initial commit of ebook 36066HEADmain

1 files changed, 1134 insertions, 0 deletions

diff --git a/36066.txt b/36066.txt
new file mode 100644
index 0000000..0cf89b9
--- /dev/null
+++ b/36066.txt
@@ -0,0 +1,1134 @@
+The Project Gutenberg EBook of Hermann Stieffel, Soldier Artist of the West, by
+Edgar M. Howell
+
+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: Hermann Stieffel, Soldier Artist of the West
+
+Author: Edgar M. Howell
+
+Release Date: May 9, 2011 [EBook #36066]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK HERMAN STIEFFEL, SOLDIER/ARTIST ***
+
+
+
+
+Produced by Chris Curnow, Joseph Cooper, Diane Monico, and
+the Online Distributed Proofreading Team at
+https://www.pgdp.net
+
+
+
+
+
+
+
+
+
+
+
+CONTRIBUTIONS FROM
+
+THE MUSEUM OF HISTORY AND TECHNOLOGY
+
+PAPER 12
+
+
+HERMANN STIEFFEL, SOLDIER-ARTIST OF THE WEST
+
+_Edgar M. Howell_
+
+[Illustration: Figure 1.--Area in which Hermann Stieffel served with
+Company K, 5th U.S. Infantry, 1858-1882.]
+
+
+
+
+By Edgar M. Howell
+
+Hermann Stieffel,
+
+Soldier Artist
+of the West
+
+
+     _A number of gifted artists painted the West and the colorful
+     Indian-fighting army of the post-Civil-War period, but since none
+     of these were military men their work lacked the viewpoint that
+     only a soldier could provide._
+
+     _German-born Hermann Stieffel, for 24 years a private in the U.S.
+     Infantry, painted a series of water colors while serving in the
+     Indian country in the 1860's and 1870's. Although Stieffel could
+     never be called talented, and certainly was untutored as an artist,
+     his unusually canny eye for the colorful and graphic and his
+     meticulous attention to detail have given us valuable pictorial
+     documentaries on the West during the Indian wars._
+
+     _The Author: Edgar M. Howell is curator of military history in the
+     United States National Museum, Smithsonian Institution._
+
+The American West has never wanted for artists with a high sense of the
+documentary. Through the talented hands of men like George Catlin, Carl
+Bodmer and Alfred Jacob Miller, Frederick Remington, and the cowboy
+painter Charles M. Russell the trans-Mississippi regions have been
+pictured as have few other areas on earth.[1] From historical and
+ethnological standpoints these men made tremendous and timeless
+contributions to our American heritage. But the West held an esthetic
+fascination for the untutored and less talented as well, and not a few
+soldiers, miners, stage drivers, and just plain adventurers recorded
+their impressions on paper and canvas. Crude though many of these works
+are, they are nonetheless significant, for they are a graphic record of
+what these men saw, where they lived, and what they did, in many cases
+the only record of particular places and events, for the camera of L. A.
+Huffman and his colleagues did not come into its own until the late
+1870's.[2] Without them we would have no description, graphic or
+otherwise, of much of the West both before and after the Civil War--the
+early trading posts and forts, the Oregon, Santa Fe, and Overland
+Trails, the Bozeman Trail, the stage stations, all of which played a
+part in the opening and development of the West.[3]
+
+[Illustration: Figure 2.--Attack on General Marcy's train near Pawnee
+Fort, Kansas, September 23, 1867. The train was escorted by Company K,
+5th U.S. Infantry, Brevet Major D. H. Brotherton commanding. (_USNM
+384185; Smithsonian photo 38986-A._)]
+
+In 1946 the heirs of Lt. Col. David H. Brotherton, U.S. Army, an
+Indian-fighting officer of many years experience on the frontier,
+donated to the United States National Museum a collection[4] comprising
+a number of Sioux Indian specimens, including a Model 1866 Winchester
+carbine said to have been surrendered in 1881 to Colonel Brotherton by
+the Sioux chief, Sitting Bull, and ten water colors by a German-born
+private soldier, Hermann Stieffel of Company K, 5th U.S. Infantry. Nine
+of these paintings (the tenth being a view of Rattenberg in the Tyrol
+Alps) are photographically reproduced herein. They constitute an
+unusually graphic and colorful, if somewhat unartistic, series of
+documentaries on the West of the post-Civil-War Indian fighting period.
+
+It can be surmised that Brotherton obtained the paintings from Stieffel,
+for from 1861 to 1879 he commanded the infantry company in which the
+latter spent the entire 24 years of his Army career. Brotherton's career
+itself is an interesting sidelight on the West of the period and an
+excellent if somewhat sad commentary on the promotion system in the Army
+during a period when the development of the West was so heavily
+dependent on the Army's curbing Indian depredations.
