    Project Gutenberg's Souvenir Album of the Great European War, by Anonymous

    This eBook is for the use of anyone anywhere in the United States and most
    other parts of the world 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.  If you are not located in the United States, you'll have
    to check the laws of the country where you are located before using this ebook.

    Title: Souvenir Album of the Great European War
           With Pictorial Maps of the Battlegrounds

    Author: Anonymous

    Release Date: September 9, 2014 [EBook #46822]

    Language: English

    Character set encoding: ISO-8859-1

    *** START OF THIS PROJECT GUTENBERG EBOOK SOUVENIR ALBUM OF THE GREAT EUROPEAN WAR ***

    Produced by Brian Coe, Ernest Schaal, and the Online
    Distributed Proofreading Team at http://www.pgdp.net (This
    file was produced from images generously made available
    by The Internet Archive/American Libraries.)

[pg 1]

Souvenir Album

of the

Great European

War

WITH PICTORIAL MAP

of the BATTLEGROUNDS

COPYRIGHT 1914

THE OSBORNE COMPANY

GENERAL OFFICES AND WORKS NEWARK N.J.

OSBORNE ART CALENDARS

## Introduction.

The pictures in this album are reproduced from actual photographs taken in Europe, many of which have already appeared, in more or less crude form, in the newspapers.

Believing that these photographs of men and events in the most stupendous war of the world's history possess a world wide interest, and will be of permanent historical value, we have reproduced them in the actual colors of life, and in form which is more worthy of preservation than the mere half tone newspaper cuts.

The pictures were published for sale in post cards. But when we saw how attractive they were, it occurred to us to gather them together in this album and present it to our customers.

Please accept it with our compliments, and as an expression of our appreciation of your confidence in us and of the business we have received from you.

The Osborne Company

Osborne Art Calendars

NEWARK, N. J.

Largest Calendar Sales in the World

[pg 3]

## French Cuirassiers Helping a Wounded Comrade at St. Quentin

The cuirassiers are heavy cavalry for charging, not scouting. The French and German armies have each twelve regiments, and the Russians four. They are a survival of the 17th century, wearing steel cuirasses and helmets with horsehair plumes. Napoleon III's bodyguard, "Les Cents-Gardes," wore aluminum. They carry a long double-edged stabbing sword. St. Quentin was on the French route of retreat to Paris in the first stage of the war.

FRENCH CUIRASSIERS HELPING WOUNDED COMRADE AT ST. QUENTIN

PHOTO © UNDERWOOD & UNDERWOOD, N.Y.

## The Terrible Turcos—Native Algerians in the French Army

These are not negroes, but men of Berber origin with black beards and tanned faces. They are recruited in Algiers and are called "tirailleurs algieriens." Their headgear is the characteristic fez. The object resembling a football which they carry on the hip is a water bottle.

In the war of 1870 these troops became greatly feared and hated by the Germans, because of their trick of "playing possum" until the enemy passed and then springing up and striking from the rear. They are impetuous fighters, and the difficulty the French generals find in their employment is to hold them back at times when to charge the enemy is foolhardy.

THE TERRIBLE TURCOS-NATIVE ALGERIANS IN THE FRENCH ARMY

PHOTO © UNDERWOOD & UNDERWOOD, N.Y.

## Sharp Shooters of France

There are thirty battalions of "chausseurs alpins," who spend half each year in the French Alps. Each carries an alpenstock and a pack. They are among the hardiest and best trained French infantry, skilled with the rifle and in mountain warfare. Among the Vosges Mountains they tied themselves in trees, so when wounded they would not drop and betray their position.

The mule is a useful creature in time of war—especially in the commissary department, to carry pots, pans and provisions. Like the burro of the American southwest, the Alpine mule is a sure-footed climber.

SHARP SHOOTERS OF FRANCE

PHOTO © UNDERWOOD & UNDERWOOD, N.Y.

[pg 4]

## The Famous Scots Greys

The Royal Scots Greys were the first regiment of dragoons raised in Great Britain (1681). There are now half a score of dragoon guard and dragoon regiments, all mounted and equipped as medium heavy cavalry. They are armed with carbine and sabre, and wear metal helmets (except the Scots Greys). This noted regiment has served with distinction in all parts of the world, and has already counted big in the British defense in France and Belgium. The "Grey" does not refer to the uniform, but to the horses, which all have their tails trimmed half-short.

THE FAMOUS SCOTS GRAYS

PHOTO © UNDERWOOD & UNDERWOOD, N.Y.

