Читать бесплатно онлайн книгу автора George Eliot Centenary, November 1919 / Catalogue of Relics, Manuscrips, Prints, Paintings, Photographs & Books relating to George Eliot
The Project Gutenberg eBook, George Eliot Centenary, November 1919, by
Coventry Libraries Committee
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: George Eliot Centenary, November 1919
Author: Coventry Libraries Committee
Release Date: January 13, 2010 [eBook #30959]
Language: English
Character set encoding: ISO-646-US (US-ASCII)
***START OF THE PROJECT GUTENBERG EBOOK GEORGE ELIOT CENTENARY, NOVEMBER
1919***
Transcribed from the 1919 Coventry Libraries Committee catalogue by David Price, email ccx074@pglaf.org. Many thanks to Nuneaton Library, UK, for allowing the use of their copy to make this transcription.
George Eliot Centenary,
November, 1919.
Catalogue of . .
RELICS, MANUSCRIPTS,
PRINTS, PAINTINGS,
PHOTOGRAPHS & BOOKS
relating to
GEORGE ELIOT,
exhibited in
St. Mary’s Hall. Coventry.
coventry libraries committee.
PREFATORY NOTE.
The Exhibition has special reference to George Eliot’s residence in Coventry, and to the Coventry circle of which she was the most distinguished member.
Visitors are requested not to touch the exhibits. Copying or sketching or photographing any exhibit is prohibited.
RELICS, PORTRAITS, MANUSCRIPTS,
exhibited in
MUNIMENT ROOM.
Family Portraits and Records.
CASE 1.
1. Portrait of Robert Evans.
Lent by Canon Evans, Bedworth.
Father of G. E., and prototype of Adam Bede.
2. Diaries of Robert Evans (“Adam Bede”).
Lent by Mr. Walter P. Evans, Leamington.
CASE 2.
3. Portrait of Isaac P. Evans.
Lent by Canon Evans, Bedworth.
G. E’s brother; original of “Tom Tulliver.”
3a. Another portrait of Isaac P. Evans.
Lent by Mr. W. P. Evans, Leamington.
CASE 3.
4. Portrait of George Eliot, with portrait of her father, Robert Evans.
Lent by National Portrait Gallery.
Drawn in 1842 by Mrs. Charles Bray.
CASE. 4.
5. Portrait of George Eliot, 1850, fr. painting by M. D’Albert.
Lent by Mrs. Herbert Draper, Kenilworth.
6. George Eliot’s portrait (after Sir F. Burton).
Lent by Mrs. Herbert Draper, Kenilworth.
G. E.’s. gift to Mrs. Bray
6a. Pencil drawing from shadow thrown by cast of G. Eliot, by Miss Sara S. Hennell. Presented by Mr. Warwick Draper.
WALL BOOK CASE 1.
6b. Oil painting of Miss Everard, G. Eliot’s aunt.
Lent by Canon Evans.
Caricutured as Aunt Glegg (Mill on the Floss).
Holographs.
CASE 5.
10. Holograph letters of George Eliot.
Lent by Mr. A. E. Fridlander.
See typewritten copies exhibited.
11. Holograph letter to Mrs. Bray.
Lent by Mrs. Herbert Draper, Kenilworth.
Written Sept., 1876, after she returned from abroad; describing some part of the journey.
CASE 6.
12. Holograph letters.
Lent by Mr. Frederic Harrison, Bath.
Two of the letters are on Positivist affairs; three refer to the legal advice given to G. E. by Mr. Harrison in constructing the plot of Felix Holt (George Eliot’s Life, by Cross, v. 3: 258); the last letter was written during her mourning for G. H. Lewes.
CASE 7.
15. Favourite airs copied by G. Eliot.
Lent by Miss Evans, Leamington.
Holographic throughout.
16. Receipt given by G. E. in connection with her father’s will.
Lent by Mr. W. P. Evans, Leamington.
Association Items and Books.
18. Statuette of Christ, after Thorwaldsen.
Lent by Mrs. Herbert Draper.
At one time belonged to G. E., and is associated with her translation of Strauss, Life of Jesus.
19. Ring worn by George Eliot in memory of her mother.
Lent by Miss Evans, Leamington.
Inscribed inside, “In memory of Christiana Evans.”
20. Portrait of Mr. Edward Simms, G. Eliot’s music master.
Lent by Coventry Libraries.
25. Defoe’s “History Of the Devil.”
Lent by Canon Evans, Bedworth.
G. E’s. own copy; it is referred to in Mill on the Floss, ch. 3.
25a. A Kempis, De Imitatione Christi.