+
+Brotherton was graduated from the U.S. Military Academy with the class
+of 1854 along with several officers who later distinguished themselves
+in the Confederate States Army, including George Washington Custis Lee,
+son of Robert E. Lee, John Pegram, J. E. B. Stuart, Stephen D. Lee, and
+William Dorsey Pender.[5] Assigned to the 5th Infantry, Brotherton by
+1861 had risen to the rank of captain and had acquired considerable
+experience against the Comanches and Apaches in the Southwest, the
+Seminoles in Florida, and the Mormons in Utah. Electing to remain with
+his regiment at the outbreak of the Civil War rather than resign and
+enter a volunteer or militia unit where he easily might have risen to
+general rank as did so many of his contemporaries, he remained a captain
+in the Army until 1879 when a vacancy occurred and he was promoted to
+major. He was promoted to lieutenant colonel in 1883 after 29 years of
+service, but only at the expense of transferring from his old regiment
+to the 7th Infantry, where there was a vacancy at that rank. He retired
+for disability in 1885 after 30 years of almost constant service in the
+field.
+
+We know little of Stieffel the man. He was born in Wiesbaden, Germany,
+in 1826, and became a printer by trade, indicating a fair amount of
+education. He emigrated to this country at an unknown date and in
+December 1857 at New York City enlisted in the Army as a private of
+infantry. He was 31 years old at the time, and was described as being
+five feet five and one-half inches tall with blue eyes, sandy hair, and
+a fair complexion.[6] He remained a private for the entire time of his
+military service. After recruit training at a general depot, he was
+assigned to Company K, 5th Infantry, joining that unit late in August
+1858 at Camp Floyd (later Fort Crittenden), Utah Territory, where the
+regiment was an element of Col. Albert Sidney Johnston's "Army of Utah"
+sent westward to police the recalcitrant Mormons.[7]
+
+Stieffel's record shows nothing of note until December 1859 when he was
+court-martialed and fined.[8] This court-martial seemed to set the pace
+for him. Although the precise charge on which he was tried is not
+stated, in view of his later record it can be surmised that it was for
+drunkenness--a very common offense in the frontier army--for in October
+1861 Stieffel owed a sutler $27.95, a heavy debt for a day when a
+private's net pay was less than $11.00 a month.[9] The debt remained
+unpaid through 1862 and even increasing an additional $15.00. During
+this period Stieffel also was in confinement on a number of occasions
+for crimes or misdemeanors unspecified.[10]
+
+In 1860 the 5th Infantry was transferred from Utah southward to the
+Department of New Mexico. It was here in 1862 that Stieffel saw his
+first combat in Col. E. R. S. Canby's[11] Union force, which frustrated
+the wild Confederate attempt under Brig. Gen. H. H. Sibley to invade the
+present states of New Mexico and Arizona and conquer California.[12]
+Captain Brotherton, Private Stieffel, and the remainder of Company K
+fought in the sharp action at Valverde, New Mexico, on February 21,
+1862, and evidently with some distinction as Brotherton was breveted
+major for gallantry as a result of his unit's performance.[13]
+Unfortunately for posterity, Stieffel did not record his impressions of
+this little-known sideshow of the Civil War.
+
+[Illustration: Figure 3.--Satanta addressing the peace commissioners at
+Council Grove, Medicine Lodge Creek, Kansas. (_USNM 384183; Smithsonian
+photo 38298._)]
+
+The Battle of Valverde was Stieffel's only experience in formal combat
+so far as the record shows. After the final withdrawal of Sibley's force
+into Texas whence it had come, the 5th Infantry turned its hand to
+policing the Indians and was almost constantly in the field during the
+period 1863-1866.[14] Stieffel, however, was seldom with his unit during
+this time. When not on one of his frequent stays in the stockade, he was
+on extra duty at the closest army hospital.[15] He continued on such
+duty for most of the remainder of his service,[16] except for
+confinements, a period of desertion, and necessary changes of station.
+
+Stieffel's exact unofficial status in Company K over the years is
+difficult to account for. It is possible, though hardly probable, that
+Captain Brotherton had developed a friendship with the German, which
+might account for both his acquisition of the paintings and Stieffel's
+extra-duty tours. But such is doubtful. Brotherton was a hardened
+professional officer in an era when there was a far wider gap between
+officer and enlisted man than exists today. There is no evidence that
+Stieffel was a shirker. At the end of each enlistment he reenlisted and
+always in Company K, and such reenlistment was subject to the company
+commander's veto. It is probable that he was not a particularly good
+soldier. But after the Civil War an army career in the ranks held little
+glamor for the average young man and recruiting officers were hard put
+to keep the ranks even partially filled, too often being forced to take
+what they could get. The most plausible explanation is that since every
+unit in the Army, then as today, was constantly called on for extra-duty
+men, the company first sergeant just as constantly selected the
+apparently agreeable Stieffel as the person whose absence was least
+likely to weaken the combat readiness of the company. The arrangement
+must have suited Brotherton, for he allowed it to continue for years. It
+obviously suited Stieffel, for once he was placed more or less
+permanently on such detail his periods of confinement ceased. Hospital
+duty in that day and age was hardly arduous, and the discipline was
+light. Also, it provided 25 cents a day extra pay. Thus, this duty gave
+Stieffel time to paint and, if our surmise is correct, both the time and
+the money for him to indulge his thirst. In any case, we are indebted to
+this light duty that gave him the opportunity to paint.