## The Grenadier Guards—British Veterans of the Boer War

In the Boer War the Grenadier Guards shared the brunt of the fighting, and it was in South Africa that their leader lost his arm.

The Prince of Wales is a second lieutenant in this regiment.

The building on the right of the picture is Buckingham Palace.

THE GRENADIER GUARDS—BRITISH VETERANS OF THE BOER WAR

PHOTO © UNDERWOOD & UNDERWOOD, N.Y.

## British Field Artillery at the Marne

This 18-pound ordnance is of English make, and will shoot both faster and farther than the Krupp guns. Its caliber is 3.3 inches, and the muzzle velocity 1,600 feet per second. The gunners are able to get away 29 shots per minute, while the German rate of fire is only twenty. The maximum effective range is 6,300 yards against 6,000 for any other gun of its class. Each gun and carriage weighs 2,690 pounds. There are six guns in a battery, and the number of rounds of ammunition normally issued is 176 per gun.

BRITISH FIELD ARTILLERY AT THE MARNE

PHOTO © BROWN BROS., N.Y.

[pg 5]

## Canadian Troops Off for the War

The loyalty and enthusiasm of the Dominion at this critical time is very impressive. The picture shows the Ninetieth Winnipeg Rifles on the march from the training camp at Valcartier, eighteen miles north of Quebec—the largest practice encampment ever established in America. Many of Canada's soldiers are veterans of the British army; some saw service in South Africa; the rest are intelligent farmers' sons or young business men from the cities. Thirty-three thousand Canadians disembarked at Plymouth on October 14, with more to follow.

CANADIAN TROOPS OFF FOR THE WAR

PHOTO © UNDERWOOD & UNDERWOOD, N.Y.

## Exhausted French Dragoons Camping in Village Street

Dragoons were originally trained to fight either on horseback or afoot. Many of them carry bamboo lances, said to be even stronger than steel. The term "dragoon" probably comes from the dragon worked on the muzzle of the old carbine they used to carry, as dragons were supposed to spout fire. The bivouac on piles of straw, with weapons stacked ready for instant service, suggests vividly the condition of soldiers in the intervals of hard fighting. This is an actual scene on the line of retreat toward Paris.

EXHAUSTED FRENCH DRAGOONS CAMPING IN VILLAGE STREET

PHOTO © UNDERWOOD & UNDERWOOD, N.Y.

## German Field Artillery

The splendid "fitness" of the German artilleryman is illustrated by these vigorous, intelligent fellows, smiling at the photographer as he snapped them. They might be riding to a picnic, instead of to awful war. Their helmets are tipped with a brass ball instead of a spike such as the infantry have, in order that the eyes may not be injured when the men bend over the guns to aim them. The box, or caisson, on which two men are sitting, contains projectiles and equipment for use in serving the gun.

GERMAN FIELD ARTILLERY

PHOTO © BROWN BROS., N.Y.

[pg 6]

## The Famous 75 Millimeter French Guns at the Marne

The French guns, by many military experts, are said to be superior to any other field artillery. Their bore is only 2.95 inches, but the initial velocity and accuracy are greater than the German guns, and their lightness makes them more mobile in action. A battery has about the same effect on an advancing line as a mowing-machine on a harvest field.

THE FAMOUS 75 MILLIMETER FRENCH GUNS AT THE MARNE

PHOTO © UNDERWOOD & UNDERWOOD, N.Y.

## French Hussars at Rouen

The Hussars are light cavalry intended for scouting, and use much smaller horses than the cuirassiers. Many French race-horses were seized by the government for the use of these troops, and a maximum price of $200 was paid, though some of the thoroughbreds were valued at $10,000 by their owners.

In the background are seen the towers of the cathedral at Rouen, which is a quaint, old Norman town, the capital of William the Conqueror, before he crossed the Channel.

FRENCH HUSSARS AT ROUEN

PHOTO © UNDERWOOD & UNDERWOOD, N.Y.

## French Line Infantry Passing Monument of Napoleon

The monument is near the village of Vauchamps, where the French defeated Blucher and the Prussians on February 14, 1814. It is in the Department of the Marne: scene of the first victory of the allies in the present war.

Red caps and trousers have been the uniform of French soldiers since Napoleon's day, but they provide the enemy with a good target, and are poorly suited to modern campaigning. The Germans, however, gave France no time to equip her army with khaki, and the French soldiers took the field in their historic garb.

FRENCH LINE INFANTRY PASSING MONUMENT OF NAPOLEON

PHOTO © BROWN BROS., N.Y.

