The Project Gutenberg EBook of The Brochure Series of Architectural
Illustration, Vol 1, No. 11, November, 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.org
Title: The Brochure Series of Architectural Illustration, Vol 1, No. 11, November, 1895
The Country Houses of Normandy
Author: Various
Release Date: February 12, 2005 [EBook #15020]
Language: English
Character set encoding: ISO-8859-1
*** START OF THIS PROJECT GUTENBERG EBOOK COUNTRY HOUSES OF NORMANDY ***
Produced by Juliet Sutherland, Richard J. Shiffer and the PG Online
Distributed Proofreading Team.
| Vol. I. | NOVEMBER, 1895. | No. 11. |
THE houses chosen for illustration in this number are of different types, of different dates, built for men of different stations in life, and are constructed of different materials. They are, however, all in the province of Normandy, in northern France, and they are all situated outside the towns; further than this it may not be well to go in attempting to classify them under one head. Like the subjects chosen for our last issue, they contain many suggestive ideas for treatment of similar problems in our own country, and for this reason they deserve special attention.
The tendency among the French has always been strong to build their houses in compact groups, and detached buildings with free space on all sides are the exception even in the country. Mr. Louis H. Gibson, whose book "Beautiful Houses" we have noticed in another column, says of the French domestic architecture:—
"Excepting the châteaux, the structures of which we have the completest record are almost entirely buildings fronting directly on the street or road. In France it is rare indeed that one sees an isolated building with a free passage around it, as is common in our American towns and cities. It is not at all uncommon for a farm building to be constructed within a wall; again, the farmer's house may be almost flush with the road. Little farm communities, with the buildings abutting on one another, are very common, because of the companionship which such association brings. This was not alone true in the early history of France, but obtains in the construction of to-day. The small towns, as well as the cities, are almost universally built very compactly. Thus we may expect to see very few examples of isolated structures in France."
In this respect it will be seen the taste of the French house builder differs from ours where open space about a dwelling-house is considered one of its important attractions. Consequently the examples here shown should not be considered as typical of French domestic architecture. The town house is, if anything, the type.
Most of the examples which we have chosen belong to the sixteenth century or thereabouts. The Manoir d'Ango, of which we gave four views in last month's issue and of which three more are now shown, was built about the middle of the sixteenth century, and the manoir at Archelles was also built about the same time. It was also during this century that the best and most interesting of the French half-timber work was done, and although we have no data at hand for determining the matter, we judge that the two examples here illustrated date from about this time. The construction in these buildings is doubtless the same as that commonly used in others of this character—a strong framework of timber filled in with brick masonry and then plastered. Many of the town houses built in this way were very elaborate and were adorned with exquisite carved wood ornament. In Verdier and Cattois' "Architecture Civile et Domestique" may be found numerous examples, and in a future number of The Brochure Series we shall give place to some of the most attractive.
One consideration has influenced the selection of some of the subjects included in the illustrations of this number which has not before been mentioned, and it is not necessary to dwell upon it now. It has been our experience that architectural students are constantly looking about for appropriate subjects for sketching, and some are so fastidious that they find very few satisfactory ones. We commend the views here given, and also those in the last issue, as excellent and appropriate subjects for treatment either in water-color, pen-and-ink, or pencil. Next to working directly from nature, it would be hard to find better practice than can be had by translating these photographic views into drawings.
LXXXI.
FERME LA VALLAUINE, NORMANDY.
With the resources at our command we are unable to further identify this house than the above title indicates. In fact, it tells its own story. Judging by analogy, it probably dates from the sixteenth century. Nothing could well be more picturesque.
LXXXII and LXXXIII.
MANOIR AT ARCHELLES, NORMANDY.
Archelles is a small village near Arques, and its principal attraction is this beautiful manoir with a garden at its back, and surrounded by fine trees. It dates from the sixteenth century and is built of brick decorated in a sort of mosaic inlaid with a light colored stone. The old walls overgrown with vines are especially attractive.
LXXXIV.
PORCH OF CHURCH AT BEUVREIL, NORMANDY.
The form and proportions of this old porch are so good that in spite of the rough and meagre detail it has an irresistible charm.
LXXXV.
MANOIR DE VITANVAL, STE. ANDRESSE, NORMANDY.
Ste. Andresse is a small community on the coast of Normandy a few miles north-west of Havre.
LXXXVI to LXXXVIII.
MANOIR D'ANGO, NORMANDY.
This manoir has already been referred to in the preceding number, where four other views are given.
In the series of articles in which we have undertaken to give an idea of the scope of the courses of architectural study offered by the various schools of the country, we can hardly do better, in referring to Columbia College, than quote from a paper in which Professor William R. Ware describes the methods used for the teaching of the history of architecture at Columbia. Our extracts are made from a portion of the paper printed in The American Architect for November 30, 1895.
