The Project Gutenberg EBook of The Brochure Series of Architectural
Illustration, vol. 06, No. 12, December 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. 12, December 1900
       The Cathedrals of England

Author: Various

Release Date: January 9, 2015 [EBook #47922]

Language: English

Character set encoding: ASCII

*** START OF THIS PROJECT GUTENBERG EBOOK THE BROCHURE SERIES OF ARCHITECTURAL ILLUSTRATION ***




Produced by Juliet Sutherland, Haragos Pal and the Online
Distributed Proofreading Team at http://www.pgdp.net









                          THE BROCHURE SERIES
                           The Cathedrals of
                                England
                            DECEMBER, 1900


[Illustration: PLATE XCI      LITCHFIELD CATHEDRAL FROM NORTHWEST]




                                  THE
                            BROCHURE SERIES
                    OF ARCHITECTURAL ILLUSTRATION.

                   1900.      DECEMBER      No. 12.




                       THE CATHEDRALS OF ENGLAND


Such a general survey of the most representative English cathedrals
as is undertaken in the present article naturally leaves no space for
a detailed consideration of the various diversities of architecture
that they present, and future issues of this series will be devoted to
illustrating, individually, the various developments of the English
Gothic style. The characteristic features of the English Gothic
cathedrals, as compared with those of the Continent, and particularly
with those in France, are as follows:--

The English minsters are long, narrow and low in contrast with the
greater squareness and height of French contemporary churches. The
English transepts have bolder projections, and the number of side
chapels is smaller. The east end is almost invariably square. The
aisles are practically always single; Chichester is the only example
to the contrary. The central tower is a predominant feature; and a
single western tower is characteristic of English early churches.
Flying buttresses, though not uncommon, are not so prominent as in
French cathedrals. Doorways are more simple, placed in less important
positions, and often provided with a separate elaborate porch, as at
Salisbury. Window traceries, though developing along the same lines
as in France, finally evolve "Perpendicular" instead of "Flamboyant"
tracery. The beautiful fan-tracery vaulting is an important feature
of English Gothic, and is peculiar to it. The clustered shaft is a
special feature of the style. Great emphasis was placed by the English
architects on the development of mouldings; and the generally smaller
scale of English work lead to greater refinement and attention to
detail in carving.

[Illustration: CHICHESTER CATHEDRAL      FROM NORTHEAST]

Perhaps the most striking difference between the English and the
Continental cathedral, is however, in its situation. Instead of being
almost invariably pressed upon and crowded by the streets and shops
of the city, the English minster is usually set about with great masses
of foliage, and wide stretches of lawn.

[Illustration: PLATE XCII      CANTERBURY CATHEDRAL FROM SOUTHWEST]

The architectural significance of the various constructional dates
given in the brief historical synopses which follow, will be made clear
by reference to Mr. E. A. Freeman's tabulation of the English styles by
dates.


                            I. ROMANESQUE.

    Saxon                                          before 1066.
    Norman                                           1066-1195.


                              II. GOTHIC.

    Early English or "Lancet,"                       1189-1300.
    Decorated    {Geometrical}                       1300-1377.
                 {Flowing    }
    Perpendicular                                    1377-1547.


                           III. RENAISSANCE.

    Including Elizabethan, Georgian,
      Palladian, etc.                            1547 _et seq._

The last thirty years or so of each period may be described as a time
of Transition from one style to the succeeding.

[Illustration: NORWICH CATHEDRAL      FROM EAST]

In considering the English cathedrals the Saxon style may be
disregarded, as there are no important remains which date prior to
the coming of the Norman conquerors; and the only cathedral church of
prominence in the Renaissance style is St. Paul's in London.[1]

[Illustration: CANTERBURY CATHEDRAL      THE CHOIR]

[Illustration: PLATE XCIII      DURHAM CATHEDRAL FROM THE WEAR RIVER]

Litchfield Cathedral is sometimes styled the "Queen of English
minsters," and, though surpassed by other cathedrals in age, size,
grandeur of site and elaborate decoration, it has yet claim to the
title because of the symmetry, proportion and picturesqueness of its
general effect. It is built of red sandstone, and dates mainly from
the thirteenth to the fourteenth centuries. The earliest structure
on the present site was a Norman church dating from about 1100. The
oldest part of the existing building is the lower part of the west half
of the choir, erected about 1200. The transepts followed in 1220-40;
the nave dates from 1250, and the west front from about 1280, while
the Lady-Chapel belongs to the beginning of the fourteenth century.
The cathedral close was formerly surrounded by a wall and moat; and
in 1643 the cathedral was defended against the Puritans, who battered
down the central tower and demolished many of the carvings, monuments
and windows. It was, however, restored before the end of the century.
The most conspicuous external features are the three beautiful spires
and the fine west facade. This facade is one of the most graceful and
harmonious in England; and it has the advantage over such a front as
that of Peterborough in its organic connection with the rest of the
building. It is covered with niches for about one hundred statues,
almost all of which are now filled with modern carvings.

