The Project Gutenberg eBook of The Mentor: American Mural Painters, vol. 2, Num 15, Serial No. 67, September 15, 1914 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 will have to check the laws of the country where you are located before using this eBook. Title: The Mentor: American Mural Painters, vol. 2, Num 15, Serial No. 67, September 15, 1914 Author: Arthur Hoeber Release date: December 12, 2015 [eBook #50673] Language: English Credits: Produced by Juliet Sutherland and the Online Distributed Proofreading Team at http://www.pgdp.net *** START OF THE PROJECT GUTENBERG EBOOK THE MENTOR: AMERICAN MURAL PAINTERS, VOL. 2, NUM 15, SERIAL NO. 67, SEPTEMBER 15, 1914 *** Produced by Juliet Sutherland and the Online Distributed Proofreading Team at http://www.pgdp.net THE MENTOR 1914.09.15, No. 67, American Mural Painters LEARN ONE THING EVERY DAY September 15, 1914 Vol 2 No. 15 THE MENTOR AMERICAN MURAL PAINTERS DEPARTMENT OF FINE ARTS Serial Number 67 FIFTEEN CENTS A COPY The Mentor Association ESTABLISHED FOR THE DEVELOPMENT OF A POPULAR INTEREST IN ART, LITERATURE, SCIENCE, HISTORY, NATURE, AND TRAVEL [Illustration] THE ADVISORY BOARD _JOHN G. HIBBEN_ _President of Princeton University_ _HAMILTON W. MABIE_ _Author and Editor_ _JOHN C. VAN DYKE_ _Professor of the History of Art, Rutgers College_ _ALBERT BUSHNELL HART_ _Professor of Government, Harvard University_ _WILLIAM T. HORNADAY_ _Director New York Zoölogical Park_ _DWIGHT L. ELMENDORF_ _Lecturer and Traveler_ THE PLAN OF THE ASSOCIATION The purpose of The Mentor Association is to give its members, in an interesting and attractive way, the information in various fields of knowledge which everybody wants and ought to have. The information is imparted by interesting reading matter, prepared under the direction of leading authorities, and by beautiful pictures, produced by the most highly perfected modern processes. The object of The Mentor Association is to enable people to acquire useful knowledge without effort, so that they may come easily and agreeably to know the world’s great men and women, the great achievements and the permanently interesting things in art, literature, science, history, nature, and travel. The purpose of the Association is carried out by means of simple readable text and beautiful illustrations in The Mentor. The annual subscription is Three Dollars, covering The Mentor Course, which comprises twenty-four numbers of The Mentor in one year. THE MENTOR SUBSCRIPTION, THREE DOLLARS A YEAR. SINGLE COPIES FIFTEEN CENTS. FOREIGN POSTAGE 75 CENTS EXTRA. CANADIAN POSTAGE 50 CENTS EXTRA. ENTERED AT THE POST-OFFICE AT NEW YORK, N.Y., AS SECOND-CLASS MATTER. COPYRIGHT, 1915, BY THE MENTOR ASSOCIATION, INC. PRESIDENT AND TREASURER, R. M. DONALDSON; VICE-PRESIDENT, W. M. SANFORD; SECRETARY, L. D. GARDNER _Issued Semi-Monthly by_ THE MENTOR ASSOCIATION, INC. 52 EAST 19th STREET, NEW YORK, N. Y. [Illustration: THE PLEIADES, by Elihu Vedder. In the Metropolitan Museum of Art, New York City.] American Mural Painters ELIHU VEDDER Monograph Number One in The Mentor Reading Course Elihu Vedder said of his parents, “My mother went to church; but I know that wherever a fish was to be found my father went fishing,” and of his mother he said further, “It had always been my mother’s wish that I should be a great artist, and for her sake I wish it could have been so.” Vedder was born in New York City on February 26, 1836, and as a boy attended the Brinkerhoff School in Brooklyn. In this institution the greatest virtue was a good memory; the pupil who could best memorize his lessons stood highest. Consequently Vedder, who always had a bad memory, stood at the foot of his class. Nevertheless he showed early evidences of his talent. He first studied under the genre (jonr) and historical painter Tompkins H. Mattison, at Sherburne, New York. Then he went to Paris to study in the atelier of the French painter Picot. He went to Italy in 1857, where he worked for some years, and then returned to the United States and remained there until 1865. In that year he was elected to full membership in the National Academy of Design, New York City. He went back to Paris and spent one winter there; but in January, 1867, moved to Rome, where he has ever since resided. He has made many visits to the United States; but Italy is his favorite dwelling place. At first Vedder devoted himself to the painting of genre pictures. These, however, attracted only a little attention until 1884, when he illustrated the Rubaiyat of Omar Khayyam. This immediately gave him a high place in the art world. His important decorative work came later. These subjects are principally imaginative. A pen picture by H. T. Carpenter, of Vedder in his Italian home, gives a good idea of the personality of the man: “The picturesque personality of the painter would impress one, whatever and wherever the surroundings. As he came down those stone steps” (of his studio in Rome), “a bunch of large keys in his hand to open the gate, explaining the while the reason for the absence of the porter and attendant of all work, with a gentleness born of a natural sympathy for the under dog, he looked the man one might imagine the creator of such work as is shown in the series of drawings of the Rubaiyat of Omar Khayyam, or the Congressional Library and the Bowdoin College decorations, or the mural work in the Huntington house, with its incomparable central figure, Luna,--his abundant wavy white hair, features of marked strength, penetrating blue eyes, which alternately twinkled and analyzed, a long, flowing white mustache, a striking head on massive shoulders, tall in height; in fine, a picture of rugged picturesqueness that stood out even in that land of artistic individuality, but never for a moment taken for anything but a fine type of American. His manner was cordial, frank, sincere, and unaffected, and one soon found out he was a good hater of shams.” PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION ILLUSTRATION FOR THE MENTOR, VOL. 2, No. 15. SERIAL No. 67 COPYRIGHT, 1914. BY THE MENTOR ASSOCIATION. INC. [Illustration: DETAIL OF THE ANTHONY DREXEL MEMORIAL CHANCEL, by E. H. Blashfield. In the Church of the Savior, Philadelphia, Pennsylvania.] American Mural Painters EDWIN HOWLAND BLASHFIELD Monograph Number Two in The Mentor Reading Course Edwin Howland Blashfield has a place in the front rank of American mural painters through his elevation of thought