[pg 7]

## Terrible Uhlans

This variety of light cavalry was introduced into central Europe by the Tartars of Asia in the middle ages. They were armed with sabre, pistol and lance, at first carried in the left hand. The pennon is intended to frighten the enemy's horses, and identifies the men as Prussians. The Poles, Austrians, and Russians also adopted uhlans. In the Franco-Prussian War of 1870 they led the invasion of northern France, and won great fame by their fearless activity.

THE TERRIBLE UHLANS

PHOTO © UNDERWOOD & UNDERWOOD, N.Y.

## Feeding the Men in the Trenches—A German Field Bakery

Napoleon said "An army travels on its stomach." This is part of the wonderful German organization for supplying the men in the field with daily bread. Each wagon supplies 1,600 men—there are twenty-five with each army corps of 40,000. The war ration includes bread, biscuit, eggs, meat, beans, rice, dried vegetables, salt and coffee.

FEEDING THE MEN IN THE TRENCHES—A GERMAN FIELD BAKERY

PHOTO © UNDERWOOD & UNDERWOOD, N.Y.

## The German Defense Against the Airship—Krupp Gun on Motor

This is one of the deadly Krupp aeroplane guns, mounted on a Mercedes auto truck. The rear wheels are braced to steady the gun from vibration under the heavy shock of firing.

An aeroplane is a very difficult target, not only on account of its rapid flight, but also because the only vital spots are the engine and the passengers.

THE GERMAN DEFENSE AGAINST THE AIRSHIP—KRUPP GUN ON MOTOR

PHOTO © BROWN BROS., N.Y.

[pg 8]

## Crack Austrian Regiment from Vienna

Austrian military traditions are equal to any in Europe. In the sixteenth century they turned back the tide of Turkish conquest and saved Europe. Military service is compulsory on all able-bodied males from 20 to 42, and totals twelve years—three in the line, seven in reserve, and two in the "Landwehr." The long trousers worn by these troops show that they are recruited from the Germanic part of the empire—for the Austrian army, like the empire itself, contains men speaking twenty-six different languages.

CRACK AUSTRIAN INFANTRY FROM VIENNA

PHOTO © UNDERWOOD & UNDERWOOD, N.Y.

## Cossacks—The Rough Riders of Russia

The Cossacks of the river Don pay no taxes, but are liable to military service from eighteen to fifty, and each must furnish his own horse. They are wonderful riders, and excellent scouts or skirmishers. Their hollow circle formation is a favorite one for defense.

The government is so arranged as to furnish the largest military array on the shortest notice. In personal appearance, the Cossacks are more slender and handsomer than the Russians.

COSSACKS—THE ROUGH RIDERS OF RUSSIA center

PHOTO © UNDERWOOD & UNDERWOOD, N.Y.

## Russian Regulars on the March Through Galicia

Contrary to popular impression, the number of trained men in the Russian army is no greater than in the German. The number of recruits available is, of course, much larger.

The Russian infantry is famous for close fighting with the bayonet, which is made a part of the gun and cannot be removed. The faces of the men are a distinctively Slavic type. They are patient, enduring, brave, and fight with a stubborn tenacity which has wrecked the hopes of every general in history who attempted the invasion and conquest of their territory.

RUSSIAN REGULARS ON THE MARCH THROUGH GALICIA

PHOTO © UNDERWOOD & UNDERWOOD, N.Y.

[pg 9]

## The Black Watch

"Faithful, constant, generous in the hour of victory, and endued with calm perseverance under trial and disaster," the Highlanders of Scotland have won conspicuous honor on England's many battlefields.

These are the men who are said in the present war to have repeated the famous charge made by their ancestors at Waterloo a century ago. Each infantryman, grasping the stirrup of a cavalryman of the Scots Greys, kept pace with the horses, as the two regiments rushed with terrific momentum against the hostile lines.

THE BLACK WATCH

PHOTO © UNDERWOOD & UNDERWOOD, N.Y.

## German Hussars in Brussels

Not all German cavalrymen are Uhlans. The Hussars also are light cavalry, adapted for reconnoitering. Both Uhlans and Hussars carry lances over ten feet long, made of a single steel tube drawn to a tempered point, with a pennon fluttering from it. In actual conflict these are usually removed. The color of the pennon shows from what state of the Empire the troopers come—the black-and-white ones in the picture show that they are Prussians.

GERMAN HUSSARS IN BRUSSELS

PHOTO © BROWN BROS., N.Y.