[Illustration: HEREFORD CATHEDRAL      FROM NORTHEAST]

Chichester Cathedral was originally begun about 1085, completed in
1108 and burned down in 1114. In its present form it is substantially
a Transitional Norman building of the twelfth century, with some
pointed details introduced after a second fire in 1186. The Lady-Chapel
dates from 1288-1304. The spire, erected in the fifteenth century,
collapsed in 1861, and has since been rebuilt. The whole edifice has
been restored since 1848. The detached Bell Tower, a feature peculiar
to Chichester among English cathedrals, is, despite its weather-worn
appearance, one of the most recent parts of the building, dating from
the fifteenth century.

Canterbury Cathedral, the third church erected on the same site,
represents English architectural history from 1070 to 1495; but its
general external appearance is that of a magnificent building in the
Perpendicular style. The present structure was begun by Laufranc,
the first Norman architect, and was finished in 1130. The choir of
this Norman cathedral was burned in 1174, and the present choir, in
the Transitional style from Norman to Early English, was erected by
William of Sens (who may almost be said to have introduced the Pointed
style into England), and by his successor, William the Englishman
(1174-1180). The old Norman nave and transepts remained intact for two
hundred years more, when in 1378-1410 they were replaced by the present
Perpendicular structure. The great central tower was added in 1495.
The northwest tower is modern, the older tower having been pulled down,
with doubtful wisdom, to make room for one to match its southwest
neighbor. In spite of its huge proportions the interior of the nave
produces a wonderful effect of lightness. The choir, one hundred and
twenty feet long, is the longest in England. The great Norman arches,
supported by circular and octagonal piers alternately, furnish a
striking contrast to the inner portions of the nave.

[Illustration: PLATE XCIV      PETERBOROUGH CATHEDRAL: WEST FRONT]

Norwich Cathedral was begun in 1096, and has preserved its original
Norman plan more closely than any other in England. The first Bishop
of Norwich, Herbert de Losinga, completed the choir and transepts, and
began the nave. The latter was finished by his successor about 1140.
The clearstory of the choir was rebuilt in 1356-69, and the vaulting
of the nave and choir were added in the fifteenth century. In the same
century the west front was altered, and the spire rebuilt. The most
prominent features of the exterior are the lofty spire and the unusual
apsidal termination of the choir.

[Illustration: PETERBOROUGH CATHEDRAL      CHOIR]

Durham Cathedral, locally known as "the Abbey," is usually ranked among
the six finest English cathedrals, though, apart from its magnificent
situation, the first impression made by the exterior scarcely seems to
warrant so high a place. The composition of the east end is externally
unsatisfactory; and the west front suffers from the difficulty of
obtaining a good near view.

The site was first built upon by the monks of Lindisfarne, who, in
999, chose it as a resting place for St. Cuthbert's remains. After
the Norman conquest a new and larger church was begun, the choir of
which seems to have been completed in 1093-95. The transepts and nave,
also in the Norman style, were all finished by 1143. The cloisters
and upper part of the central tower are Perpendicular (1400-80). A
destructive restoration was carried out in 1778-1800, sweeping away
many ancient details, and spoiling the exterior by scraping. Recently
the entire building has been restored.

[Illustration: PLATE XCV      SALISBURY CATHEDRAL FROM NORTHWEST]

Hereford Cathedral was begun in 1079, and not finished till 1530, and
consequently shows an interesting mixture of architectural styles. The
nave, south transept and piers of the tower are Norman, the Lady-Chapel
is Early English; the north transept was rebuilt between 1250 and 1288;
the north porch was erected about 1290. The tower dates from the
fourteenth century.

[Illustration: WORCESTER CATHEDRAL      FROM SOUTHWEST]

[Illustration: WORCESTER CATHEDRAL      CHOIR]

Peterborough Cathedral is one of the most important Norman churches
left in England, though at first glance the exterior does not seem to
bear out this assertion. The elaborate and somewhat foreign-looking
west facade, with its recessed arches, gables and sculptures, is
however an Early English addition of about 1220; and forms, as
it were, a screen in front of the original west wall. The present
building is the third church on this site. The first was destroyed by
the Danes; the second was burned in 1116. The oldest part now standing
is the choir, consecrated about 1140. The great transept dates from
1155-77, the late-Norman nave from 1177-93, and the west transepts, in
the Transitional style, from 1193-1200. A series of uniform Decorated
windows was added throughout the church in the fourteenth century.
The spires and pinnacles of the flanking turrets of the west facade
are of the Decorated and Perpendicular periods. The interior gives an
impression of unusual lightness for Norman architecture, an effect
enhanced by the color of the stone. In 1643 it suffered severely at the
hands of the iconoclastic Puritans. The clearstory and triforium of
the nave are impressive in size and effect. The painted wooden ceiling
dates from the twelfth century.

