The Project Gutenberg EBook of The Brochure Series of Architectural
Illustration, vol. 06, No. 4, April 1900, 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/license
Title: The Brochure Series of Architectural Illustration, vol. 06, No. 4, April 1900
The Petit Trianon: Versailles, English Carved Fireplaces
Author: Various
Release Date: January 5, 2015 [EBook #47879]
Language: English
Character set encoding: ISO-8859-1
*** START OF THIS PROJECT GUTENBERG EBOOK THE BROCHURE SERIES ***
Produced by Juliet Sutherland, Haragos Pál and the Online
Distributed Proofreading Team at http://www.pgdp.net
THE BROCHURE SERIES
The Petit Trianon: Versailles
English Carved Fireplaces
APRIL, 1900
[Illustration: PLATE XXVII CHATEAU, PETIT TRIANON]
THE
BROCHURE SERIES
OF ARCHITECTURAL ILLUSTRATION.
1900. APRIL No. 4.
THE PETIT TRIANON: VERSAILLES.
During the first years of his reign, Louis the XIV. of France resided,
as his predecessors had, at St. Germain in summer; but for some
reason--it is alleged that it was because the windows of the palace
commanded a view of St. Denis, the royal mausoleum--he conceived
a dislike to it, and resolved to build another summer palace for
himself at some spot not far from Paris. Why he chose Versailles is
incomprehensible.
Whatever may have been the motive, however, he decided to erect upon
this desolate, waterless and uninhabited site a vast palace to be
surrounded by a park.
The cost of accomplishing this project was fearful, not in money
alone (although this was more than one thousand million francs), but
in human life. In 1681 twenty-two thousand soldiers and six thousand
horses were employed on the work, and so unhealthy was the site that
the workmen died by thousands. Writing in 1767, Madame de Sévigné says:
"The King is in haste that Versailles should be finished; but it would
seem that God is unwilling. It is almost impossible to continue the
work owing to the fearful mortality among the workmen. The corpses are
fetched away by cartfuls during the night,--night being chosen that
they who still live may not be terrified into revolt by the sight." But
no difficulty, nor the pestilence, nor the ruin of the treasury was
allowed to interfere with the King's pleasure. The palace rose; the
stately gardens, peopled with statues, spread about it; and a royal
city sprang up where before had been only a desolate forest; and,
after 1682, Versailles became the permanent headquarters of the Court.
In the immense park, some three-quarters of a mile northwest from the
terraces of the palace, Louis XIV. built a little palace to gratify
Madame de Maintenon, which, from the fact that it stood on the site of
the parish of Trianon, which was demolished to make a site for it, and
because its façade was ornamented with porcelain plaques of blue and
white faience ware, was called the "Trianon de Porcelaine"; but in 1687
Louis, who had as Saint-Simon said, "a rage for building," demolished
this frail structure and replaced it with another, designed by Mansart,
which we now know as the "Grand Trianon." This building was the King's
delight for a few years, but after 1700 he wearied of the plaything,
and turned all his attention to his new château at Marly.
[Illustration: PLATE XXVIII "GROTTO" AND "BELVEDERE," PETIT TRIANON]
During the Regency the Trianon was almost abandoned; but when, under
Louis XV., the Court returned to Versailles, the building became a
favorite refuge for the King; and he later gave it to his mistress,
Madame de Pompadour, for her own. She, being at her wits' end to devise
some new scheme to distract the daily increasing melancholy of the
King, hit upon the expedient of establishing in the grounds which were
attached to the Grand Trianon, a real practical dairy and farm; and
for that purpose imported from Holland a herd of fine cows, and
collected a number of rare varieties of hens and pigeons, which Louis
amused himself for some time in breeding. But in 1754 the royal caprice
again changed, and Louis abolished the farm, and made the land into a
botanical garden. Here he established conservatories for raising fruits
out of their natural seasons, and collected a great number of exotic
trees and shrubs of every variety and species. Taking great delight
in this garden, which was some distance from the Grand Trianon, he
conceived the notion of building in the midst of it a still smaller
château, modelled upon the Grand Trianon as that itself had been a
miniature of Versailles. This château, the Little Trianon, was erected
in 1766 by the royal architect, Gabriel, and was given by the King to
the mistress who had succeeded Madame du Pompadour in his favor, Madame
Du Barry. It was while staying at the Petit Trianon that Louis was
attacked by the small-pox, of which he died.
[Illustration: "TEMPLE OF LOVE" PETIT TRIANON]
The château of the Petit Trianon is an interesting building,
architecturally, marking, as it does, the transition stage between
the styles of Louis XV. and Louis XVI.--a return to purer classical
traditions. The façade is ornamented by a portico with four detached
Corinthian columns, and the whole is surmounted by a balustrade. The
reception and billiard rooms occupied the first floor, while the second
was occupied by the private apartments.