and his masterly execution. His imagination is fertile and his treatment of subjects highly decorative. He has been able to paint both history and legend, and has placed them side by side in the same compositions. He was born on December 15, 1848, in New York City. He is a son of William Henry Blashfield, and a brother of Albert Dodd Blashfield, the illustrator. Blashfield studied first at the Boston Latin School. Then, in 1867, he went to Paris to study under Leon Bonnât. He also received valuable advice from Gérôme and Chapù. He exhibited for many years at the Paris Salon, and also at the Royal Academy in London. In 1881 he returned to the United States and married. For some years he was a painter of genre pictures; that is, pictures of common life and its associations. Then he turned to decorative work, which was marked by rare delicacy and beauty of color. At the World’s Fair in Chicago in 1893 he painted mural decorations for a dome in the Manufacturers’ Building. Later he did the great central dome of the Congressional Library at Washington, the drawing room for the Huntington residence, the decoration for the courtroom in the courthouse at Baltimore, the decoration of the entire chancel in the Church of the Savior at Philadelphia, and many other masterpieces of mural art. Blashfield is well known as a lecturer on art, and has written many articles dealing with the subject. With Mrs. Blashfield he wrote, in 1900, “Italian Cities,” and together, with A. A. Hopkins, they edited Vasari’s “Lives of the Painters.” At one time Blashfield was president of the Society of American Artists. He is a member of the American Academy of Arts and Letters, and many other societies. He makes his home in New York City. Blashfield has received many honors and medals, including a bronze medal at the Paris Exposition in 1900, a gold medal at the St. Louis Exposition in 1904, a Carnegie prize in 1911, and others. PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION ILLUSTRATION FOR THE MENTOR, VOL. 2, No. 15. SERIAL No. 67 COPYRIGHT, 1914. BY THE MENTOR ASSOCIATION. INC. [Illustration: Copyright by M. G. Abbey. From a Copley Print. Copyright by Curtis & Cameron, Inc. THE APOTHEOSIS OF PENNSYLVANIA, BY E. A. ABBEY. IN THE PENNSYLVANIA STATE CAPITOL AT HARRISBURG] American Mural Painters EDWIN AUSTIN ABBEY Monograph Number Three in The Mentor Reading Course Walk into the Public Library at Boston, and you will find yourself in the midst of some of the most magnificent mural decorations in America. There we find the great frieze of The Prophets, by John Sargent, and in the delivery room is the great decoration by Edwin Austin Abbey which is called “The Quest of the Holy Grail.” In the early part of his life Edwin Abbey was an illustrator, celebrated chiefly for his pen drawings. In later life his work became larger in character, and he turned naturally to mural painting. Edwin Austin Abbey was born in Philadelphia, April 1, 1852. He studied first at the schools of the Pennsylvania Academy of Fine Arts; but at the age of nineteen left this and entered the art department of the publishing house of Harper & Bros., New York City, where he became successful as an illustrator. Associated with him were such artists as Howard Pyle, C. S. Reinhart, and Joseph Pennell. In 1878 Harpers’ planned to publish the poems of Robert Herrick, and sent Abbey to England to gather material for the illustrations. These were published in 1882, and attracted much attention. Illustrations for Goldsmith’s “She Stoops to Conquer,” for a volume of old songs, and for the comedies and a few of the tragedies of Shakespeare, followed. His water colors and pastels were successful in the same degree. Abbey by this time had become closely identified with the art life of England. In 1883 he was elected to the Royal Institute of Painters in Water Colors. His first oil painting was exhibited at the Royal Academy in London in 1890, which was called “A May Day Morning.” He became a full Royal Academician in 1898. His mural decoration called “The Quest of the Holy Grail,” in the Boston Public Library, on which he was occupied for several years, deserves special mention. In 1901 King Edward VII commissioned him to paint a picture of the coronation. During his life many honors were showered upon him. Abbey died in 1911. In “The Apotheosis of Pennsylvania,” below to the left are Sir Walter Raleigh, who had a grant in Pennsylvania; Henry Hudson, who discovered and sailed up the Delaware River; Captain Minuit, the explorer and navigator, and others. To the right are a pioneer and representatives of various religious sects that settled in Pennsylvania. Below these, beginning at the left, are ships on the stocks, the city troopers, General Wayne, Atkinson (the first American judge), the first provost of the University of Pennsylvania, Bishop White (the first American bishop), and others, among them Dr. Caspar Wistar, Benjamin Franklin, William Penn, and Robert Morris. At the left are Governor Curtis and Thaddeus Stevens cheering the soldiers of 1861 marching to defend the state, officered by Generals Hancock and Meade. On the right are miners and workers in steel and iron, machinery, and so forth. PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION ILLUSTRATION FOR THE MENTOR, VOL. 2, No. 15. SERIAL No. 67 COPYRIGHT, 1914. BY THE MENTOR ASSOCIATION. INC. [Illustration: Copyright by Edward Simmons. From a Copley Print. Copyright by Curtis & Cameron, Inc. RETURN OF THE BATTLE FLAGS, by Edward Simmons. In the Massachusetts State House. Boston, Massachusetts.] American Mural Painters EDWARD EMERSON SIMMONS Monograph Number Four in The Mentor Reading Course Edward Emerson Simmons had many disappointments to contend with during the early part of his life; but he overcame them all, and has made for himself a place in the foremost rank of American artists. He comes from good old Massachusetts stock. His mother was a sister of Ralph Waldo Emerson, the famous American poet and essayist. Simmons was born at Concord, Massachusetts, on October 27, 1852. He went to Harvard University, and graduated from there in 1874 with great honor. It is a fact worthy of remark that the class of 1874 contains many men who have achieved distinction. After graduating Simmons went to Paris to study art, where his teachers were Lefebvre and Boulanger. At the schools he was very popular, and his easel was the favorite loafing place for the other