These four exercises, the Lectures on History and Ornament, with the study of English, French, and German text-books, the Historical Research, the Historical Drawing, and the Historical Design, occupy a chief part of the student's time during the first three years of the course. At the end of the third year the stated instruction by recitations and the lectures is virtually finished, the fourth year being, by an arrangement which is perhaps a novelty in places of learning, quite free from lectures or recitations. The men give their whole time by day to problems in design, to what may be called "atelier work," without interruption. Their evenings, throughout the whole year, are devoted to historical study. As the college library, including the Avery library, as well as the books and photographs belonging to the Department of Architecture, is accessible every evening until eleven o'clock, and the Metropolitan Museum is open twice a week until ten, every facility is afforded for the prosecution of this work. In order to make the most of these appliances, every student of the Fourth-year class and all the special students (who are of similar grade, being received only in advanced standing) prepares once a month, under the name of Advanced Architectural History, an original paper. This he illustrates by drawings and reads to the class. All this affords an almost unexampled opportunity for serious work.
We exhibit to the students the architecture of the past as a series of problems just as it appeared to the builders of its own day, and we hope thus not only to give them a clearer insight into the real spirit and character of the masterpieces that have come down to us, by bringing to view the ideas and considerations which really influenced their designers, but at the same time to exercise our own young men in the practical application of those same ideas. We hope thus to develop in them the same good sense and good taste, the same readiness of invention and happy ingenuity, to which these masterpieces are due.
The exercises themselves may be described as a species of design by description or by dictation. The attempt is made, by indicating the conditions under which a given piece of work was executed, to present to the student the same problem that the workman of old was called upon to solve. The student can then compare his own solution of it with the one that has come down to him, thus receiving correction and guidance in his work from the hand of the master. It is plain that the special excellencies of the original monument are likely to reveal themselves with fresh distinctness, and to find special sympathy and appreciation in the mind of one who has striven, however unsuccessfully, to solve the same problem.
An example or two taken from widely different fields will suffice to illustrate this. In studying vaulting, we once got so far as to understand how oblong vaults were thrown across a nave, while square vaults covered the aisles. A class of fifteen or twenty students were then asked to find out how a semi-circular or polygonal apse could be added to a choir roofed on this system. In the course of a couple of hours' figuring I found that they had worked out among them all the five solutions of this problem, which in the Middle Ages it took one or two hundred years to develop. This was very encouraging. At another time they were given a somewhat minute description of four pilaster capitals from Blois or Chambord, and they made thumb-nail sketches on the spot, according to their interpretation of the description. The next day photographs and drawings of a dozen or twenty other such capitals were given them, so that they might understand the fashion of the time, and they were told to draw out their sketches on a larger scale. The result was fifteen or twenty sets of capitals, all showing the same four motives, but differing in a most interesting way, according to the personal differences of taste and skill on the part of the designers.
On another occasion the First-year class, after their studies in Egyptian and Assyrian architecture, made a dozen or twenty restorations of Solomon's Temple, according to the description in the Book of Kings. The drawings they produced showed considerable fertility of invention, especially in the designs for Jachin and Boaz, and the whole series together seemed to be quite as creditable and as reasonable as most of those which have from time to time been put forth by the learned.
This practice in historical design we believe to be founded on sound theoretical principles. To regard a work of art as far as possible from the point-of-view of the artist is, indeed, the first principle of fair and intelligent criticism. To foster the individuality and personal initiative of a pupil by bringing authority to bear upon him in a way of correction at the end of his task, and guidance and suggestion at the beginning, rather than control during the course of the work, is the first principle of intelligent teaching. Moreover, the results, so far as we have gone, have justified the method. We have, indeed, employed it hitherto mainly as a matter of experiment when favorable circumstances have suggested it. But every year we use it to a greater and greater extent, and it is gradually acquiring a recognized place as an integral portion of our work.
Of the many fortunate ones who have come back to a winter of work after a summer abroad are Messrs. Claude F. Bragdon, Charles M. Sutton, and Howard Hatton, of Rochester. Messrs. Sutton and Hatton are now with J. Foster Warner. Mr. Bragdon has temporarily opened an office at 60 Trust Building, but will have offices in the new Cutler Building when completed.
Mr. Wilson Eyre, Jr., of Philadelphia, has just finished designing a second formal garden, which is said to be delightfully un-American; and Mr. Frank Miles Day's Horticultural Hall is nearly ready to receive the mural coloring and allegorical painting which Mr. Joseph Lindon Smith is to execute. The latter will be a conspicuous departure from ordinarily accepted models.
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.
Back numbers of The Brochure Series are not kept in stock. All subscriptions will be dated from the time received and subscribers who wish for the current numbers must place their subscriptions at once.
A hundred photographs are published in twelve issues of The Brochure Series. You may get some duplicates, but the new ones will be well worth a subscription at fifty cents. This is addressed to non-subscribers.
