diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-03-08 09:30:49 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-03-08 09:30:49 -0800 |
| commit | cb6cc2e4bd752a62a335a4a250de88908a59af35 (patch) | |
| tree | 70ed4bb1e461b7b95556016fd58082f3c099e89c /41886-h | |
| parent | fc75acc5baa2e3a21208bf36ccffe45f9a23e24a (diff) | |
Diffstat (limited to '41886-h')
| -rw-r--r-- | 41886-h/41886-h.htm | 532 |
1 files changed, 58 insertions, 474 deletions
diff --git a/41886-h/41886-h.htm b/41886-h/41886-h.htm index dec9e74..65cb51f 100644 --- a/41886-h/41886-h.htm +++ b/41886-h/41886-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of Chardin, by Paul G. Konody. @@ -235,47 +235,7 @@ a.ref {text-decoration: none;} </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of Chardin, by Paul G. Konody - -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: Chardin - -Author: Paul G. Konody - -Editor: T. Leman Hare - -Release Date: January 20, 2013 [EBook #41886] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK CHARDIN *** - - - - -Produced by sp1nd, Charlie Howard, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 41886 ***</div> <div class="transnote"> <p class="in0 center">Transcriber's Note:</p> @@ -389,7 +349,7 @@ higher-quality format.</p> <td class="tdl">BURNE-JONES.</td> <td class="tdl nopadrt"><span class="smcap">A. Lys Baldry.</span></td></tr> <tr> - <td class="tdl">VIGÉE LE BRUN.</td> + <td class="tdl">VIGÉE LE BRUN.</td> <td class="tdl nopadrt"><span class="smcap">C. Haldane MacFall.</span></td></tr> <tr> <td class="tdl">J. F. MILLET.</td> @@ -405,7 +365,7 @@ higher-quality format.</p> <td class="tdl">MEMLINC.</td> <td class="tdl nopadrt"><span class="smcap">W. H. James Weale.</span></td></tr> <tr> - <td class="tdl">ALBERT DÜRER.</td> + <td class="tdl">ALBERT DÃœRER.</td> <td class="tdl nopadrt"><span class="smcap">Herbert Furst.</span></td></tr> <tr> <td class="tdl">FRAGONARD.</td> @@ -533,7 +493,7 @@ REPRODUCTIONS IN COLOUR <td> </td></tr> <tr> <td class="tdn">IV.</td> - <td class="tdl"><a href="#PLATE_IV">Le Bénédicité, or Grace before Meat</a></td> + <td class="tdl"><a href="#PLATE_IV">Le Bénédicité, or Grace before Meat</a></td> <td class="tdr">34</td></tr> <tr> <td class="tdn"> </td> @@ -551,7 +511,7 @@ REPRODUCTIONS IN COLOUR <td> </td></tr> <tr> <td class="tdn">VI.</td> - <td class="tdl"><a href="#PLATE_VI">La Mère Laborieuse </a></td> + <td class="tdl"><a href="#PLATE_VI">La Mère Laborieuse </a></td> <td class="tdr">50</td></tr> <tr> <td class="tdn"> </td> @@ -560,7 +520,7 @@ REPRODUCTIONS IN COLOUR <td> </td></tr> <tr> <td class="tdn">VII.</td> - <td class="tdl"><a href="#PLATE_VII">Le Panneau de Pêches, or the Basket of Peaches</a></td> + <td class="tdl"><a href="#PLATE_VII">Le Panneau de Pêches, or the Basket of Peaches</a></td> <td class="tdr">60</td></tr> <tr> <td class="tdn"> </td> @@ -587,7 +547,7 @@ REPRODUCTIONS IN COLOUR <h2><a name="I" id="I">I</a></h2> -<p class="in0"><span class="dropcap">J</span><span class="dropleftmin">EAN-BAPTISTE SIMÉON CHARDIN</span> +<p class="in0"><span class="dropcap">J</span><span class="dropleftmin">EAN-BAPTISTE SIMÉON CHARDIN</span> occupies a curious position among the artists of his time and country. His art which, neglected and despised for many @@ -628,7 +588,7 @@ The style of the early French miniaturists of the Burgundian School, of Fouquet and of Clouet, is the style of the North; their art is interwoven with the art of Flanders. -When in the time of François I. the School +When in the time of François I. the School of Fontainebleau, headed by Primaticcio and Rosso, promulgated the gospel that artistic salvation could only be found in the @@ -662,7 +622,7 @@ afterwards through Chardin, whose style was so closely akin to that of the Flemings that, when he first submitted some pieces of still-life to the members of the Academy, -Largillière himself took them to be the +Largillière himself took them to be the work of some excellent unknown Flemish painter.</p> @@ -821,7 +781,7 @@ the painter rather than the draughtsman.