members of his class. In 1881 he exhibited at the Salon a portrait of a gentleman in Highland costume, which attracted great attention. The following summer he went to Brittany, where he remained for sometime. He made his home at Concarneau in Finistère, a fishing port famous for its sardines. There Simmons experimented with all kinds of painting,--landscape, marine, and figure,--and took the lead in the art life of the colony, among whom were painters from France, England, and America. In 1882 he sent to the Salon a painting called “La Blanchisseuse,” a picture of a Breton girl carrying the clothes from the brookside, where she had been washing them, which is a custom in Brittany. The picture received honorable mention. In 1891 his class at Harvard decided to give a memorial window, and Simmons got the commission. Then came the World’s Fair at Chicago in 1893, and Simmons obtained the commission to decorate the dome of the Liberal Arts Building. He chose for his subject four objects of American labor,--wood, iron, stone, and fiber. This painting shows strength, directness, simplicity, and dignity. It was his first mural decoration, and was a good experience. He saw his opportunity and made the most of it. Almost immediately came the commission to decorate the Criminal Court Buildings of the Courts of Oyer and Terminer in the city of New York, which he worked out with enthusiasm. The subject represented is Justice, in the shape of a stately, dignified figure with a globe in one hand and the scales in the other. He draped this figure in an American flag; a hard problem, but cleverly worked out. The side panels to the right represent the Three Fates; those to the left, Liberty, Equality, and Fraternity. Then came the commission for decorating the Congressional Library at Washington. He chose as his subject the nine muses. Following this he received many commissions for work in private residences, and for a series of paintings for the Waldorf-Astoria Hotel, New York City. Simmons was one of the original members of the Ten American Painters, and is a member of the National Institute of Arts and Letters. PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION ILLUSTRATION FOR THE MENTOR, VOL. 2, No. 15. SERIAL No. 67 COPYRIGHT, 1914. BY THE MENTOR ASSOCIATION. INC. [Illustration: FROM A COPLEY PRINT. COPYRIGHT BY CURTIS & CAMERON, INC. HOSEA--DETAIL OF THE PROPHETS, BY JOHN SARGENT IN THE PUBLIC LIBRARY. BOSTON, MASSACHUSETTS] “Hosea,” a detail of the frieze of “The Prophets,” by John Singer Sargent, in the Public Library, Boston, is the subject of one of the intaglio-gravure pictures illustrating “American Mural Painters.” JOHN SINGER SARGENT Monograph Number Five in The Mentor Reading Course John Singer Sargent has been called the most “modern of moderns, one of the most dazzling men of talent of the present day.” Sargent is in reality an American only by parentage; for he was born at Florence, Italy, on January 12, 1858, and since 1884 has lived in London. Sargent’s father was Dr. Fitzwilliam Sargent, a distinguished Boston physician. Sargent as a child was very sensitive, and was greatly influenced by the art treasures of his birthplace. He received his early education in Italy and Germany, and his impressionable nature amid such surroundings was shaped by the atmosphere of the famous Tuscan city, which left its refining mark upon all his work. The parents of many artists of genius have attempted to dissuade their sons from becoming painters. On the contrary, however, Sargent’s parents encouraged him to draw from the canvases of Veronese, Titian, and Tintoretto. In 1874, when Sargent was only eighteen, he went to Paris to study, entering the atelier of Carolus-Duran. A portrait of his teacher painted toward the close of his studentship won the commendation of the best judges. He received an honorable mention in the Salon in 1878, and in 1881 a second-class medal for his “Portrait of a Young Lady,” which has been made famous by the appreciation of Henry James, the distinguished American novelist. As an artist with a future he turned his steps to Spain. In Madrid he studied the canvases of Velasquez carefully, and this master has influenced his entire art career. He seemed to come so close to this great painter that he was enabled to bring into the nineteenth century the power of the most modern of fifteenth century painters. Sargent returned to Paris in 1882 and exhibited “El Jaleo,” a picture representing a Spanish woman dancing, which attracted a great deal of attention, and is now in the Boston Art Museum. Soon afterward Sargent drifted to London, and in 1886 his “Carnation, Lily, Lily, Rose” brought him immediate recognition. He rapidly became known in London as a brilliant portrait painter, and year by year his Academy portraits were the features of the exhibitions. His success was now assured, and his sitters included the men and women of greatest distinction in the literary, artistic, and social life of both Europe and America. He is best known as a portrait painter; but at the same time he has done much excellent decorative work, and his decorations for the Boston Public Library, “The Pageant of Religion,” among which was the frieze of “The Prophets,” which were completed in 1903, placed him among the leading mural painters of America. Sargent was elected a member of the Royal Academy in London in 1894, and in addition to this he has won many other honors. And unlike many American artists residing in Europe, he has always retained his directness and independence. PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION ILLUSTRATION FOR THE MENTOR, VOL. 2, No. 15. SERIAL No. 67 COPYRIGHT, 1914. BY THE MENTOR ASSOCIATION. INC. [Illustration: Copyright 1907 by DeW C. Ward. THE BENEFICENCE OF THE LAW by Kenyon Cox. In the Essex County Courthouse, Newark, New Jersey.] American Mural Painters KENYON COX Monograph Number Six in The Mentor Reading Course Not only has Kenyon Cox placed himself in the front rank of American artists through his paintings, but he has also made a name for himself as an art critic. He was born at Warren, Ohio, on October 27, 1856. His father was General Jacob Dolson Cox. He studied art when quite young, first at Cincinnati and Philadelphia, and then at the age of twenty-one went to Paris to study. There for five years he was under Carolus-Duran and Gérôme. In 1882 he returned to New York and opened a studio there. Shortly after