## England's Indian Regiment

Here is the pride of India's contingent, 70,000 native troops—Sikhs and Ghurkas from the Himalayas, Bengal lancers from the Ganges, and Mahrata infantrymen from the torrid central plains. They wear their turbans even in Europe, where the remainder of the uniform is khaki.

The helmeted officers are Englishmen. The Indians have already proved their courage and skill against the Germans. Like all the regulars of the British army, they are wonderful bayonet fighters.

ENGLAND'S INDIAN INFANTRY

PHOTO © UNDERWOOD & UNDERWOOD, N.Y.

[pg 10]

## A Detachment of the French Aviation Corps

The aeroplane is one of the factors that have revolutionized modern warfare. Its use for dropping bombs on hostile cities gives it a spectacular place in the news columns of to-day, but its real military value consists in scouting, getting the range for artillery, and preventing surprises by the enemy.

The French army is thoroughly equipped with the swiftest monoplanes in Europe, and the French are wonderful aviators—skillful, fearless, and resourceful.

A DETACHMENT OF THE FRENCH AVIATION CORPS

PHOTO © BROWN BROS., N.Y.

## One of Germany's Mammoth Zeppelins

These great dirigible airships, hundreds of feet long, were invented and perfected by the aged Count Zeppelin. They are effective within a range of one thousand miles. The German Empire has unquestionably surpassed all its rivals in Europe in the thorough application of the inventions of modern science to the making of war.

In the right background is seen the hangar, or shed, in which the craft is housed. The sheep have become accustomed to the hovering giant and feed quietly under it.

ONE OF GERMANY'S MAMMOTH ZEPPELINS

PHOTO © BROWN BROS,. N.Y.

## Ready for the Uhlans—Belgian Armored Motor Cars

The flat lowlands of Belgium and northern France are networked with perfect roads, making possible very rapid movement of troops. Armored motor cars have been much used by all the armies, especially as escorts for aviators. The car on the left carries a machine gun; the one on the right is simply armored with sheet steel to stand heavy fire.

The Belgians employed these cars extensively in the first month of the war, in their attempt to prevent the raids of the German cavalry.

READY FOR THE UHLANS—BELGIAN ARMORED MOTOR CARS

PHOTO © UNDERWOOD & UNDERWOOD, N.Y.

[pg 11]

## The Prussian Crown Prince's Regiment

The Crown Prince is always colonel of the Death's Head Hussars, and when he had a "difference" with his father a few years ago, the Kaiser exiled him to his command at Danzig, where the regiment was permanently stationed. In state reviews the Crown Princess often appears in her Death's Head uniform as honorary colonel. Naturally, German noblemen are eager to join this regiment, which is one of the "crack" organizations of the Prussian army.

THE PRUSSIAN CROWN PRINCE'S REGIMENT

## British Artillery Embarking for France

This is one of the barges used to carry horses and guns to the transport ship. The horses are then lifted into the vessel by means of a belt around their bellies. Some of the jackies have taken off their shoes and stockings and rolled up their trousers. The artilleryman, partly hidden behind his mount, is dressed in khaki.

BRITISH ARTILLERY EMBARKING FOR FRANCE

PHOTO © UNDERWOOD & UNDERWOOD, N.Y.

## Part of the Russian Steam Roller—One of the Czar's Crack Regiments

There are twelve regiments of Grenadiers of the Guard, all composed of big men. The picture shows a formal review, the regimental band playing parade music as the Guard marches by.

Only a few days before the war broke out, President Poincare, of France, reviewed these famous troops of the Czar in St. Petersburg—now Petrograd.

PART OF THE RUSSIAN STEAM ROLLER—ONE OF THE CZAR'S CRACK REGIMENTS

PHOTO © UNDERWOOD & UNDERWOOD, N.Y.

[pg 12]

## Canadian Royal Horse Artillery Mobilizing

This is part of Canada's splendid contribution to the defense of the motherland. The Royal Horse were among the first contingent of 33,000 to embark—Canada pledged 200,000 altogether.

Canadian horses are noted for their strength and beauty. They play a large part in the development of Canada's rich agricultural resources, and the Royal Artillery took the finest of Canadian horses across with them.

CANADIAN ROYAL HORSE ARTILLERY MOBILIZING

## The Surprise of the War—The New German Siege Gun

These are the guns that battered Namur into ruins, reduced Meubeuge, and were employed in the capture of Antwerp. The Germans demonstrated their marvelous efficiency in the "art of war" by keeping the existence of these fort-destroyers a complete secret until they were ready to use them against Belgium and France.

