The Project Gutenberg eBook of The adventures of Andolocia, with the purse and cap of his father Fortunatus 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 adventures of Andolocia, with the purse and cap of his father Fortunatus a tale for the nursery Author: Anonymous Release date: April 23, 2026 [eBook #78536] Language: English Original publication: London: Talbert and Co, 1804 Other information and formats: www.gutenberg.org/ebooks/78536 Credits: Bob Taylor, Charlene Taylor and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) *** START OF THE PROJECT GUTENBERG EBOOK THE ADVENTURES OF ANDOLOCIA, WITH THE PURSE AND CAP OF HIS FATHER FORTUNATUS *** Transcriber’s Note Italic text displayed as: _italic_ [Illustration: _The Queen taking Andolocia’s purse._ _London. Published by Tabart & C^o. Sep. 1804._] THE ADVENTURES OF ANDOLOCIA, WITH THE PURSE AND CAP OF HIS FATHER FORTUNATUS: A TALE FOR THE NURSERY. [Illustration] A NEW EDITION. [Illustration] _With Three Copperplates._ [Illustration] LONDON: PRINTED FOR TABART AND CO. AT THE JUVENILE AND SCHOOL LIBRARY, NO. 157, NEW BOND-STREET; AND TO BE HAD OF ALL DEALERS IN BOOKS. [Illustration] _Price Sixpence._ 1804. PUBLISHED BY TABART AND CO. AT THE JUVENILE AND SCHOOL LIBRARY, _No. 157, New Bond-Street_; Where is constantly kept on Sale the largest Collection of Books of Amusement and Instruction in London, From ONE PENNY to FIVE-GUINEAS in Price. Entered at Stationers’ Hall. R. TAYLOR _and Co. Printers, Black-Horse-Court_. THE ADVENTURES OF ANDOLOCIA. AMPEDO and ANDOLOCIA were the two sons of the celebrated Fortunatus, of Famagosta in the island of Cyprus, who, besides immense treasures, left them at his death his purse and cap, both which, all who have read his wonderful history and entertaining travels (published by TABART and CO. at the Juvenile Library, New Bond-street,) must remember. This purse, which was the source of his great riches, had been given him, when a young man and pennyless, by Fortune; who, on presenting him with it, told him that wherever he might be, when he wanted money, he had only to put his hand into the purse as often as he pleased, and he would be sure to find in it ten pieces of gold; that the purse should never fail of producing the like sum, as long as it remained in the possession of him and his children; but that, when he and they should be dead, the purse should lose this extraordinary quality. His cap he had got, when on his travels, from the Sultan at Alexandria; and it had the wonderful property of instantly conveying any one who put it on his head, to whatever part of the world he wished. Fortunatus, on his death-bed, had told his sons the secret of his purse and cap, commanding them on no account to disclose it to any living creature, and at the same time advising them to live together in harmony, and make use of the purse between them. [Illustration: _London. Published by Tabart & C^o. Sep. 1804._] Not long after the death of Fortunatus, Andolocia, whose adventures we are going to relate, came to his brother Ampedo, who being the eldest had the purse in his possession, and begged he would let him have it for a certain time, as he wished to set out on his travels for distant countries: this Ampedo would by no means consent to; and they came to high words concerning it. At length, however, Ampedo consented to let his brother have the purse for six years: and accordingly, after filling all his coffers, he gave it into his hands; with this agreement, however, that he was afterwards to keep it for as long a time himself. As Andolocia possessed exactly his father’s temper in his love of travelling to distant countries, he was overjoyed to think he had obtained the purse, and immediately began his preparations for setting out. The first place he visited was Paris. In this place there was a famous wrestler called Strongfist, who had never yet been thrown by any man. Andolocia sent him a challenge, which Strongfist willingly accepted, and a day was appointed for the combat: in the mean while the news reached all the inhabitants of Paris, who accordingly resolved to be witnesses of the scene. The combatants met at the time and place appointed, and fell-to with great spirit; but it was soon seen that Strongfist was not half so skilful as Andolocia, who, after a few blows, made him cry out “he could fight no longer.” No sooner, however, was Strongfist recovered of the blows he had received, than, enraged to think he had been conquered by a stranger, and lost his reputation, he sent Andolocia another challenge; and they accordingly met as before. But Strongfist gained nothing by this second attempt, for Andolocia made him once more cry out “he was satisfied;” so that the air resounded with the acclamations bestowed on Andolocia, while Strongfist was so maimed he could never after engage in wrestling. After staying some time longer in Paris, where he was loaded with every mark of distinction, the news of his great skill reached England, and he was invited by the king to the court of London; for, being just at that time going to war with the king of Scotland, he wished to have Andolocia’s advice how to conduct his army. Andolocia accepted the proposal with joy; for it was the king of Scotland’s father who had deprived