[Illustration: PLATE XCVI      LINCOLN CATHEDRAL FROM SOUTHWEST]

Salisbury Cathedral is a splendid example of pure Early English, having
had the rare advantage of having been begun and finished within a
period of forty years, 1220-1260, and is remarkable for the uniformity
and harmony of its construction. Mr. Ferguson has pointed out that
there is scarcely a trace of foreign influence in the building, the
square east end taking the place of the apse of the Norman churches,
and fixing the future character of English choirs; and he adds that
it is "one of the best proportioned and at the same time most poetic
designs of the middle ages." The various parts of the building all
unite to lead the eye to the central point,--the richly adorned spire
built in 1250, which is the loftiest in England. The sculptures on the
beautiful west front were nearly all destroyed by the Puritans, but
have recently been replaced.

[Illustration: LINCOLN CATHEDRAL      CHOIR]

[Illustration: WINCHESTER CATHEDRAL      WEST FRONT]

Worcester Cathedral is in plan a double cross with very short
transepts, and with a chapter-house and spacious cloisters on the
south side. In general characteristics it is Early English, but
includes specimens of all styles from the Norman down to the latest
Perpendicular. The oldest parts of the present church are the choir
and Lady-Chapel, which date from the first quarter of the thirteenth
century. The north side of the nave belongs to the Decorated and the
south side to the early Perpendicular period; but they are very similar
in general appearance. The central tower shows traces of the transition
from Decorated to Perpendicular. In the interior, the choir dates from
the purest Early English period, and impresses by its richness and
uniformity; and the magnificent groined roof, extending in an unbroken
line for 420 feet, is a feature that perhaps no other cathedral can
match.

[Illustration: PLATE XCVII      ELY CATHEDRAL: WEST FRONT]

Lincoln Cathedral, splendidly crowning the hill on which the city is
built, may perhaps claim to be the finest church in Great Britain.
Other cathedrals equal or surpass it in certain points; but in the
combination of size, delicacy of detail, effectiveness of both interior
and exterior, good preservation and grandeur of position, it has
probably no rival. Of the original cathedral, built at the end of the
eleventh century, the tower, a portion of the west front, and part
of first bay of the nave remain. The Norman cathedral was injured by
an earthquake in 1185, and its restoration was at once undertaken by
Bishop Hugh, called "St. Hugh of Lincoln" (1186-1200), who finished the
choir and east transepts--the earliest piece of Early English work of
known date. The west transepts and chapter-house were completed soon
after, and the nave, including the west front, by about 1250. The upper
story of the central tower, which dates from about 1240-50, was added
between 1300 and 1320. The upper parts of the west towers are late
Decorated, dating from about 1380. Among the more noteworthy external
features are the fine central and west towers, and the west facade,
in spite of its mixture of styles and the fact that it is in some
degree merely a screen. The choir of the interior is the oldest known
example of the Early English style, and is separated from the nave by a
decorated screen (1320) surmounted by the organ. Though the vaulting is
too low the entire interior is harmonious and imposing.

[Illustration: WELLS CATHEDRAL      WEST FRONT]

Winchester Cathedral is a stately edifice, incorporating every style
of English architecture from the Norman to the Perpendicular. It
was founded on a more ancient site in 1079. The choir and transepts
were finished in 1093. The conversion of the nave from Norman to
Perpendicular was begun by Bishop Edington before 1366, and the whole
was completed in 1486. The builder of the greater part of the nave
was Bishop William of Wickham, the renowned architect and statesman,
who occupied the See from 1366 to 1404. The church is the longest in
England, measuring 560 feet in all. The west facade, with its spacious
portal, was begun in 1350, finished in the fifteenth century, and
restored in 1860.

[Illustration: PLATE XCVIII      YORK CATHEDRAL: WEST FRONT]

Ely Cathedral is architecturally one of the most interesting in
England. It occupies the site of an abbey founded by St. Ethelreda in
673. The existing building was begun in 1083 by the first Norman abbot,
and the last half at least was completed in its original form when the
see of Ely was created in 1109. The west part of the nave, including
the west tower, was finished about 1180, and the west porch was added
before 1215. The east end was added between 1229 and 1254. The central
tower, which belonged to the original church, fell in 1322, and
advantage was taken of this opportunity to construct the beautiful
decorated octagon. A new spire was erected on the west tower at the
end of the fourteenth century, the weight of which may have caused
the collapse of the northwest transept, though some authorities think
the latter was never finished. The whole building has been carefully
restored. The most striking feature of the edifice is the castellated
west tower, which is unlike any other cathedral tower in England,
and to some extent suggests military rather than ecclesiastical
architecture. The greater part of this tower is Transitional Norman
(117-489), but the octagonal top and turrets were added in the
decorated period.