The guns are transported in sections by rail as far as possible, and then by great traction engines. The block of wood in the cannon's mouth protects the chamber from dust and rust.

THE SURPRISE OF THE WAR—THE NEW GERMAN SIEGE GUN

PHOTO © BROWN BROS., N.Y.

## Belgian War Dogs

One of the most interesting sidelights of the war is the use of dogs to draw the Belgian "mitrailleuses." All who have visited Belgium have been surprised at the amount of work, such as hauling market wagons, performed by these animals. The rubber-tired gun carriage is in strange contrast with the bizarre appearance of the "dogs of war"—tired out after a stiff march.

BELGIAN WAR DOGS

PHOTO © AMER. PRESS ASSOC., N.Y.

[pg 13]

## Military and Naval Statistics of the European
Powers at the Outbreak of the War

Country | Area Square Miles | Population | Army Regulars and Reserves | Men
GREAT BRITAIN | 121,380 | 45,000,000 | 730,000 | 137,500
FRANCE | 207,218 | 39,300,000 | 4,000,000 | 60,621
RUSSIA | 8,650,000 | 160,000,000 | 5,500,000 | 52,463
GERMANY | 208,830 | 64,900,000 | 5,200,000 | 66,783
AUSTRIA | 115,903 | 49,400,000 | 2,000,000 | 17,581
SERVIA | 23,661 | 4,000,000 | 240,000 | 0
BELGIUM | 11,373 | 7,300,000 | 222,000 | 0
NETHERLANDS | 12,582 | 5,900,000 | 180,000 | 11,164
ITALY | 111,000 | 33,900,000 | 1,200,000 | 33,095
SPAIN | 196,200 | 19,700,000 | 350,000 | 10,165
NORWAY | 124,200 | 2,400,000 | 115,000 | 1,003
SWEDEN | 172,900 | 5,400,000 | 450,000 | 5,715
DENMARK | 15,582 | 2,700,000 | 70,000 | 4,000
PORTUGAL | 34,600 | 5,400,000 | 150,000 | 6,000
TURKEY | 11,100 | 2,000,000 | 700,000 | 30,000
GREECE | 25,000 | 2,600,000 | 150,000 | 4,000
SWITZERLAND | 15,976 | 3,300,000 | 275,000

NAVAL STRENGTH/AIR FLEET

Country | Battleships | Cruisers | Other Craft | Dirigibles | Aeroplanes | National Debt
GREAT BRITAIN | 67 | 122 | 380 | 9 | 400 | $3,695,854,000
FRANCE | 32 | 31 | 356 | 22 | 1,400 | 6,283,675,000
RUSSIA | 17 | 19 | 184 | 18 | 800 | 4,553,488,000
GERMANY | 39 | 61 | 225 | 40 | 1,000 | 1,177,418,000
AUSTRIA | 13 | 12 | 89 | 8 | 400 | 1,051,346,000
SERVIA | 0 | 0 | 0 | 0 | 60 | 128,078,000
BELGIUM | 0 | 0 | 0 | 2 | 100 | 759,632,000
NETHERLANDS | 6 | 11 | 53 | 0 | 0 | 467,709,000
ITALY | 16 | 20 | 133 | 0 | 0 | 2,706,609,000
SPAIN | 4 | 9 | 23 | 0 | 0 | 1,815,691,000
NORWAY | 0 | 5 | 52 | 0 | 0 | 97,232,000
SWEDEN | 0 | 1 | 75 | 0 | 0 | 162,428,000
DENMARK | 1 | 1 | 25 | 0 | 0 | 94,330,000
PORTUGAL | 1 | 6 | 30 | 0 | 0 | 968,324,000
TURKEY | 5 | 4 | 22 | 0 | 0 | 554,441,000
GREECE | 3 | 1 | 35 | 0 | 0 | 183,886,000
SWITZERLAND | 0 | 0 | 0 | 0 | 0 | 23,614,000

## Distances in Miles Between European Cities.

City | Berlin | Paris | London | Vienna | St. Petersburg
BERLIN | ... | 475 | 510 | 275 | 750
PARIS | 475 | ... | 175 | 560 | 1,175
LONDON | 510 | 175 | ... | 675 | 1,080
VIENNA | 275 | 560 | 675 | ... | 860
ST. PETERSBURG | 750 | 1,175 | 1,080 | 860 | ...
BELGRADE | 560 | 790 | 920 | 275 | 980
ROME | 650 | 600 | 780 | 410 | 1,260
MADRID | 1,000 | 560 | 680 | 970 | 1,680
MOSCOW | 875 | 1,360 | 1,360 | 900 | 350
COPENHAGEN | 200 | 550 | 530 | 475 | 675