his grandfather, the lord Loch Fitty, of all his fortune, and caused him to leave his lady and his home, and live in a mean condition in Paris; as has been related in the History of Fortunatus. He lost no time in preparing for the journey, and reached London in safety; where he was received with marks of the greatest kindness by the king and the whole court: and Andolocia informing his majesty of the ill-will he owed the king of Scotland, on the late king’s account, it was immediately agreed on that he should head an army of the choicest troops in the English dominions, and march against him. They accordingly set out for Scotland; had a furious battle with the king, and defeated him and his whole army; and when they returned to London, Andolocia was loaded with the highest honours at the court of the king of England. Andolocia took a magnificent house in the finest street in London, and frequently entertained the king and all his nobles, whom he treated in so sumptuous a manner, that the king could not help wondering how a private gentleman could possibly have so much wealth. One day Andolocia being at court, he happened to see the king’s daughter Agrippina, with whom he fell violently in love, and made her such costly presents as surprised the king more than before; so that he could not help telling the queen that he could not imagine how he came by such a fortune. The queen immediately set herself to work to find out the secret; and accordingly she told her daughter Agrippina, when she should be alone with him, to find it out if possible. Soon after Andolocia, being seated by the princess, told her how very beautiful he thought her, and how much he wished for the honour of having her for his wife. The princess thought this a very good opportunity for finding out the secret: so she answered, That she liked him very well, but supposed that he could not possibly have sufficient fortune to maintain the daughter of a king. Upon this Andolocia pulled out his purse, and threw ten pieces of gold at a time into her lap; and at length told her how it came into his father’s possession, and every particular concerning it. The princess Agrippina hastened to relate all that she had heard to the queen; who, pretending the greatest fondness for Andolocia, took him into her closet, and presented him with a glass of the richest cordial, into which she had put a drug that soon threw him into a sound sleep; when, putting her hand into his pocket, she took his purse, and had him immediately conveyed to his own house fast asleep. The queen then gave the purse to the young princess, saying, that as she had taken it for her sake, it was but right that it should be in her possession. When Andolocia waked and missed his purse, he was almost frantic. When he had run about the house for a long time, not knowing what to do, he at last thought of what had happened to him at the palace; whither he immediately went, and asked to speak with the queen, and was told that she could not be seen. He then inquired for the princess, and obtained the same answer. All this convinced Andolocia that the queen had taken his purse, and did not intend to return it. The first thing he did was to borrow a hundred crowns of his steward; by means of which he got to Famagosta as fast as he could, and, with great difficulty, prevailed on his brother to spare him the cap, for a short time, that he might transport himself, in a moment, wherever he pleased. Having obtained it, he put it on, and instantly wished himself in the chamber of princess Agrippina, whom he intended to consult about getting back his purse from the queen. But no astonishment could be greater than his, when, looking at the princess, he saw his purse fastened to her girdle. Andolocia perceiving this desired of the princess to restore it; which she refusing, he clasped her in his arms, and wished himself in an orchard full of fruit-trees in the neighbourhood of Constantinople. His wish was instantly accomplished, and they found themselves sitting under a large fig-tree; when the princess, seeing what fine figs were on it, entreated him to get her one to eat. Andolocia, who loved Agrippina very much, notwithstanding that she had used him so unkindly, immediately threw his cap upon the ground, and began to climb the tree. The princess, quite ignorant of the virtue in the cap, being greatly fatigued with the scorching of the sun, put it on her head; and happening at the same moment to be wishing that she was in her cold bath at the palace of her father, she was immediately taken up into the air, and was out of sight in a minute. When Andolocia looked round and saw that both the princess and his cap were gone, he knew not, so great was his vexation, what step to take; but after walking about for some time, finding himself thirsty, he began to eat some apples, —when two large horns sprang directly out of his forehead. He now ran like a madman about the orchard, and his cries were heard by an aged hermit, who came up to him and inquired what was the matter? When Andolocia had related the manner in which the accident had happened, the hermit assured him, that if he would eat some apples from another tree he would soon find his horns disappear. Andolocia lost no time in doing as he was