We have repeatedly called attention in this column to the question of perennial importance to us—that of subscriptions. We have no apology to offer for this insistence upon the publisher's business, for it concerns every one who has any interest in the undertaking, in so far as the support received in this quarter will make it either possible or impossible, as the case maybe, to add to the attractions of the magazine as conducted at present.
We have every reason to feel satisfied with the support thus far accorded us, for our subscription list is now much larger than we expected it would be at this time, but this is only a beginning. In the advertising pages of this number will be found an announcement which, we trust, will appeal to a large number of our present subscribers who already know our work. In most cases it is only necessary to show the magazine and state the price to at once secure a subscriber. Try it and see; enter the prize competition, and help yourself by helping us.
In the September issue we took occasion to notice the mural decoration and color treatment of the staircase hall of the new Public Library Building in Boston. Those who would judge for themselves of the merits of our conclusions must see the building; but it is not necessary to go to Boston in order to realize that here we have a remarkably beautiful structure, and many of its features can be fully enjoyed and appreciated in photographic views. In another column will be found a notice of a very attractive and unusually satisfactory handbook of the library, with numerous illustrations from the photographs of Mr. E.E. Soderholtz. Further than this, we wish to call particular attention to the set of photographs which is advertised on the front cover of this number. As a photographer of architectural subjects Mr. Soderholtz certainly has no superior in this country, and in this collection the subjects and manner of presentation are equally worthy of the highest praise.
We intend issuing, the coming year, a number of interestingly illustrated announcements of new architectural publications and importations. We want to send these to every architectural student and draughtsman in the United States and Canada. If you are not on our subscription list, send us your residence address for our circular mailing list. Address a postal card as below, putting simply your address on the back. If you are in an office, have the other fellows put their residence addresses on the same card. We prefer to address mail matter to your residence, as there is less danger of miscarriage. Do not get the idea that by sending your address you are ordering something you will be asked to pay for. All the expense, except the postal card, is on our side. If we can't get out announcements interesting enough to attract your attention and occasionally secure an order, it will be our loss. Address:—
Bates &
Guild,
6 Beacon Street,
Boston, Mass.
For Circular List.
The first lot of drawings in the competition for a design for the advertising page of The Boynton Furnace Co., in The Brochure Sseries, was due on December 10, and eleven designs were received.
The judges have awarded the prize to Mr. Edwin R. Clark of Lowell, Mass., and his design appears in this issue as the advertisement of the Boynton Furnace Co., on page xi. The reasons for the award may be a guide to others engaged in similar work, and consequently we reproduce several of the other designs for comparison with Mr. Clark's.
It must be remembered that the first consideration in this problem is the effectiveness as advertising matter of the design submitted—its artistic merits, although important, are distinctly secondary to this quality. The medium in which it is to be used and the clientage to which it is intended to appeal must also be constantly borne in mind.
Mr. Clark submitted three drawings, a second one of which is given herewith. The first is superior in giving a more positive effect to the page and in being a more unusual treatment than the second. Although both are drawn with skill and are admirable in technique, the type of design and ornament used in the second have come into such common use that if for no other reason than this the first would be preferable.
As decorative treatment Mr. Olmsted's design is in many respects the most masterly of the lot, and if the personal choice of the judges had been the only consideration upon which the award was to be made, this would have been placed first, for it is remarkable for careful and intelligent arrangement, subtle balancing and proportion of parts, and especially for what may be called the decorative sense by which just the right relation of black to white is preserved. It is seldom that any but the most accomplished designers succeed in obtaining this just proportion, which gives a sparkle to the design such as is seen in the best of the Japanese stencil patterns used on printed stuffs. The clever use of motives connected with the business advertised and the idea of presenting the Boynton apparatus in attractive form and other heaters thrown about in confusion is commendable. The only reason for passing over this design in the award is the advertising value of the attractive appearance of some of the more ornate designs.
One other drawing, that of Mr. Brown, deserves particular notice for its intrinsic excellence. It is especially praiseworthy for its grace of line and general arrangement. The figure is well placed and, although faulty in drawing, is particularly effective in treatment. It is essentially a poster design, but none the less appropriate for the present purpose on this account. It lacks only in those qualities of draughtsmanship which come with practice and experience.
The remaining drawing which we illustrate is a very interesting although not especially forcible treatment of the class of ornament adopted by Mr. Louis H. Sullivan, and in his hands having a wonderful charm, but seldom used with entire success by others.
The result in this first series of designs is especially satisfactory in the intelligence shown in grasping the essentials of the problem. All of the remaining six drawings have points of excellence to commend them, and if we had space to reproduce them would prove instructive in showing the diversity of treatment possible while fully meeting the conditions imposed.
Beautiful Houses. A study in house building. By Louis H. Gibson. Illustrated. Boston T.Y. Crowell & Co. 1895. pp. 346. $3.