+
+In September 1867 Company K left New Mexico for Fort Harker, Kansas, in
+the Department of the Missouri, as escort for Brig. Gen. R. B. Marcy, an
+old member of the 5th Infantry who was acting as inspector general for
+troop units west of the Mississippi. On that march of something more
+than 500 miles the column was sharply attacked near Fort Dodge on the
+Arkansas River by a large force of Cheyenne believed led by Black
+Kettle, and Stieffel had his second and last taste of combat. The action
+must have impressed him, for it furnished the subject of the first of
+his paintings (fig. 2). From Fort Harker, Company K escorted the Indian
+peace commissioners to Council Grove on Big Medicine Lodge Creek for
+their treaty meeting with the Kiowas, Apaches, Comanches, Cheyenne, and
+Arapahoes in October. This historic meeting Stieffel witnessed and
+depicted with considerable color and attention to detail (figs. 3, 4).
+
+[Illustration: Figure 4.--Camp of the peace commissioners at Medicine
+Lodge Creek, Kansas. (_USNM 384184; Smithsonian photo 38298-A._)]
+
+After another period of hospital duty at Fort Harker (figs. 6, 7),
+Stieffel went in the field, for what appears to have been the last time,
+as a member of a wagon-train escort to Medicine Bluff, Indian Territory
+(present day Oklahoma), where General Sheridan was establishing Fort
+Sill on the southern edge of the Wichita Mountains.[17] This picturesque
+overhang of Medicine Bluff Creek, a small tributary of the Red River,
+was the subject of one of Stieffel's landscapes and perhaps his finest
+single work (fig. 5).
+
+[Illustration: Figure 5.--The Wichita Mountains from Medicine Bluffs,
+Indian Territory. (_USNM 384188; Smithsonian photo 42880._)]
+
+After this brief interlude in the wilderness, Stieffel went back to his
+hospital work. Then in September 1873, following a change of station
+for Company K from Harker to Fort Leavenworth, he went in desertion
+until the following May, being restored to duty upon his return, rather
+strangely, without trial but with loss of pay for the period of his
+absence.[18] The only possible explanation for this leniency in a period
+when court-martial sentences tended to severity could be that since
+extra-duty men had to be furnished, Stieffel was worth more to the
+company out of the stockade than in. With Indian unrest increasing every
+man counted.[19]
+
+[Illustration: Figure 6.--Fort Harker, Kansas; east side. (_USNM 384187;
+Smithsonian photo 42895._)]
+
+Following the Custer massacre on June 25, 1876, all posts in the
+Department of the Missouri were virtually stripped of troops, among them
+the 5th Infantry, and dispatched to the Department of Dakota in an
+all-out attempt to bring the rampaging Sioux under control. But Stieffel
+saw no action in the campaigns that followed. He was sick[20] and was
+left behind on July 12 when Company K left Leavenworth for the northwest
+for five years of almost continuous campaigning including numerous
+actions with the Sioux and the campaign against the gifted Indian
+tactician, Chief Joseph, and his Nez Perce. We could wish that Stieffel
+had been present during the Nez Perce campaign, for he might have
+pictured for us Nelson Miles and the 5th Infantry taking the surrender
+of Joseph in the Bear Paw Mountains at the end of his epochal 1,600-mile
+running fight.[21]
+
+Stieffel remained at Fort Leavenworth until 1877 when he rejoined his
+regiment at Cantonment Tongue River, Montana Territory, renamed Fort
+Keogh in 1879. At Keogh he was again placed on hospital extra-duty and
+so remained until he was discharged June 23, 1882,[22] on a surgeon's
+certificate of disability. After his discharge he retired to the
+Soldier's Home in Washington where he died on December 14, 1886, at the
+age of 60. He was buried in the National Cemetery on the Soldiers' Home
+grounds.[23]
+
+Stieffel painted three scenes of Fort Keogh and vicinity--one of the
+fort itself, one of Miles City across the Tongue River, and a landscape
+of the Yellowstone River near Miles City (figs. 8-10).
+
+
+The Paintings
+
+Chronologically, the first of the paintings (fig. 2) is that of the
+Indian attack on General Marcy's train escorted by Company K on
+September 23, 1867. This attack took place on the Arkansas River about
+nine miles west of Cimarron Crossing, Kansas. It was an insignificant
+action as such, similar to hundreds of other such fights in the West,
+but, in the days of wet-plate photography and low-speed camera shutters,
+the painting is significant as a rare eye-witness drawing and tells us
+far more than might any written description. General Marcy's report is
+somewhat cursory:
+
+     Yesterday at about 9 o'clock a.m. as we were approaching a bluff
+     near the Arkansas River thirty-five miles above here we suddenly
+     discovered a great many Indians approaching us from various
+     different directions. I immediately halted our train and after
+     arranging our escort in proper order for action went forward. The
+     Indians circled around us at full speed firing as they ran but did
+     not come very near us. I would not allow our men to fire at the
+     long range, believing that the Indians would come nearer but they
+     did not. Some of the men fired and it is believed that two were
+     wounded as groups collected around them. They wounded Lt. Williams
+     severely in the leg and one soldier who has since died.