this he began teaching in the Art Students’ League, and had much success in that line. In 1892 he married Louise Howland King, who is well known as a painter herself. The earlier work of Cox consisted mostly of the nude. He received little encouragement for these pictures, however, and turned to mural decoration, in which he has achieved prominence. His first step toward mural work was the painting of two decorations for the Library of Congress at Washington. In two tympanums (the flat, triangular part of a pediment) each thirty-four feet in length, he has painted the Arts and the Sciences. Among his better known examples are the frieze for the courtroom of the Appellate Court, New York City, and the decorations for the Walker Art Gallery at Bowdoin College, for the Capitol at St. Paul, Minnesota, and for other public and private buildings. His decoration, “The Beneficence of the Law,” in the Essex County Courthouse at Newark, New Jersey, is one of his best-known paintings. Of late years Mr. Cox has spent much time on wall decorations. He is a maker of pictures and a master of line; but is not an interpreter of life nor an exploiter of ideas. He is the author of a number of books on art, among which are “Old Masters and New,” and “Painters and Sculptors,” in addition to some poems. He was elected to the National Academy in 1903, and has received many medals and honors. PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION ILLUSTRATION FOR THE MENTOR, VOL. 2, No. 15. SERIAL No. 67 COPYRIGHT, 1914. BY THE MENTOR ASSOCIATION. INC. [Illustration: Copyright, by Hotel Imperial Bowling on the Green, by E. A. Abbey. In the grill of the Hotel Imperial, New York City] AMERICAN MURAL PAINTERS By ARTHUR HOEBER _Author, Artist, and Critic_ [Illustration] THE MENTOR · DEPARTMENT OF FINE ARTS · SEPT. 15, 1914 _MENTOR GRAVURES_ RETURN OF THE BATTLE FLAGS By Edward Simmons THE APOTHEOSIS OF PENNSYLVANIA By E. A. Abbey THE BENEFICENCE OF THE LAW By Kenyon Cox HOSEA--DETAIL OF THE PROPHETS By John Sargent DETAIL OF THE ANTHONY DREXEL MEMORIAL CHANCEL By E. H. Blashfield THE PLEIADES By Elihu Vedder [Illustration: DAWN, by T. W. Dewing Ceiling decoration in the grill of the Hotel Imperial, New York City “Oh, tenderly the haughty day Fills his blue urn with fire!” --Ralph Waldo Emerson.] The story of mural painting in America dates back just a trifle over half a century; yet so rapidly do we develop things in this country that today the names of half a hundred men and women who have done distinguished work in this direction come to mind in any review of native accomplishment. However, the art of decoration is one of the oldest in the history of the world, examples of which have been handed down from almost prehistoric times. Traditions reach us--examples too--from the great civilizations of Egypt, Assyria, Greece, Rome, in Europe; while on our own continent there remain records of art in the way of wall decorations in Mexico and Central America, of beauty, taste, and invention, that baffle all efforts to classify as to their age. Says a great art writer, “No society, however rudimentary, has altogether ignored art.” Within the last few years prehistoric paintings by men who probably lived on reindeer flesh have been discovered in caves of the Pyrenees, paintings of no little artistic merit and surely artistic instinct. With the name of John La Farge must begin any account of the history of mural painting in America. The name is an honored one in the annals of our art development, and he has been dead only a few years, after a long life of devotion to high artistic ideals. It was in 1861 that he completed a panel for the church of the Paulist Fathers, in New York. The theme was “Saint Paul Preaching at Athens.” The architects, however, rejected the work for reasons that seem never to have been recorded, and the next year La Farge began a large triptych[1] of “The Crucifixion”; though he completed only two of the smaller divisions of the composition. These he kept in his studio for many years, until they were purchased by the late William C. Whitney. But his work in the meantime had been remarked, and he received an order for some decorations for a dining room; while the architect H. H. Richardson, in 1876, offered him a commission to take charge of the interior decoration of Trinity Church, Boston. This work was completed in about four months. La Farge chose as assistants Francis Lathrop, Francis D. Millet, George W. Maynard, and Augustus Saint-Gaudens the sculptor, among others. The work was satisfactorily completed, and remains today one of the great accomplishments in this country. After this La Farge was asked to decorate Saint Thomas’ Church in New York, which was followed by his decorations for the Church of the Incarnation in the same city. [1] A picture on three panels side by side. [Illustration: Copyright, 1904 THE EDICT OF TOLERATION, by E. H. Blashfield This is the central section of a decoration in the courthouse at Baltimore, Maryland] [Illustration: THE LIGHT OF LEARNING By Kenyon Cox Lunette in the public library at Winona, Minnesota] LA FARGE’S MASTERPIECE In the Church of the Ascension, however, is La Farge’s masterpiece, without doubt the greatest piece of church decoration in this country. The theme is “The Ascension of Our Lord,” a composition arranged in two groups, one of the ascending Christ amid the clouds, the other of the disciples with Mary the Mother standing on the ground gazing upon the wonder passing beyond their vision. The composition is one of great dignity and deep religious feeling; the vision of the painter is most distinguished; while there are both balance and harmony, and the color scheme is highly decorative and rich. The work was immediately followed by many others, including a music room for the residence of the late Whitelaw Reid, rooms in the residence of Cornelius Vanderbilt, and many churches; while later was to come the work for great public buildings, culminating in the decorations for the Supreme Court room of the new capitol at St. Paul, Minnesota, a colossal undertaking comprising many large panels. La Farge did not, however, confine his activities entirely to mural painting; for during his long career in art he was identified with work in stained glass, to which he gave great attention. His achievements in this direction were among the most distinguished that have ever been attained in the history of the world. [Illustration: EGYPTIAN DANCE By William De L. Dodge In the Majestic Theater at Boston, Massachusetts] WILLIAM M. HUNT Before we come to the group of present workers in mural painting it is necessary that we consider an earlier man, again one of the pioneers, the artist William M. Hunt of Boston, who in 1878 obtained the commission to decorate the New York state capitol at Albany. The result was a fine series of pictures, well composed; but unfortunately they survive only in reproductions, the originals having been painted directly on the walls. These, owing to faulty construction, did not long remain intact, falling out of plumb, and they had to be supported by beams until they were finally entirely destroyed. Hunt had been a pupil of Thomas Couture (koo-toor´) in Paris, a man who had strong influence on his work, and these decorations were very reminiscent of his master. The pictures were fifteen by forty-five feet in size, and the themes were “The Flight of Night” and “The Discoverer,” of which only photographs remain to tell the tale. Today the mural painter produces his work on canvas instead of on the wall, a process that enables him to do most of the labor in the studio, and in case of necessity this, after being attached to the walls, can be taken down again and so preserved. MURAL ART AT “THE WHITE CITY” It was on the occasion of the planning of the World’s Columbian Exposition of 1893 in Chicago that the first real impetus to mural decoration was given in America. This occasion disclosed to the citizen the possibilities of the native artist, as well as the esthetic value of such embellishment in public edifice and in private home. The administrative body of the fair, determining upon a decorative scheme to be properly carried out, appointed to take charge of the mural painting Francis D. Millet, and as assistant, Charles Yardley Turner. A selection of artists was made to execute the work, who were J. Alden Weir, Edwin Howland Blashfield, George W. Maynard, Robert Reid, Edward Simmons, Charles Stanley Reinhart, Carroll Beckwith, Kenyon Cox, Gari Melchers, William De L. Dodge, and Walter McEwen. [Illustration: THE CUMÆAN SIBYL, by Elihu Vedder At Wellesley College] [Illustration: Copyright, 1898, by E. Vedder. From a Copley Print, copyright, 1899, by Curtis & Cameron, Inc. SAMSON, by Elihu Vedder] Blashfield and Maynard had had some slight experience in decorative work; but the rest were practically novices, though all had been serious, capable students in Paris, and were familiar with examples of the decorative arts of history. Millet was a rare executive, a man who was subsequently to do an enormous amount of just such work. It will be remembered that he went down to his death in the ill-fated Titanic. Of the rest of the group Weir, Reinhart, Beckwith, Melchers, and McEwen returned to their easel picture work after the Chicago fair, with only an occasional decoration. Blashfield, Maynard, Simmons, Cox, and Dodge have, however, continued to be strongly identified with mural work, and these men must receive closer attention. The decorative scheme at Chicago was a remarkable achievement, all things considered, and the grounds were referred to as “The White City,” “The Fair City,” “The City of Dreams,” and finally, alas! as “The Vanishing City”; but in reality nothing like it was ever seen before and probably never will be again. [Illustration: THE PROPHETS, by John Sargent In the Boston Library. Center panel, showing Elijah, Moses, and Joshua] EDWIN HOWLAND BLASHFIELD Of this group Mr. Blashfield has been more largely identified with decorations all over the land than the rest. The list of his mural work is a large one. A pupil of Bonnât’s (bo-nah´) in Paris, a writer of great charm, and a most serious student of his profession, Mr. Blashfield brought to his art scholarly endowments of a high order. After his work of decorating the dome of the Manufacturers’ Building at Chicago came a series of commissions to embellish various homes of private individuals,--Collis P. Huntington, the Drexels, the Vanderbilts, Adolf Lewisohn, and others,--with work for the Library of Congress, the Appellate Court of New York, the ballroom of the Waldorf-Astoria Hotel, the Prudential Life Insurance Company of Newark, New Jersey, the state capitols of Minnesota, Wisconsin, Idaho, and other states, with innumerable courthouses at Baltimore, Newark, Hudson County (New Jersey), Youngstown (Ohio), the Federal Building at Cleveland, some schools, and many more. In these he disclosed enormous invention, great facility, a good pictorial sense of composition, and generally a scholarly grasp of decorative requirements. KENYON COX Kenyon Cox, likewise a pupil of the Paris schools under J. L. Gérôme (zhay-rome´), has been largely identified with decorative work throughout the land. A distinguished draftsman and a writer on art as well, Mr. Cox is represented with decorations in the Walker Art Gallery, Bowdoin College, in various state capitols and public libraries, in the Appellate Court of New York and other courthouses throughout the Union, and was awarded the medal of honor for mural painting by the Architectural League in 1910. He too is represented in the mural decorations of the Congressional Library at Washington. [Illustration: THE LIGHT OF LEARNING By Robert Reid Copyright, 1909, by Robert Reid] JOHN SINGER SARGENT Mr. Sargent, perhaps the most prominent figure in the modern world of art, a man whose success has rarely been duplicated, a painter of the portrait above all, has confined his mural work to the decorations in the Boston Public Library. These are of such superlative quality as to cause regret that the man, in the course of a most active artistic life, could not have found time to do more. Mr. Sargent’s parents were Americans. They are his sole claim to nationality; for he was born in Italy, received his art education in France, and has resided for many years in England. Sargent, in short, is thoroughly cosmopolitan in himself and in his art. His Boston Library decorations are singularly original, of profound symbolism, disclosing deep intellectuality and serious study. His work here, says William A. Coffin, “as a whole is like a casket of jewels.” It consists of a frieze, a lunette,[2] and an arched ceiling. In the latter are depicted the gods of polytheism and idolatry; there are panels of the Prophets in the lunette, and the Jews are represented by twelve nude figures