This book is in many respects very attractive, and will be found useful to architectural readers as well as to the general public.
It is divided into two parts, the first under the heading "The World's Houses" and the second, "Some House Plans" and "Materials and Details."
The first part is that which will be of most value to the architectural reader. In it are described the principal types of domestic architecture, giving most prominence to the work of France. The illustrations of this portion of the work are well chosen and very well printed. In fact, to the architect they form the most valuable part of the book. The second part is devoted mainly to Mr. Gibson's own designs. These are mostly good, straightforward work, although we can hardly agree with all of his opinions. His use of language is not always discriminating and is sometimes misleading.
To the general reader there will be much of interest in all portions of the book, especially if he contemplates building a house. And in this case we sincerely trust that its perusal will result in another commission for some fortunate architect.
Handbook of the New Public Library in Boston. Compiled by Herbert Small. Fully illustrated. Boston, 1895. Curtis & Co. 78 pp. 16c.
The unusual interest which has been aroused in architectural circles by the new building for the Boston Public Library is the reason for devoting special attention to this little book in these columns. Although intended for general readers, it has a very instructive article by Mr. C. Howard Walker considering the building architecturally, which will interest architectural readers. The illustrations, made from photographs by E.E. Soderholtz, are excellent and numerous, and the cover, printed in green and black, from the design of B.G. Goodhue, is an additional attraction. On the whole, even after so much in the way of illustration of this building has been already published, it is worth the while of any architect or draughtsman to send for this little pamphlet.
The Chicago Architectural Club is keeping its members guessing to know what scheme of work or entertainment will come next on its programme.
The annual meeting for election of officers was held October 7. Several of the regular monthly competitions and an informal exhibition have already come and gone, and a "Bohemian Night" with all its accompaniments comes every fortnight.
The following classes have been arranged for some time ago: Water Color, under Hugh M.G. Garden; Architecture, under George R. Dean; Pen and Ink, under Charles E. Birge; Modeling, under Richard W. Bock.
A talk on "The Impecunious Draughtsman Abroad" was given by Mr. Myron H. Hunt, and Mr. George R. Dean has given a lantern-slide exhibition, illustrating the Château de Blois.
The club also held a joint meeting with the Chicago Society of Artists, when Mr. N.S. Patton discussed the question of "The Architectural and Artistic Possibilities of the Lake Front."
The annual banquet and meeting of the Cleveland Architectural Club was held at the Hollenden Hotel Thursday evening, November 14, with about forty present. Dinner was served at six o'clock, followed by toasts from Messrs. John L. Culley, F.A. Coburn, and Charles W. Hopkinson, with President Hubbell as toastmaster.
After the speaking the annual meeting was held, with an address by the president, reports by the secretary, treasurer, librarian, chairman of the Current Work Committee, and the chairman of the Entertainment and House Committee.
The club has grown from a charter membership one year ago of fourteen to a total membership of forty-five.
The newly elected officers are: President, Benjamin S. Hubbell; Vice-President, Frederick Baird; Secretary, Herbert B. Briggs; Treasurer, Albert E. Skeel; Librarian, G.B. Bohm; Directors, M. James Bowman and C.S. Schneider.
A joint exhibition of the Cleveland Architectural Club and the Cleveland Art Association will be held in the Garfield Building, from January 20 to February 5, 1896. Works will be received until Monday, January 6. The exhibition will include: Architectural sketches, perspectives, and elevations in all renderings; photographs of executed work; landscape architecture; interior architecture and decoration; interior furnishings (samples and sketches); architectural and decorative metal work (wrought iron, bronze, and brass); sculpture (architectural and ornamental).
An illustrated catalogue will be issued.
All drawings must be framed or mounted.
The following letter from the office of Richard M. Hunt is of interest to all users of shingle stains:—
Dexter Bros., Boston:
Gentlemen,—The shingle stains we have used on some of the buildings of Biltmore Village, N.C., furnished by you, have given absolute satisfaction as to quality and color. We consider your stains the best we have used so far.
Yours respectfully,
(Signed) R.H. HUNT.
End of the Project Gutenberg EBook of The Brochure Series of Architectural
Illustration, Vol 1, No. 11, November, 1895, by Various
*** END OF THIS PROJECT GUTENBERG EBOOK COUNTRY HOUSES OF NORMANDY ***
***** This file should be named 15020-h.htm or 15020-h.zip *****
This and all associated files of various formats will be found in:
https://www.gutenberg.org/1/5/0/2/15020/
Produced by Juliet Sutherland, Richard J. Shiffer and the PG Online
Distributed Proofreading Team.
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
https://gutenberg.org/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.org
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.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-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 https://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
https://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 https://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 https://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: https://pglaf.org/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart was 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:
https://www.gutenberg.org
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.