+
+     Near the point where the affair occurred was a large train of
+     wagons en route to New Mexico with valuable freight. The train had
+     two hundred mules driven off by the Indians about twelve days ago,
+     and it had been guarded by twenty-five men since, and it is
+     probable that the Indians were there for the purpose of capturing
+     the train as they had been firing into it previous to our
+     arrival.[24]
+
+Stieffel tells us much more in his painting. Upon being attacked the
+train has pulled off the road, visible in the left foreground, and
+corralled. The horses remain hitched, witness to the suddenness of the
+attack. That the Indians did not venture overly close, as stated by
+Marcy, is indicated by the fact that Brotherton's men have not been
+forced to take cover behind the wagons. That the Indians appear closer
+than Marcy indicates is due to the artist's lack of perspective. They
+are firing muzzle-loading rifles, several men being in the act of
+ramming home charges. Stieffel is doubtless correct in this detail. The
+Chief of Ordnance reported in October 1867 that nearly all the infantry
+in the Departments of the Missouri and the Platte had been issued
+breech-loaders.[25] It seems more than probable that Company K, in
+transit as it was from the distant Department of New Mexico, had never
+seen the new weapons.
+
+In the matter of uniform, Stieffel may have been indulging his fancy
+somewhat when he pictured the men as wearing the long frock coat and
+black campaign hat. A miscellany of dress with the short fatigue jacket
+and kepi predominating would seem far more reasonable for an outfit
+which had just finished six rough years in the desert Southwest and was
+even then nearing the end of a 500-mile march. The artist, as did most
+observers of the period, has patently overestimated the number of
+Indians who must have carried firearms in the attack. Fully 50 percent
+or more of the Indians are pictured as so armed, a point
+which--understandable as it may be in the case of an observer
+participating in what may well have been his first Indian fight--is not
+borne out by the record. In the Fetterman Massacre of the previous
+December, of the 81 white men killed only six bore gunshot wounds,[26]
+and the best evidence indicates that the force which overwhelmed Custer
+on the Little Big Horn River in 1876 was at least 50 percent armed with
+bow and arrow.[27] Then again, General Marcy's report would seem to bear
+this out. Had the Indians been well armed, the freight wagon train,
+which Stieffel pictures corralled in the right background, could hardly
+have held out for twelve days against a force estimated at 300 or more
+warriors defended by only 25 men, at least a part of whom were Mexicans
+described by Marcy as badly frightened.[28] The soldier in the center
+background making a dash for the corralled wagons is probably a flanker
+cut off by the sudden attack, possibly the Lt. Williams who was wounded,
+since only officers in the infantry were mounted. The group of Indians
+around the fire (in the right centerground) cannot be accounted for.
+
+[Illustration: Figure 7.--Fort Harker, Kansas; south side. (_USNM
+384186; Smithsonian photo 38986._)]
+
+Stieffel's two pictures of the meeting of the Government's peace
+commissioners with the Indians at the general tribal rendezvous on Big
+Medicine Lodge Creek in October 1867 (figs. 3, 4) are his most important
+from a historical standpoint, especially the one of Satanta, the Kiowa
+chief, addressing the meeting.[29]
+
+Indian unrest during and immediately after the Civil War caused by the
+ever-increasing white migration to the West had grown to such
+proportions that in 1867 the Congress launched an all-out effort to
+establish a lasting peace on the frontier. The plan was to persuade the
+warring tribes to sign treaties whereby they would move onto
+reservations where they would be undisturbed by the whites and, in turn,
+would cease to molest the frontier settlements.[30] The Indians
+concerned with the Medicine Lodge treaty were the Kiowa, Comanche,
+Apache, Cheyenne, and Arapahoe. This treaty is unusually important, as
+it changed the entire status of these tribes from that of independence
+with free and unrestricted range over the entire plains area to that of
+dependence on the Government with confinement to the limits of a
+reservation with constant civilian and military supervision. For the
+Indians it was the beginning of the end.
+
+[Illustration: Figure 8.--Fort Keogh, Montana. (_USNM 384189;
+Smithsonian photo 37925._)]
+
+Upon its arrival at Fort Harker following the action of September 23,
+Company K had been assigned as escort for the commissioners, thus
+Stieffel's presence at Council Grove. It was a colorful gathering, with
+some 5,000 Indians on hand. First came a series of speeches. Then the
+treaty was drawn up and explained to the Indians. They were to retire to
+assigned reservations, cease attacking the whites, and permit railroads
+to be built across the plains. In return the reservations were to be
+closed to the white buffalo hunters and the tribes were to be issued
+certain annuities and provided with farming implements, seeds, churches,
+and schools. In short, the Indians were to be forced to "walk the white
+man's road."