Presented by Mr. Warwick Draper.
G. Eliot’s own copy, acquired at Coventry, 1849, given to Miss Sara S. Hennell, 1851, and at Mrs. Bray’s death came into the possession of Mr. Warwick Draper. See Mill on the Floss, bk. 4, ch. 3.
CASE 8.
26. Bacon’s “Essays,” 1828.
Lent by Coventry Libraries.
Autograph on flyleaf “Mary Ann Evans.”
27. Newspaper cuttings collected by George Eliot.
Lent by Coventry Libraries
With her own contributions to the “Coventry Herald” at the end. The book bears the signature, in pencil, of J. Hennell.
28. “Silas Marner,” First edition, 1861.
Lent by Coventry Libraries.
Inscribed: “Caroline Bray from Mr. Lewes June 22 ’61,” in G. Eliot’s handwriting.
29. “The Legend of Jubal and other poems,” First edition, 1874.
Lent by Coventry Libraries.
Inscribed: “Caroline Bray May 1874, with the author’s compliments.”
30. “Impressions of Theophrastus Such,” First edition, 1879.
Lent by Coventry Libraries.
Inscribed: “Caroline Bray, from the author, Eastbourne, May 29, 1879.”
31. “Essays and leaves from a note-book,” First edition, 1884.
Lent by Coventry Libraries.
Inscribed. “Mrs. Charles Bray from C. L. Lewes, Feb., 1884.” C. L. L. was the son of G. H. Lewes.
CASE 9.
32. Pen used in Italy by G. Eliot, and covered there with silk and beads.
Lent by Mr. T. H. Allen, Coventry.
33. Musical Box, reputed to be Uncle Pullet’s.
Lent by Mrs. W. W. Orton.
(Mill on the Floss), see newscutting.
34. Water colour sketch of attic at Griff—Maggie Tulliver’s favourite retreat.
Lent by Mr. W. P. Evans, Leamington.
WALL BOOKCASE 2.
Silhouettes of Characters in “Janet’s Repentance.”
Lent by Miss Robinson, Chilvers Coton.
36. Mrs. J. W. Buchanan (“Janet Dempster.”)
37. James Buchanan (“Lawyer Dempster.”)
38. Mrs. George Buchanan.
39. Mrs. Robinson (“Mrs. Pettifer.”)
40. T. Bull (“Mr. Fred Phipps.”)
41. John Craddock (“Mr. Landor.”)
42. John Towle (“Mr. Lowme.”)
WALL BOOKCASE 1.
50. Portrait of Mrs. Robinson.
Lent by Miss Robinson, Chilvers Coton.
Mrs. R. was the original of Mrs. Pettifer (Janet’s Repentance).
Hennell and Bray Families.
CASE 9.
57. Silhouette miniatures of Mr. and Mrs. James Hennell of Hackney.
Lent by Mrs. Herbert Draper.
Father and mother of Mrs. Bray and Miss Sara Hennell.
58. Miniatures of Mr. and Mrs. Samuel Hennell.
Lent by Mrs. Herbert Draper.
CASE 10.
58a. Water colour sketch of Mrs. Hennell.
Lent by Miss Mary Scampton.
59. Portrait of Eliza Hennell.
Lent by Mrs. Herbert Draper.
Author of “Tale of the Alps,” also exhibited.
60. Home of Mr. and Mrs. Sam Hennell, Coventry.
Lent by Mrs. Herbert Draper.
Uncle and Aunt of Mrs. Charles Bray.
61. Wilson, Capt., “History of Prince Lee Boo,” 1812.
Lent by Coventry Libraries.
Inscribed: “Eliza Hennell, March 7th, 1815.”
62. Hennell, Eliza. “Tale of the Alps,” a romance [original MS.]
Lent by Coventry Libraries.
This little work was composed by E. H., written in her own handwriting, and bound by her when she was fourteen years of age. Inscribed: “Eliza Hennell, April 10th, 1819
CASE 11.
62a. Three water colour sketches of the Hennells’ Hackney home, by Miss Sara Hennell.
Lent by Miss Mary Scampton.
62b. Water colour sketch of Hackney chapel, attended by the Hennells, by Miss Sara Hennell.
Lent by Miss Mary Scampton.
63. Portrait of Charles Bray, at 50.
Lent by Mrs. Herbert Draper, Kenilworth.
WALL BOOKCASE 1.
64. Mrs. Charles Bray, oil painting by Miss E. Martin.
Lent by Mr. A. E. Fridlander.
CASE 12.
65. Miniature of Mrs. Charles Bray.
Lent by Miss Scampton, Coventry.