[Illustration: WELLS CATHEDRAL      CHOIR]

Wells Cathedral is, in its present condition, predominantly an Early
English building, of the first half of the thirteenth century. It is
the third church on the same site, and the foundation of the present
edifice is commonly attributed to Bishop Joceline, 1206-1242. The
church as he designed it was finished at the end of the thirteenth
century. Thereafter a complete transformation of the east part was
undertaken, the first step being the construction of the Lady-Chapel,
about 1320, while the Presbytery dates from about 1350. The upper
parts of the central tower also belong to the early fourteenth century.
The upper parts of the west towers and cloisters are Perpendicular.
The beautiful west facade, elaborately adorned with arcading and
sculptures, is, like the west front of Lincoln, architecturally a mere
mask. The choir, one of the most beautiful in England, is Early or
Geometrical Decorated in the general effect.

[Illustration: PLATE XCIX      GLOUCESTER CATHEDRAL FROM SOUTHWEST]

[Illustration: ST. ALBAN'S ABBEY      FROM SOUTHWEST]

York Cathedral is one of the largest and grandest of English minsters.
The present structure is the third on the site, and was built by
the first Norman bishop. The choir was rebuilt by Archbishop Roger,
1154-81, the south transept by Archbishop Gray in 1215-55, and the
north transept about the same time, while the Norman nave was gradually
replaced by the present one between 1290 and 1345. The Lady-Chapel was
added in 1360-73, and the present choir substituted for Archbishop
Roger's before 1400. The towers date from the fifteenth century, and
the edifice as thus rebuilt was reconsecrated in 1472. In its present
form, therefore, the minster shows examples of the Early English
Decorated, and early and late Perpendicular styles. The most striking
features of the exterior are the noble west facade in the Decorated and
the imposing central tower in the Perpendicular style.

Gloucester Cathedral stands on a site consecrated to religious purposes
since the seventh century. The church was raised to cathedral dignity
in 1541, having previously been included in the diocese of Worcester.
In its present form the body of the church is the work of Abbot Serlo
at the end of the eleventh century; but this Norman core was most
skilfully altered and recased, chiefly in the fourteenth century, and
in general external appearance is thoroughly Perpendicular.

St. Albans Abbey, which was raised to the dignity of a cathedral
in 1877, is one of the finest and largest churches in England. The
earliest parts of the existing building date from the eleventh century;
the choir was built in the thirteenth, and the Lady-Chapel in the
fourteenth. The fine tower is Norman. An extensive, and not especially
successful, restoration of the buildings including a new Early English
west front with a large decorated window, has recently been completed.

Exeter Cathedral, though comparatively small and unimposing, is, in
virtue of its details, one of the most admirable examples in England
of the Geometrical Decorated style. The oldest existing parts of the
building are the transeptal towers, dating from the early part of the
twelfth century, almost unique features in English churches. The rest
of the cathedral was built, or, at any rate, altered from Norman to
Decorated, between 1280 and 1370, mainly from designs of Bishop Quivil.
The elaborate west facade was added by Bishop Brantyngham (1370-1394).
The whole has been carefully restored.

[Illustration: PLATE C      EXETER CATHEDRAL: WEST FRONT]


[1] St. Paul's Cathedral was illustrated in THE BROCHURE SERIES for
November, 1900.




                          Transcriber's Note:


Italics are indicated by _underscores_.

Small capitals have been rendered in full capitals.

Footnote is at the end of chapter.

A number of minor spelling errors have been corrected without note.





End of the Project Gutenberg EBook of The Brochure Series of Architectural
Illustration, vol. 06, No. 12, December 1900, by Various

*** END OF THIS PROJECT GUTENBERG EBOOK THE BROCHURE SERIES OF ARCHITECTURAL ILLUSTRATION ***

***** This file should be named 47922.txt or 47922.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/4/7/9/2/47922/

Produced by Juliet Sutherland, Haragos Pal and the Online
Distributed Proofreading Team at http://www.pgdp.net


Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties.  Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  Redistribution is
subject to the trademark license, especially commercial
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg.org/license).


Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org/license

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.

1.F.

1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need, are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.pglaf.org.


Section 3.  Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service.  The Foundation's EIN or federal tax identification
number is 64-6221541.  Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org.  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     gbnewby@pglaf.org


Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment.  Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States.  Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements.  We do not solicit donations in locations
where we have not received written confirmation of compliance.  To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf.org

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States.  U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses.  Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit: http://pglaf.org/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.


Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.


Most people start at our Web site which has the main PG search facility:

     http://www.gutenberg.org

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.