### Distances in Miles Between European Cities (Continued)

City | Belgrade | Rome | Madrid | Moscow | Copenhagen
BERLIN | 560 | 650 | 1,000 | 875 | 200
PARIS | 790 | 600 | 560 | 1,360 | 550
LONDON | 920 | 780 | 680 | 1,360 | 530
VIENNA | 275 | 410 | 970 | 900 | 475
ST. PETERSBURG | 980 | 1,260 | 1,680 | 350 | 675
BELGRADE | ... | 380 | 1,100 | 980 | 725
ROME | 380 | ... | 740 | 1,290 | 830
MADRID | 1,100 | 740 | ... | 1,850 | 1,020
MOSCOW | 980 | 1,290 | 1,850 | ... | 850
COPENHAGEN | 725 | 830 | 1,020 | 850 | ...

11 a. m. at Chicago is 6 a. m. at London.

THE BATTLEGROUND OF THE NATIONS

This "pictorial map" was offered in October by The Osborne Company, as a calendar, and as a hanger without calendar pad. It met with instant approval and our available presses have scarcely been able to keep pace with the sales. The business of The Osborne Company in the United States, since the outbreak of war, has been the largest of any corresponding months in our history. We think this fact is a splendid symptom of reviving and growing business in America, which is bound to extend while the rest of the world continues to need more and more products of our fields and factories.

## THE NATIONS AT WAR

### SERVIA

Servia is an independent kingdom. The capital is Belgrade. For centuries Servia was a province of the Turkish Empire, constantly in revolt and passionately striving to become independent. By the Treaty of Berlin in 1878 Servian independence was secured. With the triumph of the Balkan Allies—Servia, Montenegro, Bulgaria and Greece—over Turkey in 1913, much valuable territory was added to all the Balkan nations. The great ambition of Servia to secure territory on the sea was thwarted, however, by Austria-Hungary; and the ancient Servian hatred for Austria, roused to action, brought about the incident immediately leading to the great European War.

This was the assassination of the Austrian crown prince, in June, by a Servian conspirator. Austria claimed that the Servian government was a party to the murder, and sent an ultimatum making peremptory demands that the murderers be punished. The Servian government, denying any connection with the assassins, none the less agreed to all the Austrian demands save one. They refused to permit Austrian officials to try the conspiracy cases. Austria declared war.

### AUSTRIA-HUNGARY

A dual monarchy, inhabited by several nationalities and comprising two semi-independent countries, each with its own government but also with a common parliament, army and emperor, Francis Joseph. He belongs to the house of Hapsburg, which has ruled Austria for six hundred years, and himself has held the throne at Vienna since 1848.

Austria possesses important ports on the Adriatic, and if she had territory in the Balkan peninsula might gain access to the Mediterranean and prevent Russia from doing the same. She once tried to reach the sea through Italy, but failed. The growth of the Slavic states in the Balkans is directly contrary to Austrian interests and ambitions. A power occupying the Balkan peninsula might easily control the Suez Canal, connecting Europe with the Orient.

Agriculture is the principal pursuit, and Austria is able to supply her own food. In the north, wheat and barley grow, and corn in the south. The mineral wealth is great—coal and salt abound. Cotton, woolen, linen and silk goods are manufactured; also metals, glass, leather and musical instruments. Commerce is mainly with Germany and Turkey.

### GERMANY

Twenty-five states constitute the German Empire, formed by the first imperial chancellor, Bismarck, in 1871. Its capital is Berlin. The king of Prussia is emperor (William II, since 1888). He may declare war and conclude peace, contract alliances and make treaties.

[pg 15] The German people are intelligent and industrious. Since the founding of the empire their industrial and commercial development has been wonderful. Less than half the population is now engaged in agriculture, but Germany still produces the larger part of her food supply. Almost one-third as many cattle are raised as in the United States, and Germany leads the world in sugar production.

Colonial expansion, commerce, and the need of food imports has built up a great German merchant marine and navy. If Austria were part of the Empire, with a path to the Mediterranean, Germany would have the harbors and seaways needed to increase her maritime power and would also possess the shortest trade route to the Orient. Bismarck wanted to secure Germany from attack, so that she could develop her industries in peace, and with this end in view made alliances with Austria and Italy, at the same time encouraging naval and military growth.