+
+When the turn came for the Indians to reply, several chiefs responded,
+the most notable being the Kiowa chief, Satanta, or "White Bear" (fig.
+11), one of the most remarkable individuals in his tribe's history.
+Speaking for all, Satanta made an unusually strong impression on most of
+those present, Stieffel among them, for this is the incident which he
+chose to depict[31] (fig. 3).
+
+Satanta is pictured in the act of speaking to the commissioners, three
+of whom can be identified as the military members, Generals Terry,
+Augur, and Harney from left to right,[32] plus one of the civilian
+commissioners, possibly N. G. Taylor, Commissioner of Indian Affairs. A
+daring and successful warrior, Satanta's eloquence and vigor of
+expression had already won for him the title "Orator of the Plains."
+Every feature on his strong face, every line, showed his character--a
+forceful, untamable savage of a tribe as well known for its lack of
+honor, gratitude, and general reliability as for its bravery.[33] With
+great dignity and impact he first denounced bitterly and scornfully the
+killing for mere sport of a number of buffalo near the council site by
+some troopers of the 7th Cavalry:
+
+     Has the white man become a child, that he should recklessly kill
+     and not eat? When the red men slay game, they do so that they may
+     live and not starve.
+
+In direct relation to the treaty, he continued with obvious sincerity:
+
+     I love the land and the buffalo.... I don't want any of the
+     medicine lodges [schools and churches] within the country. I want
+     the children raised as I was.... I have heard that you intend to
+     settle us on a reservation near the mountains. I don't want to
+     settle. I love to roam over the prairies. There I am free and
+     happy, but when we settle down we grow pale and die.... A long
+     time ago this land belonged to our fathers; but when I go up to the
+     river I see camps of soldiers on its banks. These soldiers cut down
+     my timber; they kill my buffalo; and when I see that my heart feels
+     like busting.
+
+Little wonder Stieffel and all those present were impressed. It is
+appropriate to add that neither the Indians nor the Government of the
+United States observed the provisions of this treaty.
+
+[Illustration: Figure 9.--Miles City, Montana. (_USNM 384190;
+Smithsonian photo 37925-B._)]
+
+The remainder of Stieffel's paintings have no such impact as the earlier
+ones, but nonetheless they are important, especially for their almost
+meticulous detail of camp and post life and terrain in the West. In that
+of the camp of peace commissioners he accurately depicts the various
+types of tentage of the Army at the time--the small slanting wall tents
+of the enlisted men, the wall tents of the individual officers, the
+large wall headquarters and officers' mess tents, and the familiar
+Sibleys, one of which is obviously being used for the guard. The escort
+wagons and ambulances are regulation transport of the period. The artist
+has even included a sentry walking post at the ration dump with fixed
+bayonet, a sound precaution against sticky red fingers. Two Indian
+camps are shown in the background, and the Indians, as would befit the
+atmosphere of a treaty council, are moving freely through the military
+camp to the apparent unconcern of the military.
+
+[Illustration: Figure 10.--The Yellowstone River near Fort Keogh,
+Montana. (_USNM 384191; Smithsonian photo 37925-A._)]
+
+The landscape of the Wichita Mountains from Medicine Bluffs (fig. 5) on
+the present-day Fort Sill reservation is noteworthy as a terrain sketch
+to anyone who has served at that post. I have ridden over this country
+many times, and the undulating prairie, the meandering of Medicine
+Creek, the Bluffs themselves--over the highest of which (left
+centerground) the Apache Geronimo did _not_ ride his horse with the 7th
+Cavalry in full cry behind--Mount Hinds and lofty Mount Scott are
+remarkable in their accuracy when one considers that the painting must
+have been done from sketches made when Stieffel was on escort detail to
+the Indian Territory in 1869.[34]
+
+The two views of Fort Harker, Kansas (figs. 6, 7), now Ellsworth, must
+have been painted during 1870 and 1871 while Stieffel was on extra duty
+as a hospital attendant there. From an artistic standpoint they are the
+poorest of his work. His detail, however, more than compensates for any
+deficiencies as a draftsman and gives us an excellent concept of the
+physical layout and daily routine of a small post in the Southern
+Plains. The two views are from the east and south, and complement one
+another nicely. Headquarters, officers' quarters, and barracks, all of
+typical clapboard construction, are readily discernible, as are the
+stables, the latter being the long unfenestrated buildings. Even the
+barrack privies, an outdoor bake oven alongside a mess hall, and
+earth-covered powder magazines can be easily identified. The long rows
+of cordwood for cooking and heating were to be seen on any post of the
+period. In the view from the east (fig. 6) may be seen a detail of
+cavalrymen with led horses moving out for animal exercise past the camp
+of a transient unit with its standard tentage and transport. The high
+white paling fence is difficult to place, being either an animal
+corral, in which case it would be much too high, or a forage yard, since
+no hay piles are visible elsewhere. Stieffel seems to have been
+considerably fascinated by the railroad (fig. 7) with its accompanying
+telegraph line running southwest of the fort, for again he paints in
+some detail, although this time with an almost childish conception. The
+"U.P.R.W.E.D." which he so carefully letters in identifies the line as
+the Union Pacific Railway, Eastern Division.[35] The naming of the
+engine "Osage" was as typical of the period as the naming of individual
+commercial aircraft is today.