</p> <p>Still, having pointed out the gulf that divides our master from the still-life -painters of the <i xml:lang="fr" lang="fr">grand siècle</i>, it is only +painters of the <i xml:lang="fr" lang="fr">grand siècle</i>, it is only right to add that he did not burst upon the world as an isolated phenomenon, and that painters like Desportes and Oudry @@ -843,7 +803,7 @@ traditional in his art, we arrive already at a new conception of still-life painting. In a paper read by this artist to the Academy he relates how, in his student days, when -asked by Largillière to paint some flowers, +asked by Largillière to paint some flowers, he placed a carefully chosen, gaily coloured bouquet in a vase, when his master stopped him and said: "I have set you this task @@ -855,7 +815,7 @@ told to observe that the flowers are brown on the shadow side, that on a light ground they appear in half tones, and that the whitest of them are darker than absolute -white. Largillière then pointed out to him +white. Largillière then pointed out to him the action of reflections, and made him paint by the side of the flowers various<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span> white objects of different value for comparison. @@ -880,7 +840,7 @@ companion picture to the "Young Man with the Violin," which represents the child's elder brother Charles. The two pictures were bought in 1907 for the Louvre, at the high price of 350,000 francs. "L'Enfant au Toton" was first exhibited at the Salon of 1738, and -was engraved by Lépicié in 1742. A replica of the picture was in +was engraved by Lépicié in 1742. A replica of the picture was in the collection of the late M. Groult. It is one of Chardin's most delightful presentments of innocent childish amusement, and illustrates at the same time the master's supreme skill in the painting of @@ -944,7 +904,7 @@ search for colour values and atmosphere, he is vastly superior to Greuze, whose genre scenes are never free from literary flavour and from a certain kind of affectation. Nor -does Chardin ever fancy himself in the rôle +does Chardin ever fancy himself in the rôle of the moralist like our own Hogarth, with whom he has otherwise so much in common. He looks upon his simple fellow-creatures @@ -974,15 +934,15 @@ reality which we find in such masterpieces as the "Grace before Meat," "The Reading Lesson," "The Governess," "The Convalescent's Meal," "The Card Castle," the -"Récureuse," the "Pourvoyeuse," and the +"Récureuse," the "Pourvoyeuse," and the famous "Child with the Top," which, after<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span> having changed hands in 1845, at the time when Chardin was held in slight esteem, -for less than £25, was recently bought for +for less than £25, was recently bought for the Louvre, together with the companion portrait of Charles Godefroy, "The Young Man with the Violin," for the enormous -price of £14,000.</p> +price of £14,000.</p> <p>In the case of each of these pictures the first thing that strikes your attention @@ -1070,11 +1030,11 @@ his tones in the mellowest of harmonies! of Mariette's comments.</p> <div class="figcenter"> -<div class="caption p4" id="PLATE_IV">PLATE IV.—LE BÉNÉDICITÉ (GRACE BEFORE MEAT)<br /> +<div class="caption p4" id="PLATE_IV">PLATE IV.—LE BÉNÉDICITÉ (GRACE BEFORE MEAT)<br /> <p class="in0 center padhalf">(In the Louvre)</p> -<p>"Le Bénédicité," or "Grace before Meat," is perhaps the most +<p>"Le Bénédicité," or "Grace before Meat," is perhaps the most popular and best known of all Chardin's domestic genre pieces. It combines the highest technical and artistic qualities with a touching simplicity of sentiment that must endear it even to those who cannot @@ -1083,7 +1043,7 @@ original is probably the version in the Hermitage Collection at St. Petersburg. The Louvre owns two examples—one from the collection of Louis XV., another from the La Caze Collection. This latter version appeared three times in the Paris sale-rooms, the last -time in 1876, when it realised the sum of £20! Another authentic +time in 1876, when it realised the sum of £20! Another authentic replica is in the Marcille Collection, and yet another at Stockholm.</p></div> <a href="images/i_036l.jpg"> <img src="images/i_036.jpg" width="395" height="500" alt="" /></a> @@ -1126,7 +1086,7 @@ who at the same period writes: "His method is irregular. He places his colours one after the other, almost without mixing, so that his work bears a certain resemblance -to mosaic, or <i xml:lang="fr" lang="fr">point carré</i> needlework." +to mosaic, or <i xml:lang="fr" lang="fr">point carré</i> needlework." This description, given by two independent contemporaries, almost suggests the technique of the modern impressionists and @@ -1235,7 +1195,7 @@ Liechtenstein in Vienna. Observe the perfectly natural attitude of the woman and the child, in which there is not the slightest hint of posing for the artist. Like all Chardin's genre pictures, it is, as it were, a glimpse of real life. This picture and its companion "La -Mère Laborieuse" figured at the sale of Chardin's works after his +Mère Laborieuse" figured at the sale of Chardin's works after his death, when his art received such scant appreciation that the pair only realised 30 livres 4 sous!