in subjection to the Egyptians and Assyrians, typified by figures of Pharaoh and the Assyrian king. It is a most elaborate symbolism, thoroughly consistent, wonderfully worked out, and of absorbing interest. [2] A form of decoration over door, window or in arches--shaped like a half moon. EDWIN A. ABBEY’S DECORATIONS Edwin A. Abbey, in another chamber of this Boston Library, the delivery room, has his now world-famous decoration, the story of the Holy Grail, perhaps the most popular mural work in this country, certainly the best known, and the shrine for many years of the tourist. It is a series of panels narrating the history of the knights of the Arthurian legend, exquisitely told, for Abbey was a master illustrator, and there is great charm of arrangement and color, all making a popular appeal. Mr. Abbey was further commissioned to decorate the state capitol at Harrisburg, Pennsylvania. He attacked this work with great interest and enthusiasm, but his labors were interrupted by his death. The task was then taken up by Miss Violet Oakley, herself a distinguished mural painter, who, though handicapped by the circumstances of having to follow out the scheme of another artist, nevertheless disclosed great capacity and has made a success of the performance. [Illustration: FAMOUS WOMEN, by Barry Faulkner Decoration for the house of Mrs. E. H. Harriman at Arden, New York. From left to right the women pictured are Cornelia, Beatrice, Judith, Queen of Sheba, Joan of Arc, Helen of Troy, and Pocahontas] PUBLIC LIBRARY DECORATIONS The Boston Library, it may be stated, offered opportunity for decorative work of an unusual nature, which was taken advantage of by several of the better known men. Elmer E. Garnsey made remarkable designs for the Pompeian lobby, and John Elliott a ceiling in the children’s reference room. The Congressional Library at Washington offered still greater opportunities, engaging the attention of a long list of painters. Here again is seen the hand of Mr. Garnsey, who planned the color scheme; while prominent among the decorations are the works of Elihu Vedder,--six large panels representing Government in its various phases, good and corrupt, of much invention in their allegorical way; for the artist is a highly imaginative man. Mr. Brownell places Vedder in the front rank of the imaginative painters of the day, adding, “Their name is not legion.” Other men who contributed to the Library of Congress include John W. Alexander, who is further represented at Pittsburgh, in the Carnegie Institute, with most important wall decorations; Gari Melchers; Robert Reid, whose list of other work is extensive, including decorations for the capitol at Boston; Henry O. Walker, also represented in the Appellate Court in New York. [Illustration: PENNSYLVANIA EXCAVATIONS, by Fred Dana Marsh] EDWARD SIMMONS, ROBERT BLUM, AND OTHERS In addition to these was a painter who has also been one of the most prominent of the decorative men, Edward Simmons. Years ago he won the competition for a decoration for the Criminal Court room in New York, a prize awarded by the Municipal Art Society. A pupil of the Paris schools, a master draftsman, a singularly capable man, his three panels of the Fates won him instant place, and when he further made two decorations for the Massachusetts state capitol there was opened to him a field which he has since followed with distinction. Decorations for the ballroom of the Waldorf-Astoria, panels for the Appellate Court, for various state capitols and public buildings, and finally enormous embellishments for the Panama fair in San Francisco, place the man in the front rank. For pure beauty of invention, for charm of drawing and delicacy of vision, no American decoration has surpassed the two lovely panels executed by the late Robert Blum for the frieze of the assembly room of the Mendelssohn Glee Club in New York. They attracted enormous attention when they were first completed, and have been reproduced in many forms. Blum was a highly original painter, and these many figures representing “Music” and “The Dance” have a grace quite their own. [Illustration: Reproductions of these paintings made by The Detroit Publishing Co. Copyright, 1912, by The Curtis Publishing Co. Copyright, 1914, by The Detroit Publishing Co. THREE PANELS, by Maxfield Parrish These three panels are part of a series called “A Florentine Fête,” which decorates the entire front of the dining room of the Curtis Publishing Company’s building in Philadelphia] Thomas W. Dewing, more identified with easel work, has nevertheless executed several charming decorations, one in the Imperial Hotel, New York, “Dawn,” ranking high indeed. It has all the man’s personal color vision, and is exquisitely dainty and graceful. Several men were concerned in the wall decorations of the Appellate Court, among them H. Siddons Mowbray and Willard L. Metcalf. The first named chose for theme “The Transmission of the Law,” which he rendered in a scholarly as well as artistic manner. Mr. Mowbray has executed a ceiling for the library of the University Club of New York, a large work for the Newark courthouse, and many private commissions. The Waldorf-Astoria Hotel gave early opportunities for the work of Will H. Low and Frank Fowler, both of whom carried out interesting schemes of decoration; while work in the church of the Paulist Fathers in New York offered a similar chance for William Laurel Harris. Fred Dana Marsh showed the possibilities of large engineering achievements for decorative material in a large panel in the rooms of the United Engineering Societies. It is an apotheosis[3] of labor, of the pick, the shovel, and the iron and steel worker, and Mr. Marsh was singularly original in the composition. [3] An apotheosis celebrates and exalts a subject in ideal forms of expression. [Illustration: THE CITY OF NEW YORK, THE EASTERN GATEWAY OF THE AMERICAN CONTINENT By Taber Sears, in the New York City Hall] John W. Alexander, better known as a portrait painter, also chose similar themes with which to decorate the Carnegie Institute of Art in Pittsburgh, a successful piece of work. Robert van V. Sewell, for the home of George Gould, at Lakewood, did a fine frieze representing “The Canterbury Tales.” And a later man is Barry Faulkner, whose panel for the home of Mrs. Harriman, “Famous Women,” is a happy arrangement of the many celebrated feminists. The work of Albert Herter is specially noteworthy. Hugo