While Marie Antoinette was still the Dauphine, she had often expressed
a desire to have a château, apart from the palace, for her own, where,
free from the intolerable restraints of Court etiquette, she might
amuse herself as she chose; and shortly after his accession to the
throne, Louis XVI. is said to have presented her with the Trianons with
the words, "They have always belonged to the King's favorites, and
should therefore now be yours." The Queen answered laughingly that she
would gladly accept the Little Trianon, but only upon the condition
that it should be unreservedly her own, and that even the King should
come there only upon her express invitation.
[Illustration: PLATE XXIX "QUEEN'S HOUSE" AND "BILLIARD HALL,"
PETIT TRIANON]
Marie Antoinette's first wish, after becoming mistress of her new
domain, was to establish there a garden after the English style. The
rage for the English garden had just then seized French society, for
it was believed to be a return to Nature--Nature which Rousseau
just then had made it the fashion to adore, and the nobility were all
for playing at rusticity, and full of sentimental admiration for the
country.
The King humored the whim, and gave orders that the gardens already
existing at the Trianon should be remodelled, that the strip of land
joining it should be added, and the whole surrounded with a wall, and
the work pushed as rapidly as possible.
The plans for the English garden were drawn by Comte de Caraman, an
officer who had already arranged such a garden in connection with his
own residence, and this garden the Queen had visited. In 1775 the new
royal architect, Mique, seconded by the painter, Hubert Robert, the
sculptor, Deschamps, and the landscape gardener, Antoine Richard,
joined in working out the plans of the Comte de Caraman, and created an
English garden after the Queen's fancy. Unhappily, however, in order
to create this new garden it became necessary to destroy a large part
of the botanical garden which had before existed; but many of the fine
exotic trees were employed in working out the new design, and these
trees still remain the finest ornaments of the park.
The plan for the English garden was comprised as follows: In the
more formal portions of the grounds near the château an artificial
grotto and a "Belvedere," and, shadowed by overhanging trees, a little
"Temple de l'Amour." Separated from these classical constructions by an
artificial lake, bordered with rustic paths and intended to represent a
bit of natural country, was erected a picturesque miniature hamlet of
nine or ten rustic cottages in which the court ladies, under the lead
of the Queen, might play at peasant life.
The grotto was a work of some elaboration, and it was said that
no less than seven relief models of it were made before the Queen
expressed herself as satisfied with the design. It is an arrangement
of artificial rocks covered with moss, through which flows the outlet
stream of the little lake. It was at one time proposed, after the then
fashion in English gardening, to build on the top of the grotto a
picturesquely contrived ruin, but this project was abandoned.
Near the grotto stands the Belvedere--a coquettish little octagonal
pavilion set on a stone platform. Four windows and four doors are set
alternately in its eight surfaces, and a balustrade surrounds the domed
roof. The interior was ornamented in delicately frescoed stucco.
The Temple of Love consists of twelve Corinthian columns supporting a
cupola. The pavement is of white blue-veined marble. In the centre is
a carved pedestal on which stands a statue of Cupid drawing his bow,
modelled by Bouchardon.
[Illustration: MANTELPIECE RESTORATION HOUSE, ROCHESTER]
The most picturesque feature of the garden was, however, the village or
hamlet, and it is here the life of the Trianon centered in the time of
the Queen.
The houses with which the hamlet was comprised were situated on the
farther shore of a small artificial lake; and were divided into two
groups separated by a running stream. The first group was made up of
the "Queen's House" and its connected "Billiard Hall," and the "Mill":
the second originally comprised five buildings;--a "Gardener's Lodge,"
a "Poultry House," a tower, called "Marlborough's Tower" with a "Dairy"
attached to it, and, at some distance from these, a "Farm House" with
its dependencies.
We have preferred in the description to adhere to the names by which
these buildings were originally called rather than to adopt the more
fanciful nomenclature given to them later by an imaginative German,
Dr. Meyer, who visited France in 1796 and who invented the story that
the Queen, playing at rural life, had entrusted the King with the
rôle of the farmer, while she became the farmer's wife and the Count
d'Artois the huntsman, the Comte de Provence the miller, and the
Cardinal de Rohan the curé of this tiny community. In accordance with
this unfounded tale the Queen's house has been nicknamed the "Maison du
Seigneur," the poultry house the "Presbytère" and so forth,--and these
nicknames have clung to them ever since.