</p></div> <a href="images/i_043l.jpg"> @@ -1246,7 +1206,7 @@ only realised 30 livres 4 sous!</p></div> that, his <i xml:lang="fr" lang="fr">milieu</i>—are expressed in no uncertain fashion in his three auto-portraits, two of which are at the Louvre, and one -in the Collection of M. Léon Michel-Lévy. +in the Collection of M. Léon Michel-Lévy. A good, kind-hearted, simple-minded man he appears in these pastel portraits, which all date from the last years of his life, a @@ -1274,7 +1234,7 @@ years have lost none of their searching intelligence, even though they have to be aided by round horn-rimmed spectacles; the same revelation of a lovable nature, -even though in M. Michel-Lévy's version +even though in M. Michel-Lévy's version worry and suffering have left their traces on the features. He is the embodiment of decent middle-class respectability. Decency @@ -1350,7 +1310,7 @@ the Revolution and the Empire were close at hand when he died, and because the social upheavals led to new ideals and to an art that was based on an altogether -different æsthetic code. The star of David +different æsthetic code. The star of David rose when Chardin's gave its last flickers; and Chardin himself was among the commissioners who signed on the 10th of @@ -1371,7 +1331,7 @@ every modern painter's studio.</p> <h2><a name="III" id="III">III</a></h2> -<p>Jean-Baptiste Siméon Chardin was born +<p>Jean-Baptiste Siméon Chardin was born in Paris on November 2, 1699, the second son of Jean Chardin, cabinetmaker, or to be more strict, billiard-table maker, a hard-working @@ -1395,13 +1355,13 @@ take up his own profession, he was quick in recognising and encouraging the boy's early talent, and finally made him enter the Atelier of Pierre Jacques Cazes where -Siméon received his first systematic training. +Siméon received his first systematic training. Cazes was a capable enough painter in the traditional grand manner of Le Brun, which had been taught to him by Bon Boullogne. He had taken the Prix de Rome, and issued victorious from several other competitions, -but, like Rigaud and Largillière and several +but, like Rigaud and Largillière and several other distinguished painters of the period, never availed himself of the privilege entailed by the award of the Prix de Rome. Indeed, @@ -1434,22 +1394,22 @@ to Chardin like the drudgery of acquiring proficiency in a hieroglyphic language that conveyed no definite meaning to him. Still, Chardin made such progress under his first -master that Noël Nicolas Coypel engaged +master that Noël Nicolas Coypel engaged <span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span>him as assistant to paint the details in some decorative over-door panels representing the Seasons and the Pleasures of the Chase.</p> <div class="figcenter"> -<div class="caption p4" id="PLATE_VI">PLATE VI.—LA MÈRE LABORIEUSE<br /> +<div class="caption p4" id="PLATE_VI">PLATE VI.—LA MÈRE LABORIEUSE<br /> <p class="in0 center padhalf">(In the Stockholm Museum)</p> -<p>"La Mère Laborieuse," which is the companion picture to "La +<p>"La Mère Laborieuse," which is the companion picture to "La Gouvernante," was first exhibited at the Salon of 1745, where it attracted the attention of Count Tessin, who immediately commissioned the replica which is now at the Stockholm Museum. The -picture was engraved by Lépicié in the same year in which it was +picture was engraved by Lépicié in the same year in which it was first exhibited.</p></div> <a href="images/i_054l.jpg"> <img src="images/i_054.jpg" width="395" height="500" alt="" /></a> @@ -1563,7 +1523,7 @@ of the members of the Academy, this <i xml:lang="fr" lang="fr">Exposition de la Jeunesse</i> was the only opportunity given to artists for submitting their works to the public. At the time -when Chardin made his début at this +when Chardin made his début at this picture fair, the annual Academy Salon instituted by Louis XIV. had been abandoned for some years, so that even the @@ -1619,7 +1579,7 @@ the result of his bold venture.</p> <p>His fears proved to be unfounded. A contemporary of Chardin's has left an amusing account of what befell our timid -artist. M. de Largillière entered the first +artist. M. de Largillière entered the first room and carefully examined the pictures placed there by Chardin. Then he passed into the next room to speak to the candidate.