Ballin has executed large decorative work, and Howard G. Cushing has made strikingly original panels. Other men are Taber Sears, with altar pieces, Joseph Lauber, Charles M. Shean, Douglas Volk, and William B. Van Ingen. Walter Shirlaw occupied himself at times with decorations, and Abbott H. Thayer has likewise executed a few notable mural paintings. SUPPLEMENTARY READING MURAL PAINTING IN AMERICA _By Edwin Howland Blashfield._ Charles Scribner’s Sons, New York. AMERICAN MURAL PAINTING _By Pauline King._ Noyes, Platt & Co., Boston. THE HISTORY OF AMERICAN PAINTING _By Samuel Isham._ The Macmillan Company, New York. THE STORY OF AMERICAN PAINTING _By Charles H. Caffin._ Frederick A. Stokes Company, New York. THE MENTOR READING CIRCLE [Illustration: CHARITY, by Abbott Thayer In the Boston Museum] A mural painting is a decoration intended for the adornment of a wall or ceiling. As a rule, it is painted in more or less simple, flat tones, so as to carry some distance, and under the old methods, known as fresco painting, it was a process of painting in water colors on wet plaster, the portion of the wall on which the artist was to paint being prepared over night, so as to be in proper state to receive the color. The painter had to work from a scaffold. He was also hampered by awkward positions and, frequently, bad lighting facilities. This method was in general use from the early days of Giotto (1266-1337), to those of Raphael (1483-1520). Some of the Italians use it even now. * * * * * So mural painting differs materially from a picture painted on an easel. The easel picture has more detail, is placed in a frame when finished, and is destined to make a decorative spot on the walls. The modern mural painter now executes his design directly upon canvas in his studio, and when it is completed it is applied to the wall space by a composition of glue and white lead. When this is thoroughly dry it becomes practically a part of the construction, though it is possible at any time to remove it, by peeling it off, should it be necessary. As a rule, the painter of a great mural work makes first a small sketch. This is subsequently enlarged by himself, or his assistants, by the process of “squaring up,” and so it is brought to the correct size. These enlargements are known as “cartoons,” which are traced on the canvas or the plaster, and when thus drawn in are ready for the painter’s brush. Almost the first efforts of primitive man in picture making were decorations of the walls of his rude house, and later his temples and public buildings. There are examples from the civilizations of Egypt, Greece, and Rome wherein the work was carried to the greatest perfection. We have splendid specimens of brilliant coloring from the great temples in the land of the Pharaohs, on their tombs and palaces, that have remained fresh and well nigh perfect all these centuries, while throughout Italy, in palaces and churches the work of the Renaissance artists challenges the greatest admiration. * * * * * Upon the walls of the buried city of Pompeii still are frescoes that seem painted yesterday, so fresh is the color. The work of Michelangelo and of Raphael in the Vatican at Rome is perhaps the greatest of any known decorative efforts. Throughout France and Germany the work has been greatly fostered by commissions from the state for public buildings of all sorts, for splendid mansions and palaces of royalty. In France, particularly, great attention is given to mural work. The work of the French painter Puvis de Chavannes today is a return, to a certain extent, to the ideals and methods of expression, to the simplicity of theme and treatment of the early masters. He remains by general consent the greatest of all modern decorators, and we are fortunate in America in having admirable specimens of his work in the Boston Public Library. Our modern men, in their mural work, use as a rule oil paints mixed with wax, in order to secure a flat effect and to do away with any reflection on the surface. Complete Your Mentor Library Subscriptions always begin with the current issue. The following numbers of The Mentor Course, already issued, will be supplied at the rate of fifteen cents each. Send your list, and the numbers will be shipped at once, charges prepaid. Serial No. 1. Beautiful Children in Art 2. Makers of American Poetry 3. Washington, the Capital 4. Beautiful Women in Art 5. Romantic Ireland 6. Masters of Music 7. Natural Wonders of America 8. Pictures We Love to Live with 9. The Conquest of the Peaks 10. Scotland, the Land of Song and Scenery 11. Cherubs in Art 12. Statues with a Story 13. Story of America in Pictures: The Discoverers 14. London 15. The Story of Panama 16. American Birds of Beauty 17. Dutch Masterpieces 18. Paris, the Incomparable 19. Flowers of Decoration 20. Makers of American Humor 21. American Sea Painters 22. Story of America in Pictures: The Explorers 23. Sporting Vacations 24. Switzerland: The Land of Scenic Splendors 25. American Novelists 26. American Landscape Painters 27. Venice, the Island City 28. The Wife in Art 29. Great American Inventors 30. Furniture and its Makers 31. Spain and Gibraltar 32. Historic Spots of America 33. Beautiful Buildings of the World 34. Game Birds of America 35. Story of America in Pictures: The Contest for North America 36. Famous American Sculptors 37. The Conquest of the Poles 38. Napoleon 39. The Mediterranean 40. Angels in Art 41. Famous Composers 42. Egypt, the Land of Mystery 43. Story of America in Pictures: The Revolution 44. Famous English Poets 45. Makers of American Art 46. The Ruins of Rome 47. Makers of Modern Opera 48. Dürer and Holbein 49. Vienna, the Queen City 50. Ancient Athens 51. The Barbizon Painters 52. Abraham Lincoln: Volume 2 53. George Washington 54. Mexico 55. Famous American Women Painters 56. The Conquest of the Air 57. Court Painters of France 58. Holland 59. Our Feathered Friends 60. Glacier National Park 61. Michelangelo 62. American Colonial Furniture 63. American Wild Flowers 64. Gothic Architecture 65. The Story of the Rhine 66. Shakespeare THE MENTOR COURSE TO COME The next number of The Mentor, to appear on October 1, will contain six beautiful photogravures. CELEBRATED ANIMAL CHARACTERS Silver King, Ivan, Sultan, Czar, Gunder, The Bison Herd _By W. T. HORNADAY, Director New York Zoölogical Park_ NUMBERS TO FOLLOW Oct. 15. JAPAN One of Mr. Elmendorf’s interesting travel articles, full of