[Illustration: PLATE XXX "QUEEN'S HOUSE," PETIT TRIANON]
The simplicity of the buildings of the hamlet makes it unnecessary
to describe them in detail. They were erected during the years 1783,
1784 and 1785 from designs by the architect Mique. The exteriors were
covered with stucco to represent old brick, weather-worn stone and
worm-eaten wood, and all of them, with the exception of the "Queen's
House" which was partly covered with tiles, were roofed with thatch.
The "Queen's House" and "Billiard Hall" were connected by a rustic
gallery, painted olive-green. The former contained a dining-room and
some private apartments. The "Billiard Hall," as its name implies, was
mainly occupied by a billiard room over which were sleeping chambers.
[Illustration: MANTELPIECE STANDISH HALL]
The "Mill" was at one time furnished with a mill-wheel and actually
and practically used to grind grain for the inhabitants of the
tiny village. The "Gardener's House" has been demolished. The
"Poultry-House" was at one time used for the care of fowls and pigeons
of which the Queen had a large number.
[Illustration: PLATE XXXI "DAIRY" AND "MARLBOROUGH'S TOWER,"
PETIT TRIANON]
As we have said, an almost indispensable feature of the English garden
of this time was an artificial ruin; but although many models were
made for the erection of such a ruin at the Petit-Trianon, none was
ever erected. As a substitute however, a round tower was built, and in
honor of the original the "Chanson de Marlborough," with its simple and
plaintive air, which had just then been revived in popular favor, was
named "Marlborough's Tower." It is probable that the building was
supposed to suggest that tower from which Marlborough's widow saw the
page "_tout de noir habillé_" who came to tell her of her husband's
death. The tower ascended by an exterior staircase, and at the top was
a circular balcony from which a view of the whole domain was visible,
and from which signals might be exchanged with the palace at Versailles.
[Illustration: MANTELPIECE MONTACUTE HOUSE]
The tower was connected by a passage with the "Dairy,"--an actual and
practical creamery on a small scale, in which the Queen and her ladies
played at making butter and cheese. The walls and floor were tiled with
marble, and the tables on which the pans and utensils--all of decorated
porcelain--were set out were also of marble. A running stream of water
was conducted through the dairy to keep it cool.
The "Farm" buildings comprised a group of constructions, in which the
farmer lodged, and in which were stables for cows of which the Queen
had a splendid Swiss herd.
The completed gardens of the Little Trianon excited the most lively
praise. The poet, Chevalier Bertin, dedicated a whole elegy to them;
the Prince de Ligne wrote, "Here truly one may breathe air of happiness
and liberty. One might believe one's self a hundred leagues from the
Court." The village presented a real aspect of a rural hamlet. Indeed
the Queen had under her eyes a living picture of the country, whence
she could see the cows grazing, peasants laboring in the fields, the
cultivation of gardens, the pruning of trees, the cows coming to drink
at the lake, the washwomen washing their clothes at the stream which
flowed from the mill, and the little mill itself, grinding grain for
the inhabitants of this miniature village.
It was at this Trianon that Marie Antoinette spent her happiest
days. "The Queen," writes Madam Campan, "spent sometimes an entire
month together at the Little Trianon, where she had established
her pianoforte and tapestry frames." There were but few apartments
in the château of the Little Trianon and although Madame Elizabeth
usually accompanied the Queen here, the ladies of honor could not be
accommodated, and unless by special invitation from the Queen it was
the rule to come from Versailles only at the dinner hour. The King and
the Princess came regularly to sup. A white muslin and a straw hat was
the accustomed dress of the princesses, and the pleasure of running
about the little village to see the cows milked and to fish in the
lake, enchanted the Queen, and with every successive year she showed
less inclination for the stiff etiquette of the Court.
Here on the 5th of October, the news was brought her of the arrival at
the Court of the crowd of women from Paris, and she was forced to go
immediately to Versailles to meet them, never again to see her little
domain.
[Illustration: PLATE XXXII "THE MILL," PETIT TRIANON]
English Carved Fireplaces
In adopting the Renaissance style as a motive in interior decoration,
England lagged behind the Continental nations. Such English mansions
and furniture as remained after the Wars of the Roses were all of the
Gothic type; and with no other models available, it was but natural
that the first efforts of English workmen, after art began to revive,
should be Gothic in feeling. Moreover, for a long time most of the
carved wood-work and furniture in the new style with which England was
supplied, was imported from Holland, and it is in some measure to Dutch
example that the heavy character of the Elizabethan style in furniture
and carving must be attributed.
The style was, therefore, neither Classic nor Gothic, but a mixture of
the two, tinged with Dutch and Flemish influence; and yet, mongrel as
it was, it had an individuality of its own--a certain, royal, dignified
and stately charm.