<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span> @@ -1629,7 +1589,7 @@ good Flemish painter—an excellent school for colour, this Flemish school. Now let us see your works." "Sir, you have just seen them." "What! these were your -pictures?" "Yes, sir." "Then," said Largillière, +pictures?" "Yes, sir." "Then," said Largillière, "present yourself, my friend, present yourself." Cazes, Chardin's old master, likewise fell into the innocent trap, and was @@ -1642,8 +1602,8 @@ the king, arrived, Chardin informed him that the exhibited pictures were painted by him, and that the Academy might dispose of those which were approved of. "He is -not yet 'confirmed' (<i xml:lang="fr" lang="fr">agréé</i>) and he talks -already of being 'received' (<i xml:lang="fr" lang="fr">reçu</i>)!<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">2</a> However," +not yet 'confirmed' (<i xml:lang="fr" lang="fr">agréé</i>) and he talks +already of being 'received' (<i xml:lang="fr" lang="fr">reçu</i>)!<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">2</a> However," he added, "you have done well to <span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span>mention it." He reported the proposal, which was immediately accepted. The @@ -1658,11 +1618,11 @@ entrance fee was reduced to 100 livres. accepted as "diploma pictures."</p> <div class="figcenter"> -<div class="caption p4" id="PLATE_VII">PLATE VII.—LE PANNEAU DE PÊCHES<br /> +<div class="caption p4" id="PLATE_VII">PLATE VII.—LE PANNEAU DE PÊCHES<br /> <p class="in0 center padhalf">(In the Louvre)</p> -<p>"Le Panneau de Pêches," (The Basket of Peaches) is a magnificent +<p>"Le Panneau de Pêches," (The Basket of Peaches) is a magnificent instance of Chardin's extraordinary skill in the rendering of textures and substances. Note the perfect truth of all the colour-values, the play of light and shade and reflections, such as the opening up of @@ -1692,15 +1652,15 @@ asked the price, he immediately begged her to accept it "as a token of gratitude for her interest in his work." Admirably tactful is the form in which Chardin gives practical -expression to his gratitude for M. de Vandières' +expression to his gratitude for M. de Vandières' successful efforts at procuring him -a pension from the king. Through Lépicié, +a pension from the king. Through Lépicié, the secretary of the Academy, he begs -Vandières to accept the dedication of an engraving +Vandières to accept the dedication of an engraving after his "Lady with a Bird-organ"; and asks permission to state on the margin <i>that the original painting is in the Collection -of M. de Vandières</i>. The request +of M. de Vandières</i>. The request was granted.</p> <p>Small wonder, then, if in spite of the @@ -1715,7 +1675,7 @@ modest fortune, and had to go to live with her guardian. Chardin's father, who had<span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span> warmly approved of his son's engagement, now objected to the marriage, but nothing -could deter Siméon from his honourable +could deter Siméon from his honourable purpose, and the marriage took place at St. Sulpice on February 1, 1731. He took his wife to his parents' house at the corner @@ -1742,7 +1702,7 @@ No doubt owing to his father's then rather powerful influence, Pierre Chardin gained the coveted prize in 1754, and after having passed his three years' probation at the -recently established <i xml:lang="fr" lang="fr">École des élèves protégés</i>, +recently established <i xml:lang="fr" lang="fr">École des élèves protégés</i>, which he had entered with the second batch of pupils by whom the first successful "Romans" were replaced, he set out for @@ -1769,7 +1729,7 @@ Paulmy, and was never heard of since. It was said that he had found his death in the waters of a Venetian Canal.</p> -<p>But to return to Siméon Chardin—we +<p>But to return to Siméon Chardin—we find him again among the exhibitors of the Place Dauphine in 1732, with some pieces of still-life, two large decorative @@ -1779,7 +1739,7 @@ bas-relief after a terra-cotta of Duquesnoy. These imitation reliefs were then much in vogue for over-doors and wall decorations in the houses of the great, as, for instance, -in the Palace of Compiègne. Two authentic +in the Palace of Compiègne. Two authentic pieces of the kind, executed in grisaille, are in the Collection of Dr. Tuffier. The one of the 1732 exhibition was bought @@ -1793,7 +1753,7 @@ destroy."