+
+[Illustration: Figure 11.--Kiowa Chief Satanta, or White Bear.
+(_Smithsonian photo BAE 1380-A._)]
+
+The last three paintings (figs. 8-10) fall in the period of Stieffel's
+service at Fort Keogh in the Department of Dakota. The fort, named for
+Captain Miles Keogh (who died with Custer in the Little Big Horn
+massacre) and originally called Cantonment Tongue River, was located at
+the confluence of the Tongue and Yellowstone Rivers near present-day
+Miles City, Montana.
+
+The pictures of both the fort (fig. 8) and Miles City (fig. 9) are
+subject to check against extant photographs; they are amazing in their
+detail and accuracy. The over-all layout of the fort conforms, and such
+minute details as the gable windows and chimneys of the officers'
+quarters on the left of the parade ground and the two-story verandas on
+the enlisted barracks opposite are absolutely correct.[36] The familiar
+stables, corral, wood piles, and hay piles--the latter surrounded by a
+stone wall as protection against grass fire in the dry months--are
+readily discernible (fig. 8). The low stone buildings and corral in the
+right centerground probably are part of the original structures of
+Cantonment Tongue River. The small shacks to the left of them probably
+are the homes of the civilian hangers-on who founded Miles City in 1876
+after being ejected from the post by Col. Nelson Miles, the commander of
+the 5th Infantry. The first site of Miles City can be seen in the upper
+right corner on the banks of the Tongue. The town was moved across the
+river in 1877. The mounted drill in the foreground is difficult to
+explain in a period when and in an area where the troops were almost
+constantly in the field under combat conditions. Perhaps it is mere
+window dressing by the artist. It is entirely possible, however, that
+Stieffel has pictured elements of his own regiment, which was mounted
+from 1877 until after the surrender of Sitting Bull in 1881. Being
+basically infantry they would be most in need of training in mounted
+tactics. Then again, these could be legitimate cavalry whose commander
+thought had wandered too far from regulation movements during the
+unorthodox winter warfare they had been waging against the Indians.
+
+The view of Miles City (fig. 9) has little importance in a military
+sense, but it is a fine contemporary view of a frontier town of the
+period. It is probably the product of a spring afternoon Stieffel spent
+along the banks of the Tongue. It was painted before 1880--a wooden
+bridge had replaced the ferry by that year[37]--and probably as early as
+1878, for the town grew rapidly and Stieffel pictures only two streets,
+Main and Park, running at right angles. The town is correctly placed in
+a grove of cottonwoods, and low to the river as evidenced by the almost
+annual flooding of the streets.[38] Structures which can be readily
+identified, reading from left to right on Main Street, are the Diamond D
+corral visible near the ferry landing; the town stockade which Stieffel
+has either misplaced or which was later moved; Major Bochardt's store,
+the white two-story building; Broadwater, Hubbel and Co., the brown
+two-story structure next right; the Cottage Saloon at the corner of Main
+and Park Streets, just to the right of the flag pole; and Morris Cahn's
+drygoods emporium on Park Street, in the right centerground, that can be
+identified by Cahn's name on the false front.[39]
+
+
+A Note on Stieffel's Indians
+
+In seven of his nine paintings Stieffel has executed his Indian subjects
+in colorful detail and with some care. Although he apparently did not
+know his subjects well enough to distinguish them by tribe, he does
+depict them in typical dress of the period. Many of them are wearing
+German silver ornaments of various designs about their necks, on strips
+of flannel attached to their hair pigtail-like, or as arm bands. At
+least four are wearing hair-pipe breast plates, a fact of interest to
+ethnologists,[40] and several wear the comical, Puritan style, tall
+black hats issued as annuity goods. The red and blue robes are of
+trades-good flannel, as probably are the leggings. Two wear buffalo
+robes with the skin side out and the hair side rolled over at the
+shoulder.[41] Two, in the Fort Keogh picture (fig. 8) and the
+Yellowstone River landscape (fig. 10), wear robes of the familiar,
+colorfully striped Hudson Bay blanketing material. Arms are
+conventional--bows, quivered arrows, and pipe tomahawks, with a
+scattering of firearms. In the Yellowstone River landscape one
+discrepancy should be pointed out--the canoe; the Northern Plains
+Indians seldom used water transport, and then generally only in the form
+of rafts.
