| PLATE LXVII | COURT OF THE DUCAL PALACE |
The Project Gutenberg EBook of The Brochure Series of Architectural
Illustration, vol. 06, No. 9, September 1900, by Various
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org/license
Title: The Brochure Series of Architectural Illustration, vol. 06, No. 9, September 1900
The Ducal Palace: Venice, Types of Italian Garden Fountains
Author: Various
Release Date: January 8, 2015 [EBook #47915]
Language: English
Character set encoding: ISO-8859-1
*** START OF THIS PROJECT GUTENBERG EBOOK THE BROCHURE SERIES ***
Produced by Juliet Sutherland, Haragos Pál and the Online
Distributed Proofreading Team at http://www.pgdp.net
THE BROCHURE SERIES
|
| PLATE LXVII | COURT OF THE DUCAL PALACE |
THE |
||
| 1900. | SEPTEMBER | No. 9. |
"Considered as the principal representation of the Venetian school of architecture, the Ducal Palace is the Parthenon of Venice," wrote Ruskin. To know its history would be to know the entire history of the Republic, for it was not alone the residence of her doges, but at different epochs her senate-house, her court of justice, a prison, and even a place of execution. Combining thus in one structure, as it does, the greatest architectural and the greatest historical importance, there is, perhaps, no more interesting monument now existing in the world.
In his suggestive work upon Italy, Taine has vividly described the effect of a first sight of the Ducal Palace. "Like a magnificent jewel in a brilliant setting, it effaces its surroundings," he writes. "Never has like architecture been seen. All here is novel. You feel yourself drawn out of the conventional; you realize that there is an entire world outside the Classic or Gothic forms which we impose on ourselves and endlessly repeat; that human invention is illimitable, and that, like nature, it may break all the rules, and produce a perfect work after a model opposed in every particular to that to which we are instructed to conform. Every habit of the eye is reversed; and, with surprise and delight, we here see oriental fancy grafting the full on the empty instead of the empty on the full. A colonnade of robust shafts bears a second and lighter one decorated with ogives and trefoils, while upon this frail support expands a massive wall of red and white marble, whose courses interlace in designs and reflect the light. Above, a cornice of open pyramids, pinnacles, spiracles and festoons intersects the sky with its border,—a marble vegetation bristling and blooming above the vermilion and pearly tones of the façade.
"You enter the courtyard, and immediately your eyes are filled with a new richness. Nothing is bare or cold. Erudite and critical pedantry has not here intervened, under the pretext of purity and correctness, to restrain lively imagination and the craving for visual enjoyment. The builders of Venice were not austere; they did not restrict themselves to the prescriptions of books; they did not make up their minds to yawn admiringly at a façade which had been sanctioned by Vitruvious; they wanted an architectural work to delight their whole sentient being. They decked it with ornaments, columns and statues, they rendered it luxurious and joyous. They placed colossal pagans like Mars and Neptune on it, and flanked them with biblical figures like Adam and Eve; the sculptors of the fifteenth century enlivened it with their lank realistic effigies, and those of the sixteenth with their animated and muscular statues.
| PLATE LXVIII | SCALA DEI GIGANTI: DUCAL PALACE |
"You mount the princely steps with a sort of timidity and respect, ashamed of the dull black coat you wear, and reminded by contrast of the embroidered silk robes, the pompous sweeping dalmatics, the Byzantine tiaras and brodekins,—all that seigniorial magnificence for which these marble stairways were designed. All the genius of the city at its brightest period assembled here to glorify imperial Venice in the erection of a memorial of her victories and an apotheosis of her grandeur."
| DUCAL PALACE[1] | PIAZZETTA AND SEA FAÇADES |
The history of the construction of the Palace is obscure and confusing,—a bald array of senatorial decrees and dates. The original Doges' Palace, probably a small fortified castle, was built early in the ninth century, and in the troublous period of early Venetian history was frequently burned and rebuilt. At the end of the twelfth century Sebastiano Ziani restored and enlarged it. The present palace was begun in 1300 by the building of the west façade, and was a slow growth extending over nearly three centuries, the older building of Ziani being gradually pulled down as room was required for the new work. About 1309 the arcaded sea-front was begun; and the design then adopted was accurately followed along the whole external façade. Towards the end of the fourteenth century the façade had been carried along the Piazzetta side as far as the tenth capital. At this point the work seems to have remained stationary for some years, and a considerable portion of Ziani's palace was still in existence. In 1422 a decree was passed that the new palace should be extended over the site of Ziani's building; and in a few years the remainder of the external façade was completed up to its juncture with the Church of St. Mark. The Porta della Carta, which unites the Palace with the Church, was added in 1439. The internal block in the great court, joining the Porta della Carta to the east façade was built about 1462. In 1479 a fire consumed part of the fourteenth century buildings along the east front, and this part was then rebuilt, mostly between 1480 and 1550. These, in brief, are the facts (for which we are indebted to the account of Prof. J. H. Middleton) upon which historians have in general come to agree, though there is still difference of opinion as to the exact portions of the structure to which the various decrees refer.
