PROJECT GUTENBERG EBOOK THE BROCHURE SERIES OF ARCHITECTURAL ILLUSTRATION, VOL. 06, NO. 11, NOVEMBER 1900 ***




Produced by Juliet Sutherland, Haragos Pál and the Online
Distributed Proofreading Team at http://www.pgdp.net









                          THE BROCHURE SERIES
                              The Work of
                         Sir Christopher Wren
                            NOVEMBER, 1900


[Illustration: PLATE LXXXIII      ST. PAUL'S CATHEDRAL: LONDON]




                                  THE
                            BROCHURE SERIES
                    OF ARCHITECTURAL ILLUSTRATION.

                   1900.      NOVEMBER      No. 11.




                              THE WORK OF
                         SIR CHRISTOPHER WREN


During the reign of James I. the Renaissance style in England, which in
Elizabeth's time had been mingled in picturesque combination with the
Gothic, was further developed, losing year by year more of the Gothic
features and becoming purer as the Classic models and literature became
better known. The Anglo-Classic, or fully evolved English Renaissance
style, arose only, however, with the advent of the celebrated Inigo
Jones, who brought to his work the fruits of long study in Italy,
and a thorough knowledge of the work of Palladio who was his master
in design. During his life Jones' influence was paramount, and up
to the time of the Commonwealth he had a practical monopoly of the
architectural profession in England. His work was taken up where he
left it by an architect on the whole, more remarkable--one of the
most remarkable figures, indeed, that architecture has produced--Sir
Christopher Wren, whose influence after the Restoration was even
more complete than that of Jones had been before it. No building of
importance was erected in England during the last forty years of the
seventeenth century, of which Wren was not the architect. To Americans,
moreover, Wren's work has an especial interest. Our own Colonial
style, particularly in the architecture of churches, was in no slight
degree based upon models which he originated, and he has not without
justification been called the "father of the American Colonial style."

Sir Christopher Wren was born at East Knoyle, Wiltshire, on October
20, 1632. He was the son of Christopher Wren, rector of East Knoyle.
He early showed a taste for natural science and mathematics, and up to
his twenty-ninth year devoted himself with great genius to scientific
pursuits. His fame rests chiefly on his architectural achievements, but
had his philosophical pursuits not been interfered with by the arduous
profession to which he later devoted himself he could not have failed
of securing a scientific position higher than that attained by any of
his contemporaries, with of course one exception, Newton. Hooke in his
"Micrographia" wrote of him, "I must affirm that scarce ever met in
one man such a mechanical hand and so philosophical a mind." He made
elaborate drawings to illustrate the anatomy of the brain, invented
an instrument for planting, a method of making fresh water at sea,
produced a scheme for the graphical construction of solar and lunar
eclipses and occultation of stars, and solved a problem proposed by
Pascal to the geometers of England. The practical use of the barometer
as connected with the weather is attributed to him, though it was not
commonly used as a weather glass until a much later date. He invented
a method for transfusion of blood, experimented scientifically in the
force of gunpowder, and made innumerable other like experiments and
inventions.

[Illustration: PLATE LXXXIV      SOUTH FRONT, ST. PAUL'S CATHEDRAL:
  LONDON]

The first definite information we have of his applying himself
professionally to architecture, is his acceptance in his twenty-ninth
year of an invitation from Charles II. to act practically as
surveyor-general to his majesty's works, though nominally as assistant
to Sir Charles Denham. It is clear, however, that he must have already
given proof of fitness before such an appointment could have been
offered.

[Illustration: TRINITY COLLEGE LIBRARY CAMBRIDGE]

The two earliest original works we hear of are the chapel of Pembroke
College Cambridge, built at the expense of his uncle, and the
Sheldonian Theatre at Oxford. The chapel was finished in two years, but
the Sheldonian Theatre not till 1669. We may therefore take Pembroke
Chapel as his first original work, and it need occasion no surprise
if we find in it signs of the 'prentice hand. Wren evidently felt
the need of better opportunities for study, and took the earliest
opportunity available to him to supply it by his journey to Paris in
1665, when ordinary business in London and in other parts of England
was interrupted by the plague. This journey to France, where he seems
to have resided for about six months, is the only one of which any
information exists.

The architectural detail of the Sheldonian Theatre, though still not
commendable, is much in advance of that of Pembroke Chapel; but its
completion did not take place until 1669, and Wren had had by then more
time for education in correct classical expression. He was thus in
some measure prepared both by study and by practical experience when
the great opportunity of his life presented itself. The great fire of
London broke out in 1666.