desired; and the horns accordingly disappeared. Having first filled his pockets with some of both sorts of these extraordinary apples, he set out on foot for the palace of princess Agrippina’s father, where he stood at the gate disguised as a poor man, who had the finest apples to sell that ever were seen in England. The princess as she passed out observed the apples, and, seeing that they were as fine as those she had seen in the orchard near Constantinople, began to buy them with great eagerness, and turned back again to the palace to eat them. Immediately two great horns sprang from her forehead; upon which the princess screamed so loud as to alarm every one in the palace; and the king, among the rest, came in to her assistance. Seeing what had happened, he called in all the physicians, to obtain a cure if possible; but not one was found who understood her case. At length Andolocia, disguising himself as a physician with a great false nose, went to the palace and offered his services; which were willingly accepted. Upon being shown into her room, he perceived his cap lying disregarded on a chair: so, pretending he must speak with his patient in private, he sent the nurse out of the room, and in the mean while found an opportunity to put the cap into his pocket. Andolocia then produced some of the apples that were a cure for the horns occasioned by those he had sold her; and having cut them very small, he desired her to eat them immediately; when the horns from that moment began to grow less. The princess was excessively delighted at this; and, thinking that she could not too handsomely reward her physician, took out the purse. Andolocia snatched it from her, clapped on his cap, and wished himself at Famagosta; whither he was immediately conveyed. But as he was in love with the princess, he took care not to give her enough of the apples to remove the horns entirely, that no other gentleman might fall in love with her. [Illustration: _Andolocia going to cure the Princess._ _London. Published by Tabart & Co. Sep. 1804._] Having related his adventures to his brother Ampedo, the latter said he had no inclination to have either the cap or purse, since they brought their possessor into so much danger, and would give them wholly to Andolocia, provided he consented to pay him a handsome allowance as long as he lived. Thus Andolocia kept his purse and cap to himself; but though he had such immense treasures, and, besides, the power of conveying himself where-ever he pleased in a moment, he was not quite happy. Being however convinced that nothing was wanting to make him so but Agrippina, he first set about building a magnificent palace, taking care every now and then to put on his cap and wish himself at the court of London, where he sometimes had the good fortune to see the princess as she took an airing in her carriage, and found means to know if the horns still remained on her head as before. When the palace was finished, Andolocia equipped himself with all the splendour possible; and, taking with him some of the handsomest gentlemen of Famagosta, who looked like great lords, and in addition the most costly jewels that were to be got as presents for the princess, he set out for England to demand her formally in marriage. The king of England received him very courteously: the queen, supposing it impossible that any prince would offer to marry a princess with horns on her head, and perceiving there was no other way of getting the purse, gave her consent also; and the princess Agrippina, who had always wished to bestow on him her hand, said, she really loved the prince, but that she would never bring so great a misfortune on him as to be his wife while she had horns on her head. “Dear princess Agrippina,” replied Andolocia, “then all our wishes will be gratified, for I have the power to make them disappear immediately.” Saying this he left the room, and returned in a few minutes with some of the apples which he had given her once before, and with which he had taken care to be provided; when, presenting them to the princess, he asked her if she did not remember the physician with the great nose, who some time before had made her horns grow less. The princess fell to eating the apples presented her by Andolocia, and the horns immediately disappeared. She embraced Andolocia with tenderness; they were married that very day, and shortly after were conducted in the greatest pomp to the palace built for her reception at Famagosta, where they lived a long and happy life. Andolocia kept his cap and purse in a cabinet set apart for that purpose; and for fear of further accidents he never suffered the key of it to be touched by any one but himself. THE END. _R. Taylor and Co. Black-Horse-Court._ AT TABART’S _Juvenile and School Library_, NO. 157, NEW BOND-STREET, Are just published A GREAT VARIETY OF INTERESTING LITTLE BOOKS, ADORNED WITH BEAUTIFUL COLOURED PLATES, Similar to the present Work; _All of which may be had of every Bookseller_. *** END OF THE PROJECT GUTENBERG EBOOK THE ADVENTURES OF ANDOLOCIA, WITH THE PURSE AND CAP OF HIS FATHER FORTUNATUS *** 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 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. 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.