</p> <p>About this time Chardin's still-life period comes to a close, and we find him henceforth devoting the best of his power to the -domestic genre "à la Teniers" (as it was +domestic genre "à la Teniers" (as it was dubbed by his own patrons and contemporaries), though even in later years still-life pieces continue to figure now and @@ -1906,7 +1866,7 @@ followed in the next year, including the the Louvre), and the "Cup of Tea"; and in 1740 his popularity reached its zenith with the exhibition of his masterpiece "Grace -before Meat" (<i xml:lang="fr" lang="fr">le Bénédicité</i>), in addition +before Meat" (<i xml:lang="fr" lang="fr">le Bénédicité</i>), in addition to which he showed the two <i xml:lang="fr" lang="fr">singeries</i>—"The Monkey Painter" and "The Monkey Antiquary" (now in the Louvre)—even @@ -1914,7 +1874,7 @@ Chardin could not hold out against the bad taste which applauded this stupid invention<span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span> of the Netherlanders—and several other domestic genre pieces. A replica of -the Bénédicité was commissioned by Count +the Bénédicité was commissioned by Count Tessin for the King of Sweden, and is now at the Stockholm Museum.</p> @@ -1937,7 +1897,7 @@ rates, had no time to devote to the bringing up of his son, which was perhaps one of the reasons which induced him to marry, in the year following his mother's death, -a musketeer's widow, of thirty-seven, Fran<span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span>çoise +a musketeer's widow, of thirty-seven, Fran<span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span>çoise Marguerite Pouget, a worthy woman of no particular personal charm, to judge from the portrait left by the master's chalks, @@ -1959,7 +1919,7 @@ took a turn for the bad, he enjoyed the ownership of a house which he was then able to sell for 18,000 livres, a by no means paltry amount for these days. Moreover, in -1752, Lépicié's endeavours resulted in the +1752, Lépicié's endeavours resulted in the grant of a pension of 500 livres by the king, which, according to the petitioner's own<span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span> words, was sufficient to secure Chardin's @@ -2015,7 +1975,7 @@ the Academy found itself in such straits,<span class="pagenum"><a name="Page_76" that the question of dissolving the institution had to be seriously considered. Chardin's appeal to Marigny, and through -him to the Abbé Terray, Comptroller-General +him to the Abbé Terray, Comptroller-General of Finances, however, led to the desired result, and the much needed support was granted.</p> @@ -2033,11 +1993,11 @@ commissions for the decoration of Royal and other residences. Thus, in 1764, his friend Cochin procured for him, through Marigny, a commission for some -over-doors for the Château of Choisy. They +over-doors for the Château of Choisy. They depicted the attributes of Science, Art, and Music, and were exhibited in the Salon of 1765. A similar order for two over-doors<span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span> -in the music-room of the Château of +in the music-room of the Château of Bellevue—the instruments of civil and of military music—followed in the next year. The payment for the five, which was delayed @@ -2072,7 +2032,7 @@ century. A kind fate had saved him from the misfortune that fell to the share of his contemporaries Fragonard and Greuze, who outlived him by many years, but who also -outlived the <i xml:lang="fr" lang="fr">ancien régime</i> and died in +outlived the <i xml:lang="fr" lang="fr">ancien régime</i> and died in poverty and neglect and misery.</p> <p class="p2 in0 center"> @@ -2107,382 +2067,6 @@ they were definitely received by the Academy.</p></div> <p>Table of Contents added by Transcriber.</p> </div> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Chardin, by Paul G. Konody - -*** END OF THIS PROJECT GUTENBERG EBOOK CHARDIN *** - -***** This file should be named 41886-h.htm or 41886-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/1/8/8/41886/ - -Produced by sp1nd, Charlie Howard, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License available with this file or online at - www.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 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 information page at www.gutenberg.org - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's 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 -contact links and up to date contact information can be found at the -Foundation's web site and official page at www.gutenberg.org/contact - -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 www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: www.gutenberg.org/donate - - -Section 5. General Information About Project Gutenberg-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 forty 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: - - 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. - - -</pre> - +<div>*** END OF THE PROJECT GUTENBERG EBOOK 41886 ***</div> </body> </html> |