﻿The Project Gutenberg eBook of A book of images, by William Thomas
Horton

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: A book of images

Illustrator: William Thomas Horton

Contributor: William Butler Yeats

Release Date: July 31, 2022 [eBook #68657]

Language: English

Produced by: Tim Lindell, Charlie Howard, and the Online Distributed
             Proofreading Team at https://www.pgdp.net (This file was
             produced from images generously made available by The
             Internet Archive/American Libraries.)

*** START OF THE PROJECT GUTENBERG EBOOK A BOOK OF IMAGES ***





[Illustration: (cover)]




          THE UNICORN QUARTOS, NUMBER TWO. A BOOK OF IMAGES.
          DRAWN BY WILLIAM T. HORTON, INTRODUCED BY W. B.
          YEATS, AND PUBLISHED AT THE UNICORN PRESS, VII. CECIL
          COURT, ST. MARTIN’S LANE, LONDON. MDCCCXCVIII.


“=A Book of Images.=”--Page 14, Line 4.

    _The Publishers are asked to state that “The Brotherhood of the
    New Life” claims to be practical rather than visionary, and that
    the “waking dreams” referred to in the above passage are a purely
    personal matter._




  A BOOK OF IMAGES
  DRAWN BY W. T.
  HORTON & INTRODUCED
  BY W. B. YEATS


  LONDON AT THE UNICORN
  PRESS VII CECIL COURT ST.
  MARTIN’S LANE MDCCCXCVIII




CONTENTS.


                                                      PAGE

  INTRODUCTION BY W. B. YEATS,                           7


  “BY THE CANAL,”                                       17

  “CHATEAU ULTIME,”                                     19

  “THE OLD PIER,”                                       21

  “NOTRE DAME DE PARIS,”                                23

  “TREES WALKING,”                                      25

  “LA RUE DES PETITS-TOITS,”                            27

  “LONELINESS,”                                         29

  “THE WAVE,”                                           31

  “NOCTURNE,”                                           33

  “THE GAP,”                                            35

  “THE VIADUCT,”                                        37

  “THE PATH TO THE MOON,”                               39

  “DIANA,”                                              41

  “ALL THY WAVES ARE GONE OVER ME,”                     43

  “MAMMON,”                                             45

  “ST. GEORGE,”                                         47

  “TEMPTATION,”                                         49

  “SANCTA DEI GENITRIX,”                                51

  “THE ANGEL OF DEATH,”                                 53

  “ASCENDING INTO HEAVEN,”                              55

  “ROSA MYSTICA,”                                       57

  “ASSUMPTIO,”                                          59

  “BE STRONG,”                                          61




INTRODUCTION.


In England, which has made great Symbolic Art, most people dislike
an art if they are told it is symbolic, for they confuse symbol and
allegory. Even Johnson’s Dictionary sees no great difference, for it
calls a Symbol “That which comprehends in its figure a representation
of something else;” and an Allegory, “A figurative discourse, in which
something other is intended than is contained in the words literally
taken.” It is only a very modern Dictionary that calls a Symbol “The
sign or representation of any moral thing by the images or properties
of natural things,” which, though an imperfect definition, is not
unlike “The things below are as the things above” of the Emerald Tablet
of Hermes! _The Faery Queen_ and _The Pilgrim’s Progress_ have been
so important in England that Allegory has overtopped Symbolism, and
for a time has overwhelmed it in its own downfall. William Blake was
perhaps the first modern to insist on a difference; and the other day,
when I sat for my portrait to a German Symbolist in Paris, whose talk
was all of his love for Symbolism and his hatred for Allegory, his
definitions were the same as William Blake’s, of whom he knew nothing.
William Blake has written, “Vision or imagination”--meaning symbolism
by these words--“is a representation of what actually exists, really or
unchangeably. Fable or Allegory is formed by the daughters of Memory.”
The German insisted in broken English, and with many gestures, that
Symbolism said things which could not be said so perfectly in any other
way, and needed but a right instinct for its understanding; while
Allegory said things which could be said as well, or better, in another
way, and needed a right knowledge for its understanding. The one gave
dumb things voices, and bodiless things bodies; while the other read a
meaning--which had never lacked its voice or its body--into something
heard or seen, and loved less for the meaning than for its own sake.
The only symbols he cared for were the shapes and motions of the body;
ears hidden by the hair, to make one think of a mind busy with inner
voices; and a head so bent that back and neck made the one curve, as in
Blake’s _Vision of Bloodthirstiness_, to call up an emotion of bodily
strength; and he would not put even a lily, or a rose, or a poppy into
a picture to express purity, or love, or sleep, because he thought
such emblems were allegorical, and had their meaning by a traditional
and not by a natural right. I said that the rose, and the lily, and
the poppy were so married, by their colour, and their odour, and their
use, to love and purity and sleep, or to other symbols of love and
purity and sleep, and had been so long a part of the imagination of the
world, that a symbolist might use them to help out his meaning without
becoming an allegorist. I think I quoted the lily in the hand of the
angel in Rossetti’s _Annunciation_, and the lily in the jar in his
_Childhood of Mary Virgin_, and thought they made the more important
symbols,--the women’s bodies, and the angels’ bodies, and the clear
morning light, take that place, in the great procession of Christian
symbols, where they can alone have all their meaning and all their
beauty.