| PLATE LXIX | SCALA D'ORO: DUCAL PALACE |
An interesting theory concerning the design of the palace, and incidentally a critical estimate of its architecture, has been given us by Mr. George Edmund Street in his scholarly treatise upon "Brick and Marble in the Middle Ages." "The whole design" he writes, "is divided into three stages in height. The upper is nearly equal to the united height of the two lower stages, and is faced entirely with a delicate diaper of marble cut into small oblong pieces, which look save in their texture and color, only too much like bricks. In this marble-faced wall are pierced a number of windows with pointed arches—the tracery of which has been taken out—and in or near the centre of each façade is a much larger window and a balcony, which look as though they had been subsequently inserted. The lowest stage consists of a long and uniform arcade of very simple pointed arches resting upon circular columns with elaborately carved capitals; these columns have been shortened by some twenty inches of their old height by the rise of the water and the consequent elevation of the pavement, to the great damage of their effect. The intermediate stage is a magnificent arcade supporting very vigorous tracery and divided from the stages above and below it by large and pronounced lines of carved and moulded string-courses.
| DUCAL PALACE | DETAIL OF CEILING, ANTE CHAMBER OF THE CHAPEL |
"It is important to observe that up to the top of the second string-course the whole of the architecture is of the very best kind of Venetian pointed, and is, I believe, the very best and truest specimen of Gothic architecture south of the Alps.
"Above this noble work comes the third stage; and I confess, to my eye, with patent marks in every stone of which it is composed that it was designed by some other hand than that which had been so successful below. There is something quite chilling in the great waste of plain, unbroken wall, coming above the extreme richness of the arcades which support it; and moreover this placing of the richer work below and the plainer above is so contrary, not only to all ordinary canons of architecture, but just as much to the ordinary practice of the Venetians, that I feel sure that the impression which I have had from my first acquaintance with drawings of it is substantially correct; viz., that the line at which alterations and additions have been made is to be looked for rather in a horizontal than in a vertical direction; that in all probability, consequently, the builders of 1309 commenced with some portion of the sea-façade, and gradually carried on the greater part of the building to the height of the two stages, as we now see them, leaving the building finished in precisely the same way as the corresponding halls at Padua and Vicenza—two stories in height, with arcades covering the outer walls of the upper as well as of the lower stage; and that when the council chamber was found to be too small and larger rooms were required, another architect suggested the advantage of obtaining them by raising an immense story above the others and without destroying much of his predecessor's work providing rooms on the most magnificent scale for the Doge and his council.
| PLATE LXX | SALA DEL MAGGIOR CONSIGLIO: DUCAL PALACE |
"No one can examine the building without seeing that there is, not only in the detail but equally in the general design, a marked difference between the two lower stages and the upper stage. In place of the extreme boldness which marks every part of the former, we see mouldings reduced in the latter to the smallest and meanest section possible; the windows of the upper stage are badly designed, whilst the traceries of the second stage are as fine as they can possibly be; the parapet too is not equal in its design to any of the lower work, and crowns with an insignificant grotesqueness the noble symmetry of the two lower arcades; and finally the chequer-work of marble, which forms the whole of the upper wall, is a mode of construction which I have not seen in any early work, though it is seen in the Porta della Carta, and in other late work.
"Such, then, is the Ducal Palace,—a building certainly in some respects of almost unequalled beauty, but at the same time of unequal merit; its first and second stages quite perfect in their bold and nervous character, and, in the almost interminable succession of the same beautiful features in shaft and arch and tracery, forming one of the grandest proofs in the world of the exceeding value of perfect regularity, and of a repetition of good features in architecture, when it is possible to obtain it on a very large scale."
The whole Palace forms three sides of an unsymmetrical hollow square, the back, or north side, abutting upon St. Mark's Church. The great internal Court (Plate LXVII.) was begun at the end of the fifteenth century, but then only partially completed. It is surrounded on the south, east and west sides by Gothic arcades of very similar style to those on the exterior. Even in the sixteenth century portion the same main outline was followed, though the detail is different.
The entrance to the Courtyard, at the northwest angle adjoining St. Mark's, is through the Porta della Carta (so called because official notices were affixed to it), which was the last Gothic work added to the Palace. Across the court and opposite this entrance is a very beautiful staircase in the early-Renaissance style, built in the middle of the fifteenth century by Antonio Ricci. It is called the "Giant's Staircase" (Plate LXVIII.) from its two colossal and rather clumsy statues of Neptune and Mars. Between these statues the doges stood to be inaugurated.