The first distinguishing feature of Elizabethan ornamental carving
is "strap-work," a term which exactly describes this elaborate
tracery,--an imitation of straps and buckles, varied sufficiently to
atone for the meagreness of the type, and relying for its decorative
value upon its repetition and symmetry. There are many rooms in old
English houses where this strap-decoration is carried out with so
delicate and fanciful a use of the interlacing line as to be nearly as
satisfying as the Saracenic work of the same type; but it is, after
all, nothing but a play of line, and, while allowing the greatest
scope to the individuality of the artist, requires genius to properly
develop it. Too frequently it is but the merest medley of uninteresting
sequences; and when the shield-work (and pierced shield-work at that)
was superadded, it sometimes became mere confusion.
[Illustration: MANTELPIECE STOKESAY CASTLE]
Another distinguishing motive of shield-work,--the cartouch--is simply
what its name implies, the representation of the armorial shield with
its supports. The supports were pierced in every conceivable manner
with circles, lozenges, crescents and all sorts of openings.
"The Elizabethan, pure and simple," writes Mrs. Spofford, "has this
strap-work sometimes finished off with slight scrolls--'foliages,' the
Italians called them--and associated with some classical ideas not yet
very exclusively or carefully managed; straps appearing well riveted to
the middle of classic ornaments, and antique shapes rising, from the
curious Renaissance pilaster, which was neither a vase nor a pilaster,
in truth, broken as it is half way by the rising shape, like those
of the Termae, with which the ancients made their boundaries sacred,
smaller at the base than anywhere else, and bearing straps, arabesques
and rosettes on its face."
You will sometimes find an Elizabethan chimney-piece, the fluted and
channelled columns, and the entablature of which are almost quite pure
in style, and yet, almost invariably, somewhere about their length
strap-ornament is sure to be introduced.
[Illustration: PLATE XXXIII "FARM HOUSE," PETIT TRIANON]
With the accession of James I. to the English throne a new influx
of foreign influence made fresh havoc with such Gothic as remained.
The shield, which, through a preference for the strap had been but
sparsely used in the preceding reign, came now to be the centre of all
decoration, and was lavished everywhere in a wild whirl of flourishing
curves, together with the previously common straps and buckles
and general tackle of war. Its universal use gave a somewhat less
interesting air to the decoration than when the purer interlacing of
the strap, with but here and there the convolutions of the shield,
supplied its place.
[Illustration: MANTELPIECE WRAXHALL MANOR]
But the Jacobean by no means contented itself with this simpler form
of the Renaissance. In other characteristics it tended more and more
to the Classic, though never arriving at purity. In construction, the
horizontal of the antique mingled with the vertical of the mediæval,
and a volute upheld the pointed arch; in ornament, the Tudor leaf with
a Grecian frieze, with other equally inappropriate arrangements. It
was not for a hundred years thereafter that pure Classic came to be
understood in England. The scallop shell seems, at this period, to
have caught the fancy of the designers as a motive, and they used it
at every turn. These shell forms and the shell in decoration disputed
with cartouch and straps, with rosette and scroll, with the fabulous
griffins, and with grotesque mermaids, whose tails, turning into
scrolls, are seen dividing to the right and left in the ornamentation
of Jacobean furniture and chimney-pieces.
[Illustration: MANTELPIECE WRAXHALL MANOR]
But the influence of the Italian form of the Renaissance, through the
filter of the Flemish, made itself very distinctly felt in the Jacobean
style; not so much in the effort of the Italian toward æsthetic
perfection, as in the play of fancy, stimulated by the sight of new
forms, but unacquainted with the laws that should control them.
Upon whatever architectural or decorative scheme it was based, however,
the carving of this period was extremely rich and beautiful; and in
consequence the time has come to be known as the "Cinquecento period"
in English art, which corresponds in many of its characteristics to the
style known in other countries by the same name. The illustrations show
the development of these styles and the main characteristics which have
been pointed out.
[Illustration: PLATE XXXIV "POULTRY HOUSE," PETIT TRIANON]
Transcriber's Note:
Italics are indicated by _underscores_.
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 of The Brochure Series of Architectural
Illustration, vol. 06, No. 4, April 1900, by Various
*** END OF THIS PROJECT GUTENBERG EBOOK THE BROCHURE SERIES ***
***** This file should be named 47879-8.txt or 47879-8.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/4/7/8/7/47879/
Produced by Juliet Sutherland, Haragos Pál and the Online
Distributed Proofreading Team at http://www.pgdp.net
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.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/license
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 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-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 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.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.