Painted by Mrs. Bray’s sister, Sara S. Hennell, c. 1836. Mrs. Bray was G. E’s Coventry friend.
65a. Water colour portrait of Mrs. Bray, by Miss Sara S. Hennell.
Lent by Miss Mary Scampton.
66. Water colour portrait of Charles Bray.
Lent by Mrs. Herbert Draper.
66a. Miniature portrait of Mrs. Charles Bray, by herself, c. 1853.
Lent by Mr. A. E. Fridlander.
CASE 13.
66b. Water colour portrait of Miss Sara S. Hennell, by herself.
Lent by Miss Mary Scampton.
67. Portrait of Mrs. Bray and Miss Sara Hennell, 1897.
Lent by Miss Mary Scampton.
68. Water colour portrait of Miss Sara Hennell.
Lent by Mrs. H. Draper.
CASE 14.
68a. C. C. Hennell’s “Inquiry.”
Lent by Mr. A. E. Fridlander.
Inscribed, “Sara Sophia Hennell, 1st January, 1846.”
68b. Three water colour sketches of “Rosehill,” the Coventry home of the Brays.
Lent by Miss Mary Scampton.
CASE 15.
69. Portrait of Miss Brabant, afterwards Mrs. C. C. Hennell.
Lent by Mrs. H. Draper.
70. Portrait of Miss Julia Smith.
Lent by Mrs. H. Draper.
A valued friend of G. E., and sister of Mme. Bodichon.
71. Three water colour sketches by Miss Sara. S. Hennell.
Lent by Miss Mary Scampton.
Made during a Scottish tour with G. Eliot and Mr. and Mrs. Bray.
CASE 16.
72. Romola, 3 vols., extra illustrated.
Lent by Coventry Libraries.
PICTURES ON WALL.
73. Water colour of Griff Hollows, “The Red Deeps,” 1876, by Miss Patty Townsend.
Lent by Nuneaton Art Gallery.
74. Water colour sketch—Lawyer Dempster’s house, by Thomas Wakeman.
Lent by Nuneaton Art Gallery.
75. Water colour drawing—Chilvers Coton church, by Thomas Wakeman.
Lent by Nuneaton Art Gallery.
76. Water colour drawing—South Farm, Arbury, by Thomas Wakeman.
Lent by Nuneaton Art Gallery.
76. Series of photographs of G. Eliot country.
Lent by Miss Robinson, Chilvers Coton.
PHOTOGRAPHIC SURVEY
of
GEORGE ELIOT’S WARWICKSHIRE
by members of the
COVENTRY PHOTOGRAPHIC SOCIETY.
Arbury, South Farm.
Photographed by
Arbury Farm is on the Arbury Estate. Robert Evans, the novelist’s father, lived there from 1806 to 1820 as land agent to the estate. George Eliot was born here on November 22nd, 1819, but was taken to live at Griff House four months’ later. The farm has been much altered.
1. Arbury Farm, view from garden
Miss C. Norton
2. Arbury Farm, view from garden
Mr. G. H. Osborne.
Griff House.
George Eliot’s home from 1820 to 1841. The house has not been greatly altered. “It was a delightful place to grow up in, and over and above the charms of the house, farm, garden and fields, there was the high road just in front of the gate, where she and her brother stood and watched the mail-coach pass twice a day.” At the back of the house is “a large, old-fashioned farm-house garden, where flowers, vegetables, fruits and trees grow in friendly confusion—just the kind of garden in which Hetty Sorrel gathered red currants.”—Deakin, Early Life of G. E., p. 5, 9. The dairy is known as “Mrs. Poyser’s,” but it was erected after G. Eliot left Griff. The “Round Pond,” into which Maggie Tulliver pushed Lucy and where Maggie and Tom used to fish, is in a field adjoining. Griff Hollows is the “Red Deeps” of the Mill on the Floss.
3. Griff House
Mr. G. H. Osborne
The window of the attic to which Maggie fled when in trouble (Mill on the Floss) is shown on the gable end, where the flagstaff is fixed.
4–5. Griff House
Mr. A. W. Hoare (4)
Mr. S. T. Shipway (5)
6–7. Griff House
Miss M. Imison (6)
Mr. A. W. Hoare (7)
8. Griff House, dairy
Mr. A. W. Hoare
9. Griff House, dairy, interior
Mr. L. P. Wilson
The Dairy is known as “Mrs. Poyser’s,” but it was erected after G. Eliot left Griff.
10. Griff House, garden seat
Mr. A. H. Howell
The little summer house at the end of the Yew-tree walk; in just such a place Dorothea found her husband after his death.