### RUSSIA

One of the most powerful countries, including all northern Asia as well as eastern Europe. It is an absolute monarchy, ruled by the Czar Nicholas II at Petrograd (St. Petersburg). He came to the throne in 1894.

The population is mostly Slavic, and the racial sympathy is therefore with the Balkan peoples. Russia, like Austria and Germany, would like a port on the Mediterranean, as she now has access to the Atlantic only through the Baltic Sea and the Dardanelles (between the Black Sea and the Ęgean).

Sixty years ago Russia attacked Turkey, menacing Great Britain's route to her Oriental possessions. These two powers combined with France and repulsed Russia in the Crimean War. Since the time of Peter the Great the Russians have had their eyes on Constantinople, and as long as they cannot have it will try to prevent Germany or Austria from getting it.

Seven-eighths of the peasants are farmers, and two-thirds of the land is sown to cereals.

### FRANCE

A republic. Paris is the capital, and the president (since 1913) is Raymond Poincare. It is more than three-fourths the size of Texas, and has about two-fifths the population of the United States.

Most of the people live by agriculture, which is carried to a high standard. Wheat, oats, barley and corn are grown, also root-crops, fruits, tobacco, grapes and silk. There are rich mines of coal, iron and lead. In 1912 France ranked fourth in imports and exports. In manufactures of silk the French predominate, and they make fine muslins, porcelains, glass, jewelry and clocks.

### GREAT BRITAIN

The United Kingdom is a constitutional monarchy, comprising England, Ireland, Scotland and Wales. London is the capital, and George V, since 1910, has been King of Great Britain and Emperor of India. The coast line measures about twenty-eight hundred miles, and the English navy is equal to any other two. "The sun never sets on her colonial possessions," and her world-trade is the largest of any nation.

Manufacturing is the leading industry. Most of the large cities are near the coal-fields in the north central part. London, Liverpool and Edinburgh are the principal ports.

England has no fear of losing India, but does not look with favor on Russia's Balkan ambitions. At the same time she is opposed to the spread of a great German empire from Holland to the Ęgean Sea, which would upset the English doctrine of small independent states and the "balance of power" in Europe.

### BELGIUM

A democratic kingdom ruled by Albert, since 1909 (capital Brussels). Its length is 165 miles and width 120; the population about 650 to the square mile, composed of Flemish and Walloons—the former of French and the latter of German extraction.

Belgium is low and flat in the north; hilly and timbered in the south. The country is well watered and networked with canals. Rich in minerals, it is a prominent manufacturing country. Linens, laces, cottons and woolens, carpets, machines and cutlery are exported, with coal, iron and farm products. The imports are coffee, sugar, petroleum, hides and raw materials. Agriculture is carried to great perfection, but the country is not self-supporting.

Brussels is a great manufacturing center, and Antwerp the principal seaport.

### ITALY

The king of Italy is Victor Emmanuel III, whose rule began in 1900. The products are fruits, rice, wheat, silk, olives, marble, etc. Naples is the largest city, and has varied manufactures.

Previous to 1859 Italy was divided into separate states. In 1870 Victor Emmanuel, king of Sardinia, united Italy and made Rome the national capital. Austria tried to thwart this movement. England and France were friendly to Italy at that time, and Germany was neutral.

## ALLIANCES

The Triple Alliance was formed by Bismarck, after the Franco-Prussian War. Its object was to strengthen Germany and isolate France. A dual league was made in 1879 between Austria and Germany, which Italy joined in 1880. By this alliance the nations intended to aid each other in defense. Bismarck wanted Russia in the league, but trouble in the Balkans broke off this project.

Soon after France formed a league with Russia. Bismarck fell from power in 1890, but the Triple Alliance was still stronger than its rival, until France brought England into the Triple Entente, agreeing to give England a free hand in Egypt in return for the same in Morocco.

## STRATEGY

The German attack on France is weakened by the fact that Italy did not act with the other members of the Triple Alliance, as a diverting attack from the south would divide the French defense. From the map it is easy to see why Germany advanced through Belgium, in spite of the fact that Germany, in 1878, had been one of the powers to guarantee Belgium's neutrality, because the mountains bordering France from the Alps to Verdun were strongly fortified, while the approach from Belgium was not.

It is also clear that Russia was compelled to establish her position along the Carpathian Mountains before advancing on Berlin—so that a northward movement from Austria-Hungary might not cut her line of communication.