Before the embers of the great fire had cooled, Wren, as virtual
surveyor-general, had prepared a scheme for the rebuilding of the city.
The fire raged from the second to the eighth of September, and during
those six days, four hundred and sixty entire streets, eighty-nine
churches, and over thirteen thousand houses were swept away. On the
twelfth of September, Wren laid before the king a sketch plan of his
design for the restoration of the metropolis. It is the plan of what
would have become a magnificent city, but the public spirit which
would have been required to carry it out would have demanded great
sacrifices of present interest for the sake of future benefit; and a
more hand-to-mouth expedient was necessarily adopted. But Wren found
employment enough in his official capacity in designing, supervising
and rebuilding a cathedral, more than fifty parish churches, thirty-six
of the Companies' halls, the custom house, beside several private
houses and provincial works.

[Illustration: PLATE LXXXV      INTERIOR, ST. PAUL'S CATHEDRAL: LONDON]

In regard to the Cathedral, Wren gave an unhesitating opinion that
nothing but an entirely new structure ought to be contemplated. This
advice was not at once taken, but the fall of a part of the Cathedral
where repair was being attempted gave convincing proof of the wisdom
of his judgment, and in 1668 he was summoned to London from Oxford
(where he was still a professor of astronomy) to advise respecting
a new edifice. The taking down of the old walls--in which Wren was
wonderfully ingenious in inventing devices,--lasted through part of
1668; and in 1673 Wren, who had meantime been knighted, submitted his
first design for the new Cathedral,--a design which he himself wrote
that he considered "antique and well studied, conformable to the best
style of Greek and Roman architecture." The king greatly approved of
it, and a commencement of it was actually made, but so much clerical
opposition was brought to bear on account of its being different from
the usual cathedral shape that Wren was reluctantly obliged to turn
his thoughts in another direction; and he proceeded with several trial
plans in Gothic form. One of these was accepted, and he was ordered
by a royal commission, dated May, 1675, to proceed with it. The
authorization was accompanied by the permission to make variations,
"rather ornamental than essential"; but happily, as the whole was left
to his management, he found himself able to make use of this permission
without troubling himself as to the qualification as to essentials.

[Illustration: THE MONUMENT LONDON]

There is no concealing the point that if the design which the king's
warrant authorized had been carried out unaltered, St. Paul's would,
externally at least, have proved a gigantic failure. In design we may
perceive that there was in Wren's mind a struggle between two ideas
as respects the great central feature of the dome,--namely, that of
retaining the fine and well studied internal proportions of his first
design, and at the same time attaining the quality of great loftiness
demanded for the external appearance. This he proposed to attain by
means of a lofty spire; but before long he abandoned this attempt and
adopted the idea of general height as the leading principle, by which
he ultimately arrived at the unrivalled exterior of the Cathedral.

Now that he was fully authorized to proceed, Wren devoted all his
energies to maturing his design, and many studies are extant which show
the steps by which he arrived at the final result. He had no doubt a
sufficiently clear general idea in his mind's eye of what the complete
structure should be, but these studies show that the details of even
such essential features as the profile of the dome and the western
towers were not settled until the time approached when they would be
required.

For thirty-five years work was continued on the immense edifice, the
third largest church in Christendom, under Wren's sole supervision, and
in 1710 Sir Christopher, who had been a year old when the first stone
was laid, now laid the last stone of the lantern above the dome. The
scene could hardly be better painted than in the works of Dean Milman:

[Illustration: PLATE LXXXVI      SHELDONIAN THEATRE: OXFORD]

"All London had poured forth for the spectacle, which had been publicly
announced, and were looking up in wonder to the old man ... who was
on that wondrous height setting the seal, as it were, to his august
labors. If in that wide circle which his eye might embrace there
were various objects for regret and disappointment; if, instead of
beholding the various streets of the city, each converging to its
centre, London had sprung up and spread in irregular labyrinths of
close, dark, intricate lanes; if even his own Cathedral was crowded
upon and jostled by mean and unworthy buildings; yet, on the other
hand, he might survey, not the Cathedral only, but a number of stately
churches which had risen at his command and taken form and dignity
from his genius and skill. On one side the picturesque steeple of
St. Mary-le-Bow; on the other the exquisite tower of St. Bride's.
Beyond, and on all sides, if more dimly seen, yet discernible by his
partial eyesight (he might even penetrate to the inimitable interior
of St. Stephen's Walbrook), church after church, as far as St.
Dunstan's-in-the-East, perhaps Greenwich, may have been vaguely made
out in the remote distance; and all this one man had been permitted to
conceive and execute; a man not originally destined or educated for an
architect, but compelled as it were by the public necessities to assume
the office, and so to fulfil it as to stand on a level with the most
consummate masters of the art in Europe, and to take his stand on an
eminence which his English successors almost despaired of attaining."