+
+
+
+
+FOOTNOTES:
+
+[Footnote 1: For George Catlin, Gustavus Sohon, and George Gibbs, see:
+John C. Ewers, "Gustavus Sohon's Portraits of Flathead and Pend
+d'Oreille Indians, 1854," _Smithsonian Miscellaneous Collections_, vol.
+110, no. 7, 1948; "George Catlin, Painter of Indians and the West," in
+_Annual Report of the ... Smithsonian Institution ... 1955_, 1956, pp.
+483-528; Marvin C. Ross, _George Catlin, Episodes from Life Among the
+Indians and Last Rambles_, Norman, Okla., Univ. Oklahoma Press, 1959;
+Harold McCracken, _George Catlin and the Old Frontier_, New York, Dial
+Press, 1959; David I. Bushnell, Jr., "Drawings by George Gibbs in the
+Far Northwest, 1849-1851," _Smithsonian Miscellaneous Collections_, vol.
+97, no. 8, 1938.
+
+For Alfred Jacob Miller, see: Bernard DeVoto, _Across the Wide
+Missouri_, Boston, Little, Brown and Co., 1947; Marvin C. Ross, editor,
+_The West of Alfred Jacob Miller_, Norman, Okla., Univ. Oklahoma Press,
+1951.
+
+For Frederick Remington and Charles Russell, see: Harold McCracken,
+_Frederick Remington, Artist of the Old West_, Philadelphia, Lippincott,
+1947, and _The Charles M. Russell Book; the Life and Work of the Cowboy
+Artist_, Garden City, Doubleday, 1957.]
+
+[Footnote 2: See: Mark H. Brown and W. R. Felton, _The Frontier Years.
+L. A. Huffman, Photographer of the Plains_, New York, Henry Holt and
+Co., 1955; Martin F. Schmitt and Dee Brown, _Fighting Indians of the
+West_, New York, Charles Scribner's Sons, 1948.]
+
+[Footnote 3: An excellent group of these crude on-the-spot drawings and
+paintings is reproduced in Grace Raymond Hebard and E. A. Brininstool,
+_The Bozeman Trail_, 2 vols., Cleveland, The Arthur H. Clark Co., 1922.]
+
+[Footnote 4: No. 173740 in the U.S. National Museum.]
+
+[Footnote 5: The information on Brotherton's career has been culled
+from: _Register of Graduates and Former Cadets United States Military
+Academy, 1802-1946_, New York, The West Point Alumni Foundation, Inc.,
+1946; Francis B. Heitman, _Historical Register and Dictionary of the
+United States Army_, Washington, Government Printing Office, 1903, vol.
+1; George W. Cullum, _Biographical Register of the Officers and
+Graduates of the U.S. Military Academy_, Boston, 1891-1930, vol. 3.]
+
+[Footnote 6: Enlistment papers of Hermann Stieffel dated December 17,
+1857, Adjutant General's Records, National Archives, Washington.]
+
+[Footnote 7: Theo F. Rodenbough and William L. Haskin, _The Army of the
+United States_, New York, Maynard, Merrill & Co., 1896, pp. 471-472;
+Remarks on Muster Roll, Company K, 5th Infantry (hereinafter cited as
+Muster Roll, Co. K), August 31, 1858, Adjutant General's Records,
+National Archives, Washington.]
+
+[Footnote 8: Muster Roll, Co. K, _op. cit._ (footnote 7), December 31,
+1859.]
+
+[Footnote 9: In 1861 a private's pay was $13.00 per month with $2.00
+withheld until expiration of his enlistment and $.12-1/2 withheld for
+support of the U.S. Soldiers' Home at Washington. (_U.S. Army
+Regulations_, 1861.)]
+
+[Footnote 10: Muster Roll, Co. K, _op. cit._ (footnote 7), October 31,
+1861; December 31, 1861; April 30, 1862; June 30, 1862; December 31,
+1862; February 28, 1863; April 30, 1863; February 28, 1864; June 30,
+1864.]
+
+[Footnote 11: Canby was murdered by the Modoc Captain Jack in 1873 while
+engaged in a peace conference.]
+
+[Footnote 12: For details of these operations, see: _The War of the
+Rebellion: Official Records of the Union and Confederate Armies_, 130
+vols., Washington, War Department, 1880-1901, ser. 1, vol. 9, pp.
+487-522.]
+
+[Footnote 13: _Ibid._, ser. 1, vol. 47, pt. 2, p. 1246.]
+
+[Footnote 14: Rodenbough and Haskin, _op. cit._ (footnote 7), p. 472;
+Muster Roll, Co. K, _op. cit._ (footnote 7), April 30, 1863; June 30,
+1864; October 31, 1865.]
+
+[Footnote 15: The first note of such duty is in Muster Roll, Co. K, _op.
+cit._ (footnote 7), February 28, 1863.]
+
+[Footnote 16: See Muster Roll, Co. K, _op. cit._ (footnote 7),
+1863-1882. The muster rolls were submitted bimonthly.]
+
+[Footnote 17: _Ibid._, June 30, 1868; February 28, 1869; April 30,
+1869.]