It is hard to say where Allegory and Symbolism melt into one another,
but it is not hard to say where either comes to its perfection; and
though one may doubt whether Allegory or Symbolism is the greater
in the horns of Michael Angelo’s _Moses_, one need not doubt that
its symbolism has helped to awaken the modern imagination; while
Tintoretto’s _Origin of the Milky Way_, which is Allegory without any
Symbolism, is, apart from its fine painting, but a moment’s amusement
for our fancy. A hundred generations might write out what seemed the
meaning of the one, and they would write different meanings, for no
symbol tells all its meaning to any generation; but when you have said,
“That woman there is Juno, and the milk out of her breast is making
the Milky Way,” you have told the meaning of the other, and the fine
painting, which has added so much unnecessary beauty, has not told it
better.

       *       *       *       *       *

2. All Art that is not mere story-telling, or mere portraiture, is
symbolic, and has the purpose of those symbolic talismans which
mediæval magicians made with complex colours and forms, and bade
their patients ponder over daily, and guard with holy secrecy; for it
entangles, in complex colours and forms, a part of the Divine Essence.
A person or a landscape that is a part of a story or a portrait, evokes
but so much emotion as the story or the portrait can permit without
loosening the bonds that make it a story or a portrait; but if you
liberate a person or a landscape from the bonds of motives and their
actions, causes and their effects, and from all bonds but the bonds
of your love, it will change under your eyes, and become a symbol
of an infinite emotion, a perfected emotion, a part of the Divine
Essence; for we love nothing but the perfect, and our dreams make all
things perfect, that we may love them. Religious and visionary people,
monks and nuns, and medicine-men, and opium-eaters, see symbols in
their trances; for religious and visionary thought is thought about
perfection and the way to perfection; and symbols are the only things
free enough from all bonds to speak of perfection.