[Illustration: GREENWICH HOSPITAL      FROM THE RIVER]

But though his most notable achievement, the building of St. Paul's
had only absorbed a fraction of Wren's amazing energy, it would be
impossible even to catalogue his achievements in our present space.

[Illustration: ENTRANCE TO KENSINGTON PALACE]

Temple Bar was rebuilt from his designs about 1670-72. This historic
Bar had formerly served as a sort of official entrance to the city,
and when the reigning sovereign visited London on state occasions he
was wont, in accordance with an ancient custom, to wait there till the
Lord Mayor gave him permission to pass it,--a formal acknowledgment
of the rights of the freemen of the city. (The photograph of Sir
Christopher's Temple Bar shown in Plate LXXXIX. was made in 1877,
one year before the arch was demolished to permit the widening of the
street.) In 1684 Wren was appointed by Charles II. as comptroller
of works in the Castle of Windsor, and besides all these spheres of
activity he took some part in politics, and was three times elected to
parliament.

[Illustration: PLATE LXXXVII      STEEPLE, CHURCH OF ST. MARY-LE-BOW:
  LONDON]

Of the fifty-two churches which Wren built in London, and of which a
considerable number have been demolished, every one that remains is a
valuable study in planning, and they show the greatest skill in their
adaptation to irregular sites and their suitability for Protestant
worship. In all of them the main proportions are excellent, but minor
details are not in all good alike. Nothing that has been achieved in
modern architecture has surpassed the beauty of their spires, not only
from the elegance of each, but from their complete variety, and at the
same time their harmony with one another. Indeed Wren may be called
the inventor of the English Renaissance type of steeple, in which a
conical or pyramidal spire is harmoniously added to belfry on a square
tower with classical details. Two of these churches in particular are
especially good examples of his genius,--namely St. Mary-le-Bow and St.
Stephen's Walbrook.

[Illustration: STEEPLE, ST. BRIDE'S CHURCH      LONDON]

St. Mary-le-Bow, or simply Bow church (so named after an earlier church
on the same site, borne upon stone arches, or "bows"), was one of the
most historic structures of old London. "Bow bells" hung in its tower,
and served the city as a curfew; and persons born within the sound of
them were considered true Londoners or "cockneys." Sir Christopher's
church on the same site and called by the same name, was commenced
in 1671 and completed six years later. The exterior is so much closed
in with houses that only a plain solid outside was required, and Wren
expended his chief architectural effort on a steeple, of which Mr.
Fergusson has written: "There are errors of detail which probably
the architect himself would have avoided in a second attempt, and,
as they arose only from an imperfect knowledge of classical details,
might easily be remedied at the present day. It only wants this slight
revision to harmonize what little incongruities remain, and, if this
were done, this steeple might challenge comparison with any Gothic
example ever erected. No modern steeple can compare with it either for
beauty of outline or the appropriateness with which classical details
are applied to so novel a purpose."

[Illustration: STEEPLE, ST. DUNSTAN'S-IN-THE-EAST      LONDON]

St. Stephen's Walbrook, commenced in 1672 and finished in 1679, like
St. Mary-le-Bow has a plain exterior, and for the same reason; but
Fergusson has rightly praised the interior for its originality, and
as "the most pleasing of any Renaissance church that has yet been
erected." The plain exterior tower was surmounted by a beautiful
spire. One of Wren's principles was, that when sufficient funds were
not available for the elaboration of the whole of a design, some one or
more important features should be worked up to a higher standard than
the rest, instead of adopting a lower standard for the whole.

[Illustration: PLATE LXXXVIII      INTERIOR, CHURCH OF ST. STEPHEN'S
  WALBROOK: LONDON]

Another of Wren's most admired steeples is that for St. Bride's in
Fleet Street, built in 1701. The upper stories of it have, however,
been criticised because of their sameness and the want of connection
between them. Another famous spire is that which he built in 1699 for
the church of St. Dunstan's-in-the-East.

In 1698 Wren was appointed surveyor to Westminster Abbey, and proceeded
to carry out very important repairs. He built the central tower as we
see it, and intended that it should have been surmounted by a lofty
spire. The western towers which formed part of the project have been
built, but not as he intended. The general proportion of the towers
alone is Wren's.