+
+[Footnote 18: _Ibid._, December 31, 1869; September 30, 1873; June 30,
+1874.]
+
+[Footnote 19: Company K was almost at full strength at the time,
+mustering 58 enlisted men of the 60 authorized. _Ibid._, September 30,
+1873; _Official Army Register for January 1874_, Washington, Adjutant
+General's Office, 1874, p. 260B.]
+
+[Footnote 20: Muster Roll, Co. K, _op. cit._ (footnote 7), August 31,
+1876.]
+
+[Footnote 21: Frederick Remington has pictured this surrender for us,
+but he was not an eye witness.]
+
+[Footnote 22: Muster Roll, Co. K, _op. cit._ (footnote 7), August 31,
+1878, to June 30, 1882; Certificate of Disability for Discharge, Private
+Hermann Stieffel, April 8, 1882, Adjutant General's Records, National
+Archives. The date of June 23, given on the Muster Roll, was apparently
+that on which the discharge received final approval in Washington.]
+
+[Footnote 23: There is no record of Stieffel's ever having been a member
+of the Soldiers' Home, but the Home's records for the 1880's are very
+incomplete. However, his discharge gives his forwarding address as that
+institution, and there is definite record of the date of his death and
+interment there.]
+
+[Footnote 24: Report of Brig. Gen. R. B. Marcy, September 24, 1867,
+document no. 1,000, AGO, Department of Missouri, vol. 4, 1867, Civil War
+Branch, National Archives.]
+
+[Footnote 25: _Report of Chief of Ordnance, 1867_, Washington, War
+Department, 1868.]
+
+[Footnote 26: George Bird Grinnell, _The Fighting Cheyenne_, New York,
+Charles Scribner's Sons, 1915, p. 235.]
+
+[Footnote 27: Frazier and Robert Hunt, _I Fought With Custer: The Story
+of Sergeant Windolph_, New York, Charles Scribner's Sons, 1947, p. 92.
+For an excellent discussion of Indian armament at this period, see John
+E. Parsons and John S. DuMont, _Firearms in the Custer Battle_,
+Harrisburg, The Stackpole Company, 1953.]
+
+[Footnote 28: Marcy's report, _op. cit._ (footnote 24).]
+
+[Footnote 29: Jack Howland, artist for _Harper's Weekly_, also pictured
+Satanta speaking to the commissioners, and with more accuracy in that
+all the civilian commissioners are visible, but his pictures lack the
+color and drama of Stieffel's work. See: _Harper's Weekly_, November 16,
+1867.]
+
+[Footnote 30: The records of this treaty meeting are contained in the
+Office of Indian Affairs, Record Group 75, National Archives. The final
+treaties are reproduced in _Indian Affairs: Laws and Treaties_, vol. 2,
+Washington, Government Printing Office, 1903, pp. 754-764.]
+
+[Footnote 31: There are several accounts of this. The best, in the
+opinion of the writer, is in James Mooney's "Calendar History of the
+Kiowa Indians," _17th Annual Report of the Bureau of American
+Ethnology_, Washington, Government Printing Office, 1898, pp. 181-186,
+206-210.]
+
+[Footnote 32: See photo taken at later date by Alexander Gardner, Still
+Picture Branch, National Archives.]
+
+[Footnote 33: An interesting sidelight on Satanta: In the spring of 1867
+he accepted a complete general officer's uniform from General Hancock at
+Fort Dodge and reciprocated shortly afterwards by attacking the post
+while decked out in his new dress.]
+
+[Footnote 34: Detail and orientation check closely with map of Fort
+Sill, Oklahoma, sheet 6353 III NW, scale 1:25,000, Army Map Service.]
+
+[Footnote 35: This was identified in Engineer Files, Cartographic
+Branch, National Archives.]
+
+[Footnote 36: An over-all photographic view of the post is in Still
+Picture Branch, National Archives. For photos of the officers' quarters
+and barracks, see Brown and Felton, _op. cit._ (footnote 2), pp. 98,
+128.]
+
+[Footnote 37: See photo in Brown and Felton _op. cit._ (footnote 2), p
+135.]
+
+[Footnote 38: _Ibid._, pp. 137, 140.]
+
+[Footnote 39: _Ibid._, pp. 157, 163, and end paper map.]
+
+[Footnote 40: Ewers, _op. cit._ (footnote 1), pp. 58-61, 1948.]
+
+[Footnote 41: Lower right in the Council Grove scene and in the
+foreground of the Fort Keogh picture.]
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Hermann Stieffel, Soldier Artist of
+the West, by Edgar M. Howell
+
+*** END OF THIS PROJECT GUTENBERG EBOOK HERMAN STIEFFEL, SOLDIER/ARTIST ***
+
+***** This file should be named 36066.txt or 36066.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/3/6/0/6/36066/
+
+Produced by Chris Curnow, Joseph Cooper, Diane Monico, and
+the Online Distributed Proofreading Team at
+https://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
+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 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at 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.