[pg 16]

## The Effect of the War on Osborne Art Calendars for 1916

You probably know that the outbreak of war immediately resulted in a scarcity of dye stuffs. In the calendar business this has affected inks for color printing, paints for water colors, coloring matter for ribbon, paper and cord. The rag used in high grade paper was also affected, and to some extent even the clay for enameled stock—part of this material coming from the war area.

The Osborne Company acted promptly in the crisis. Taking advantage of the large capital fortunately at our command, we purchased outright practically an entire year's supply of materials, at prices which cannot be duplicated today for materials of equal grade.

As a result the new line of Osborne Art Calendars for 1916 will be sold to our customers at no advance in price, and there will be no deterioration in quality through the substitution of inferior or untested materials.

On the contrary, the new line will offer you unexpected value for every dollar of your calendar appropriation.

It is absolutely, in all respects, the superlative line—the masterpiece—of the 25 years of progress since this Company originated the art calendar business.

Do not buy in haste—before you see Osborne Art Calendars for 1916. Wait—the reward will be better and more attractive advertising, a subject yours exclusively for your town (no jobber's calendar gives you this important service) and the greatest value any calendar house does or can offer you for your money.

The Osborne man will surely call. Wait for him in your own interest.

EDMUND B. OSBORNE, President.

THE OSBORNE COMPANY

NEW YORK CHICAGO LONDON

GENERAL OFFICES AND WORKS, NEWARK, NEW JERSEY

LARGEST CALENDAR SALES IN THE WORLD

## Transcriber Notes:

The cover image was computer-generated for e-book versions

The individual illustrations were originally to the left or right of the text associated with that illustration. Those illustrations have been moved to be after the associated text.

The tables have been reformatted to fit the formatting of a text file.

The illustration "THE BATTLEGROUND OF THE NATIONS" has been moved before the section "THE NATIONS AT WAR".

On page 10, "ZEPELLINS" was replaced with "ZEPPELINS".

    End of the Project Gutenberg EBook of Souvenir Album of the Great European
    War, by Anonymous

    *** END OF THIS PROJECT GUTENBERG EBOOK SOUVENIR ALBUM OF THE GREAT EUROPEAN WAR ***

    ***** This file should be named 46822-h.htm or 46822-h.zip *****
    This and all associated files of various formats will be found in:
            http://www.gutenberg.org/4/6/8/2/46822/

    Produced by Brian Coe, Ernest Schaal, and the Online
    Distributed Proofreading Team at http://www.pgdp.net (This
    file was produced from images generously made available
    by The Internet Archive/American Libraries.)

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

    Creating the works from print editions not protected by U.S. copyright
    law 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 in the United States with eBooks
    not protected by U.S. copyright law. Redistribution is subject to the
    trademark license, especially commercial redistribution.

    START: FULL LICENSE

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

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

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

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

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

    1.C. The Project Gutenberg Literary Archive Foundation ("the
    Foundation" or PGLAF), owns a compilation copyright in the collection
    of Project Gutenberg-tm electronic works. Nearly all the individual
    works in the collection are in the public domain in the United
    States. If an individual work is unprotected by copyright law 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 in the United States and
      most other parts of the world 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. If you are not located in the
      United States, you'll have to check the laws of the country where you
      are located before using this ebook.

    1.E.2. If an individual Project Gutenberg-tm electronic work is
    derived from texts not protected by U.S. copyright law (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 The
    Project Gutenberg Trademark LLC, 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
    works not protected by U.S. copyright law in creating the Project
    Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
    electronic works, and the medium on which they may be stored, may
    contain "Defects," such as, but not limited to, incomplete, inaccurate
    or corrupt data, transcription errors, a copyright or other
    intellectual property infringement, a defective or damaged disk or
    other medium, a computer virus, or computer codes that damage or
    cannot be read by your equipment.

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

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

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

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

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

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

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

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

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

    The Foundation's principal office is in Fairbanks, Alaska, with the
    mailing address: PO Box 750175, Fairbanks, AK 99775, but its
    volunteers and employees are scattered throughout numerous
    locations. Its business office is located at 809 North 1500 West, Salt
    Lake City, UT 84116, (801) 596-1887. Email contact links and up to
    date contact information can be found at the Foundation's web site and
    official page at www.gutenberg.org/contact

    For additional contact information:

        Dr. Gregory B. Newby
        Chief Executive and Director
        gbnewby@pglaf.org

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

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

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

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

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

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

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

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

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

    Most people start at our Web site which has the main PG search
    facility: www.gutenberg.org

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

    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.