The "Monument," the Roman Doric column which commemorates the great
fire, was built by Wren, between 1671 and 1678. He had at first
intended that it should be left hollow from top to bottom to serve as
a vertical telescope tube for astronomical purposes, but its height
proved insufficient for this. There was great debate about the ornament
for the summit. Wren wished it to be a large statue as "carrying much
dignity with it, and being more valuable in the eyes of foreigners and
strangers," but this project was abandoned on account of the expense,
and the present ornament, a flaming vase of gilt bronze, substituted.
"The great inequality of Wren's achievement," writes Fergusson, "is
nowhere more marked than in a comparison of this Monument, which is
one of the most successful Classical columns that have been erected in
Europe, with Temple Bar, which is perhaps the most unsuccessful attempt
ever made to reproduce a Classical triumphal archway."

In 1677 he commenced the library of Trinity College, Cambridge. The
work, which was not finished till 1692, is one of the handsomest
buildings in England, remarkable externally for breadth and correctness
of style, and internally as a model of excellent arrangement. In design
it is not unlike the much admired Library of Ste. Genéviève in Paris.
To Greenwich Hospital he contributed gratuitously the design for two
noble blocks of buildings completely in harmony with the earlier
portion by Inigo Jones.

[Illustration: STEEPLE, ST. STEPHEN'S WALBROOK      LONDON]

He was long engaged on extensive works on Hampton Court Palace, where,
at the desire of Queen Mary, the old buildings were in part pulled down
and two sets of royal apartments built. The queen, though she amused
herself with planning the gardens and making suggestions, had yet the
wisdom to defer to Wren's better taste and knowledge. Her husband, with
characteristic obstinacy, insisted on his own ideas, thereby dwarfing
the cloisters and marring much of the architecture. It is, however,
fair to say that King William always owned that the defects were his,
the merits, Wren's; and these merits are very great, for in spite of
defects of detail, the general design is one remarkable for dignity and
breadth of conception.

[Illustration: PLATE LXXXIX      TEMPLE BAR: LONDON]

Having been appointed by the Stuarts to the office of
surveyor-general, Wren retained the royal favor unclouded through the
reigns of William and Mary, and Queen Anne; but on the accession of the
Hanoverian family in 1714, the jealousies which his high position had
created were able to prevail against him. At first he was subjected to
repeated annoyances, but, after having endured these for four years,
during which time he was able to complete the fabric of St. Paul's, he
was finally superseded in 1718. Wren after this retired from practical
business (he was eighty-six years old), retaining only the supervision
of Westminster Abbey, which he held until his death.

[Illustration: FOUNTAIN COURT      HAMPTON COURT PALACE]

For the last five years of his life Wren resided much at his house in
Hampton Court, which he held on a lease from the crown. Once a year it
was his habit to be driven to London and to sit for a while under the
dome of his own Cathedral; on one of these journeys he caught a cold,
and soon afterwards, on February 25, 1723, his servant, thinking Sir
Christopher slept longer after dinner than was his wont, came into the
room, and found his master dead in his chair. He was ninety-one years
old. On the fifth of March he was buried in St. Paul's Cathedral,
under the south aisle of the choir, and in his honor an inscription
was placed at the entrance to the choir ending with the words, "Si
monumentum requiris, circumspice."

Sir Christopher's personal appearance is only known to us through
pictures: it appears that he was mild yet dignified of countenance, and
"thin and low of stature."

"Though he did fail sometimes," writes Mr. Fergusson, "it cannot be
denied that Wren was a giant in architecture, and, considering the
difficulties he had to contend with, not only from the age in which
he lived, but from the people he had to deal with, and the small
modicum of taste or knowledge that prevailed anywhere, we may well
be astonished at what he did accomplish that was good, rather than
wonder at his occasional failures. His greatest praise, however, is,
that though he showed the way and smoothed the path, none of his
successors have surpassed--if, indeed, any have equalled--him in what
he did, though more than a century has now elapsed since his death,
and numberless opportunities have been offered in every department of
architectural art."




                            Brochure Series
                           Competition "P."


Competition "P." the details of which are printed on an advertising
page of this issue, closes on Dec. 15, 1900. The prize awards will be
announced in January.

[Illustration: PLATE XC      GARDEN FAÇADE: HAMPTON COURT PALACE]




                          Transcriber's Note:


Small capitals have been rendered in full capitals.

A number of minor spelling errors have been corrected without note.







*** END OF THE PROJECT GUTENBERG EBOOK THE BROCHURE SERIES OF ARCHITECTURAL ILLUSTRATION, VOL. 06, NO. 11, NOVEMBER 1900 ***


    

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.