—(Middlemarch).
11. Griff House, round pond
Mr. S. T. Shipway
The pool into which Maggie Tulliver pushed Lucy, and where Maggie and Tom used to fish, is in a field adjoining the house.
12. Griff Hollows
Mr. L. P. Wilson
13. Griff Hollows
Miss M. Imison
The “Red Deeps” of The Mill on the Floss, the meeting place of Maggie Tulliver and Philip Wakem.
George Eliot’s Schooldays.
14. Griff, the Dame School
Mr. A. W. Hoare
George Eliot’s first school, which she attended with her brother until she was five years old. Her second school (Miss Lathom’s Boarding School at Attleborough) has not been identified.
15–16. Nuneaton, The Elms
Miss C. Norton
George Eliot’s third school, near Nuneaton Church. She attended it with her sister Chrissy until 1832, when she went to Coventry.
17. Coventry, house of Rev. Francis Franklin, Cow Lane
Mr. S. T. Shipway
In 1832 was transferred from The Elms, Nuneaton, to a school in Coventry, kept by the two Miss Franklins, daughters of The Rev. Francis Franklin, Minister of Cow Lane Chapel. Mr. Franklin was the prototype of Rufus Lyon (Felix Holt).
18. Coventry, back of minister’s house, Cow Lane
Mr. S. T. Shipway
19. Coventry, memorial tablet to Rev. Francis Franklin, Cow Lane Chapel
Mr. S. T. Shipway
20. Bust of George Whitfield, at one time in Mr. Franklin’s house
Mr. A. W. Hoare
“A black bust with a coloured face, which for some reason or other was covered with green gauze.” “That,” said Mr. Lyon, “is the eminent George Whitfield . . . Providence ordained that the good man should squint; and my daughter has not yet learned to bear with this infirmity.”—Felix Holt, ch. v.
21. Coventry, Nantglyn, Warwick Row
Mr. S. T. Shipway
The Misses Franklin’s school was at this address. George Eliot left this school in 1835.
George Eliot’s Coventry Home and Circle.
In March, 1841, Robert Evans and his daughter came to live in the Foleshill Road, until her father died in 1849. The house is known as Bird Grove, and has been much altered.
22. Coventry, Bird Grove
Mr. S. T. Shipway
22a. Coventry, gates of Bird Grove
Mr. J. Bradbury
23. Coventry, Bird Grove, window of George Eliot’s study over entrance
Mr. A. W. Hoare
24–25. Coventry, Bird Grove, study and bedroom
Mr. A. W. Hoare (24)
Mr. S. T. Shipway (25)
26. Coventry, Bird Grove, room used by G. Eliot as drawing room
Mr. S. T. Shipway
27. Coventry, Bird Grove, study
Mr. S. T. Shipway
28. Coventry, Bird Grove, interior
Mr. S. T. Shipway
29. Coventry, “Rosehill”
Mr. L. P. Wilson
George Eliot first visited “Rosehill,” the home of the Brays, on November 2nd, 1841. There is an interesting account of this visit in Bray’s Autobiography, p. 76. The Brays and the Hennells exerted an important influence on her life.
30. Coventry, Ivy Cottage,
Mr. L. P. Wilson
The home of the Hennell family; adjoins “Rosehill.”
Scenes of Clerical Life.
Nuneaton is the Milby of Janet’s Repentance. There is an amusing description of a Sunday morning service at the church at the beginning of the story.
31–32. Nuneaton church, exterior and interior
Miss C. Norton
33–34. Nuneaton church and vicarage
Miss C. Norton
35. Nuneaton, Lawyer Dempster’s house
Miss C. Norton
No. 35 Church Street, the Orchard Street of Janet’s Repentance. The original of Dempster was a Mr. Buchanan.
36–37. Nuneaton, Dempster’s house, other views
Miss C. Norton
38. Nuneaton, garden of Dempster’s house
Mr. A. H. Howell
39. Nuneaton, grotto in Dempster’s garden
Mr. A. H. Howell
40. Chilvers Coton church
Miss C. Norton
The “Shepperton” church of Amos Barton. George Eliot was baptised here. The tenor bell was hung in her memory (1909). “The little flight of steps with their wooden rail running up the outer wall and leading to the children’s gallery,” is still in existence.
41. Chilvers Coton church
Mr. A. H. Howell
42. Chilvers Coton church, interior
Mr. S. T. Shipway
43. Chilvers Coton church, children’s gallery
Mr. G. H. Osborne
44. Chilvers Coton vicarage, garden
Mr. A. H. Howell
The open window belongs to the room in which “Milly Barton” died.