information about a country that engages the interest of the whole world today. The pictures are varied and most attractive. _By Dwight L. Elmendorf, Lecturer and Traveler._ Nov. 2. THE STORY OF THE FRENCH REVOLUTION Professor Hart presents in a style that is both scholarly and popular the great drama of French history. There are many volumes treating of single phases, or chapters of the French Revolution, but Professor Hart’s article supplies a real need in picturing in large, simple outlines the great subject as a whole, so that any reader may get a complete impression. The illustrations picture the great personages and important events of the Revolution. _By Albert Bushnell Hart, Professor of Government, Harvard University._ Nov. 16. RUGS AND RUG MAKING Mr. Mumford is qualified as few are to write on this subject. He has traveled for years in pursuit of the study of rugs, and he is the author of a standard work on the subject. He writes, moreover, in an easy, entertaining, and informing way. The pictures, some of which are in full colors, contribute great value, interest, and beauty to the article. _By J. K. Mumford, Author and Expert on Oriental Rugs._ Dec. 1. ALASKA One of the most important and interesting travel articles that The Mentor has offered. The writer, Mr. Belmore Browne, knows Alaska more thoroughly perhaps than any living writer and artist. He has been for years an explorer and hunter of big game in the far Northwest, and he is celebrated especially for having achieved the conquest of Mount McKinley together with Professor Herschel Parker. _By Belmore Browne, Explorer, Author and Artist._ The Mentor Service This service covers the needs of those who want to gain knowledge by an easy and agreeable method. Send for our booklet descriptive of The Mentor Club Service. It presents many varied Mentor courses specially planned for the use of reading clubs. The Mentor Association will supply to its members supplementary reading courses dealing with any or all of the subjects in The Mentor Courses. These courses of reading are prepared under the direction of the Advisory Board of The Mentor--all of them prominent educators. The Mentor Association will also secure books for members, supplying them postpaid at publishers’ prices. The Mentor Inquiry Department gives to its members a full and intelligent service in answering inquiries concerning books, reading, and all matters of general information having a bearing on The Mentor Courses. MANY READERS HAVE COME TO KNOW THE VALUE OF THE MENTOR SERVICE. IN THE FULLEST SENSE IT SUPPLEMENTS AND ROUNDS OUT THE PLAN OF THE MENTOR. ALL MEMBERS OF THE ASSOCIATION ARE INVITED TO TAKE ADVANTAGE OF THIS SERVICE THE MENTOR BINDER Every page of The Mentor, cover included, contains matter that readers want to keep. The Mentor Association is now supplying to its members a binder which holds twelve or thirteen Mentors and has proved satisfactory in every way. This binder has been arranged so as to hold The Mentor complete and it has tapes to which the pictures are attached, so that they swing freely in their place and the pictures can be enjoyed as well as the text on the back. The price of these binders is One Dollar each. MAKE THE SPARE MOMENT COUNT *** END OF THE PROJECT GUTENBERG EBOOK THE MENTOR: AMERICAN MURAL PAINTERS, VOL. 2, NUM 15, SERIAL NO. 67, SEPTEMBER 15, 1914 *** 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™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks 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™ 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™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ 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™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ 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™ 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™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ 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™ 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™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ 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™ 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™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than 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™ License must appear prominently whenever any copy of a Project Gutenberg™ 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 will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ 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™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ 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™ 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™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 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™ 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™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (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™ 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™ 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™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ 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™ 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™ 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™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ 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™ collection. Despite these efforts, Project Gutenberg™ 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™ trademark, and any other party distributing a Project Gutenberg™ 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™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ 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™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ 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™’s goals and ensuring that the Project Gutenberg™ 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™ 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 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 website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread 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™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ 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 website which has the main PG search facility: www.gutenberg.org. This website includes information about Project Gutenberg™, 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.