Reached by this staircase is a second, the so-called "Golden Staircase" (Plate LXIX.), which derives its name either from the fact that it was formerly accessible only to those whose names were entered in the "Golden Book"—a list of the Venetian nobility,—or from the richness of its decoration, and this leads to the great apartments in the interior. It was designed by Jacapo Sansovino, and completed in 1577.
| DUCAL PALACE | FIREPLACE IN DOGE'S BED-CHAMBER |
Owing to a great fire which gutted a great part of the Palace in 1574, the internal appearance of the council chambers and the state apartments of the doges was completely changed, and a splendid series of early Paduan and Venetian paintings which adorned the walls of the chief rooms was destroyed. The interiors were then redecorated with their present magnificence, some idea of which may be gained from a mere enumeration of those who shared in the work. As architects there were Palladio, Sansovino, Scammozzi, Lombardi and Antonio da Ponte; as sculptors and decorators Vittoria, Aspetti, Segala, Campagna, Bombarda and di Silo; as painters Titian, Paul Veronese, Tintoret, Vivarini, Palma, Tiepolo, and many others; so that each room became, as Ruskin has said, "a colossal casket of priceless treasure."
| PLATE LXXI | SALA DELLO SCRUTINO: DUCAL PALACE |
It will, however, be unnecessary to describe in detail each apartment illustrated by our engravings, even did space permit. Intended as spacious audience chambers to afford dignified and magnificent surroundings for the stately scenes which were to be enacted within them, they are all enriched in the same general style, with panelling, carving, and gilded mouldings of the later Renaissance; the architectonic decorations being chiefly designed as a setting for the multitude of noble pictures.
The largest and most important of these apartments is the Hall of the Great Council (Plate LXX.), in which the entire body of the Venetian nobility met to consider questions of state. This immense room is fifty-five yards long, twenty-eight yards wide, and forty-seven feet high. The greatest of the Venetian masters were employed upon the ceiling; the entire east wall is occupied by Tintoretto's "Paradise"—said to be the largest oil painting in the world—and the walls are adorned with portraits of the doges and scenes from the history of the republic.
In the Sala dello Scrutino or Voting Hall (Plate LXXI.), the forty-one nobles were elected by whom the doges were afterwards chosen. Opposite the entrance is a representation of the triumphal arch erected by the senate in 1694 to commemorate the conquest of Morea.
The Sala del Senato (Plate LXXII.), was the hall in which the full senate assembled in formal session. It is also called the Sala dei Pregadi because originally notice was sent to each senator to pregare or summon him to attend the meetings. Beyond this room, to the right of the throne, is an ante-chamber to the private chapel of the doges. A portion of the ceiling of this ante-chamber, executed in the seventeenth century, is shown on page 139.
The Anticollegio (Plate LXXIII.), or waiting room for the ambassadors, was designed by Scammozzi, and contains Paul Veronese's celebrated painting, "The Rape of Europa."
The Anticollegio leads to the Sala del Collegio (Plate LXXIV.), in which audiences were granted to foreign emissaries. On the raised platform stood the Doge's throne, and in the stall-like seats around it sat the state councillors.
[1] Other views of the exterior of the Ducal Palace will be found in No. 1, 1895 and No. 12, 1898 of this Series.
| PLATE LXXII | SALA DEL SENATO: DUCAL PALACE |
A Change in |
Beginning with the January issue for 1901, the first issue of its Seventh Volume, two changes will be made in The Brochure Series.
I. The magazine will be enlarged. Half as many full-page engravings and half as many illustrated text-pages as are included in the present issues will be added to each number.
II. The price will be increased to $1.00 a year and to ten cents a copy.
In general conduct, purpose, and in the character of material presented the magazine will be unchanged.
The Publishers are led to take this step because they believe that the magazine has a value and a field which are all its own, and that its value in that field will be increased by its enlargement. The value of the magazine in its present form is proved by the fact that its subscription list has shown a constant increase from the first number to the present time, and was never so large as it is now; and it is hoped and confidently believed that every present subscriber to The Brochure will approve of the change, for the enlarged form will afford an opportunity to present more material, to present it more attractively, and to cover a wider field of interest.
Brochure Series |
In answer to inquiries regarding Competition "P," the details of which are announced on an advertising page of this issue, the editor begs to state that photographic prints of any size may be submitted. Small photographs, provided they are clear and well defined, can often be as successfully reproduced as large ones.
| PLATE LXXIII | SALA DELL' ANTICOLLEGIO: DUCAL PALACE |
Types of Italian Garden Fountains |
| FOUNTAIN | VILLA MEDICI, ROME |
| FOUNTAIN BY BERNINI | VILLA BORGHESE, ROME |
| FOUNTAIN | VILLA ANDOBRANDINI, FRASCATI |
| FOUNTAIN | GARDENS OF THE VATICAN, ROME |
| PLATE LXXIV | SALA DEL COLLEGIO: DUCAL PALACE |
End of the Project Gutenberg EBook of The Brochure Series of Architectural
Illustration, vol. 06, No. 9, September 1900, by Various
*** END OF THIS PROJECT GUTENBERG EBOOK THE BROCHURE SERIES ***
***** This file should be named 47915-h.htm or 47915-h.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/4/7/9/1/47915/
Produced by Juliet Sutherland, Haragos Pál and the Online
Distributed Proofreading Team at http://www.pgdp.net
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg.org/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org/license
1.E.2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation."
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1.F.3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need, are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.pglaf.org.
Section 3. Information about the Project Gutenberg Literary Archive
Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
[email protected]. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
[email protected]
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf.org
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit: http://pglaf.org/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Most people start at our Web site which has the main PG search facility:
http://www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.