45. Chilvers Coton vicarage and church
Mr. S. T. Shipway
46. Chilvers Coton churchyard, Emma Gwyther’s grave
Mr. S. T. Shipway
Mrs. Gwyther was the original of “Milly Barton” of The Sad fortunes of Amos Barton, one of the most touching stories in English literature. The inscription is transcribed in full in Olcott’s George Eliot, scenes and people in her novels.
47. Chilvers Coton churchyard, Emma Gwyther’s grave
Mr. A. W. Hoare
48–48a. Chilvers Coton churchyard, tomb of Robert (“Adam Bede”) and Christiana Evans.
Mr. A. W. Hoare (48)
Mr. A. Hunt (48a)
49. Chilvers Coton churchyard, tomb of Sarah and Isaac Pearson Evans (“Tom Tulliver” and his wife)
Mr. A. H. Howell
50. Chilvers Coton church, extract from parish register
Mr. W. H. Stokes
Recording the marriage of Edward Clark and G. Eliot’s sister Chrissy, “Celia” of Middlemarch. The signatures include those of the Rev. John Gwyther (“Amos Barton”), Robert Evans (“Adam Bede”), Mary Ann Evans (the novelist), and Isaac P. Evans (“Tom Tulliver”—see No. 49).
51. Arbury Hall
Mr. W. H. McLauchlan
and Mr. W. H. Stokes
A copy of an older photograph; the view is not the same to-day. This is the “Cheverel Manor” of Mr. Gilfil’s Love Story. Arbury is the home of the Newdegate family. Robert Evans, father of George Eliot, was land agent for the Newdegate estate. This “castellated house of grey-tinted stone is described beautifully in the Love Story, ch. 2. See also three books by Lady Newdigate-Newdegate: The Cheverels of Cheverel Manor; Gossip from a Muniment Room; and Cavalier and Puritan.
52. Arbury Park, George Eliot Memorial
Mr. W. H. Stokes
Erected by Mr. F. A. Newdigate-Newdegate, M.P. Of rough grey stone, recording the dates and places of her birth and death, and the words “Lest we forget.”
52a. Arbury Park, Caterina’s Walk
Mr. W. H. McLauchlan
and Mr. W. H. Stokes
Ch. 7. of Mr. Gilfil’s Love Story.
52b. Arbury Park, The Rookery
Mr. W. H. McLauchlan
and Mr. W. H. Stokes
“The thick shades of the distant Rookery” where Caterina found the body of Captain Wybrow.
53. Astley church
Mr. W. H. McLauchlan
and Mr. W. H. Stokes
Astley is the “Knebley” church of Mr. Gilfil’s Love Story—“a wonderful little church, with a checkered pavement which had once rung to the iron tread of military monks.” (ch. 1).
53a. Astley castle
Mr. O. W. Barry
and Mr. W. H. Howell
“Knebley” castle.
53b. Astley castle and gateway
Mr. W. H. McLauchlan
and Mr. W. H. Stokes
53c. Astley castle, the moat
Mr. W. H. McLauchlan
and Mr. W. H. Stokes
“Adam Bede.”
53d. Corley Hall farm, gates
Mr. A. W. Hoare
“Evidently that gate is never opened; . . . and if it were opened, it is so rusty, that the force necessary to turn it on its hinges would be likely to pull down the square stone-built pillars, to the detriment of the two stone lionesses which grin with a doubtful carnivorous affability above a coat of arms, surmounting each of the pillars.”—Adam Bede, ch. 6.
53e. Corley Hall farm, row of walnut trees
Mr. A. W. Hoare
“That grand double row of walnut trees on the right-hand of the enclosure.”—Adam Bede, ch. 6.
“Silas Marner.”
54–55. Bulkington, single hand-loom at
Mr. A. W. Hoare
Bulkington is possibly the village George Eliot had in mind in describing Raveloe (Silas Marner). The photographs show a hand-loom used in Silas Marner’s day.
***END OF THE PROJECT GUTENBERG EBOOK GEORGE ELIOT CENTENARY, NOVEMBER
1919***
***** This file should be named 30959-h.htm or 30959-h.zip******
This and all associated files of various formats will be found in:
http://www.gutenberg.org/dirs/3/0/9/5/30959
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://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 F3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.gutenberg.org/fundraising/pglaf.
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
business@pglaf.org. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://www.gutenberg.org/about/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 http://www.gutenberg.org/fundraising/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:
http://www.gutenberg.org/fundraising/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Most people start at our Web site which has the main PG search facility:
http://www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.