Wagner’s dramas, Keats’ odes, Blake’s pictures and poems, Calvert’s
pictures, Rossetti’s pictures, Villiers de Lisle Adam’s plays, and
the black-and-white art of M. Herrmann, Mr. Beardsley, Mr. Ricketts,
and Mr. Horton, the lithographs of Mr. Shannon, and the pictures
of Mr. Whistler, and the plays of M. Maeterlinck, and the poetry of
Verlaine, in our own day, but differ from the religious art of Giotto
and his disciples in having accepted all symbolisms, the symbolism of
the ancient shepherds and star-gazers, that symbolism of bodily beauty
which seemed a wicked thing to Fra Angelico, the symbolism in day and
night, and winter and summer, spring and autumn, once so great a part
of an older religion than Christianity; and in having accepted all the
Divine Intellect, its anger and its pity, its waking and its sleep, its
love and its lust, for the substance of their art. A Keats or a Calvert
is as much a symbolist as a Blake or a Wagner; but he is a fragmentary
symbolist, for while he evokes in his persons and his landscapes an
infinite emotion, a perfected emotion, a part of the Divine Essence, he
does not set his symbols in the great procession as Blake would have
him, “in a certain order, suited to his ‘imaginative energy.’” If you
paint a beautiful woman and fill her face, as Rossetti filled so many
faces, with an infinite love, a perfected love, “one’s eyes meet no
mortal thing when they meet the light of her peaceful eyes,” as Michael
Angelo said of Vittoria Colonna; but one’s thoughts stray to mortal
things, and ask, maybe, “Has her love gone from her, or is he coming?”
or “What predestinated unhappiness has made the shadow in her eyes?”
If you paint the same face, and set a winged rose or a rose of gold
somewhere about her, one’s thoughts are of her immortal sisters, Pity
and Jealousy, and of her mother, Ancestral Beauty, and of her high
kinsmen, the Holy Orders, whose swords make a continual music before
her face. The systematic mystic is not the greatest of artists, because
his imagination is too great to be bounded by a picture or a song, and
because only imperfection in a mirror of perfection, or perfection
in a mirror of imperfection, delight our frailty. There is indeed a
systematic mystic in every poet or painter who, like Rossetti, delights
in a traditional Symbolism, or, like Wagner, delights in a personal
Symbolism; and such men often fall into trances, or have waking
dreams. Their thought wanders from the woman who is Love herself, to
her sisters and her forebears, and to all the great procession; and
so august a beauty moves before the mind, that they forget the things
which move before the eyes. William Blake, who was the chanticleer
of the new dawn, has written: “If the spectator could enter into one
of these images of his imagination, approaching them on the fiery
chariot of his contemplative thought, if ... he could make a friend and
companion of one of these images of wonder, which always entreat him
to leave mortal things (as he must know), then would he arise from the
grave, then would he meet the Lord in the air, and then he would be
happy.” And again, “The world of imagination is the world of Eternity.
It is the Divine bosom into which we shall all go after the death of
the vegetated body. The world of imagination is infinite and eternal,
whereas the world of generation or vegetation is finite and temporal.
There exist in that eternal world the eternal realities of everything
which we see reflected in the vegetable glass of nature.”

Every visionary knows that the mind’s eye soon comes to see a
capricious and variable world, which the will cannot shape or change,
though it can call it up and banish it again. I closed my eyes a moment
ago, and a company of people in blue robes swept by me in a blinding
light, and had gone before I had done more than see little roses
embroidered on the hems of their robes, and confused, blossoming apple
boughs somewhere beyond them, and recognised one of the company by his
square, black, curling beard. I have often seen him; and one night a
year ago, I asked him questions which he answered by showing me flowers
and precious stones, of whose meaning I had no knowledge, and seemed
too perfected a soul for any knowledge that cannot be spoken in symbol
or metaphor.

Are he and his blue-robed companions, and their like, “the Eternal
realities” of which we are the reflection “in the vegetable glass of
nature,” or a momentary dream? To answer is to take sides in the only
controversy in which it is greatly worth taking sides, and in the only
controversy which may never be decided.

       *       *       *       *       *

3. Mr. Horton, who is a disciple of “The Brotherhood of the New Life,”
which finds the way to God in waking dreams, has his waking dreams, but
more detailed and vivid than mine; and copies them in his drawings as
if they were models posed for him by some unearthly master. A disciple
of perhaps the most mediæval movement in modern mysticism, he has
delighted in picturing the streets of mediæval German towns, and the
castles of mediæval romances; and, at moments, as in _All Thy waves
are gone over me_, the images of a kind of humorous piety like that
of the mediæval miracle-plays and moralities. Always interesting when
he pictures the principal symbols of his faith, the woman of _Rosa
Mystica_ and _Ascending into Heaven_, who is the Divine womanhood,
the man-at-arms of _St. George_ and _Be Strong_, who is the Divine
manhood, he is at his best in picturing the Magi, who are the wisdom
of the world, uplifting their thuribles before the Christ, who is
the union of the Divine manhood and the Divine womanhood. The rays
of the halo, the great beams of the manger, the rich ornament of the
thuribles and of the cloaks, make up a pattern where the homeliness
come of his pity mixes with an elaborateness come of his adoration.
Even the phantastic landscapes, the entangled chimneys against a white
sky, the dark valley with its little points of light, the cloudy and
fragile towns and churches, are part of the history of a soul; for
Mr. Horton tells me that he has made them spectral, to make himself
feel all things but a waking dream; and whenever spiritual purpose
mixes with artistic purpose, and not to its injury, it gives it a new
sincerity, a new simplicity. He tried at first to copy his models in
colour, and with little mastery over colour when even great mastery
would not have helped him, and very literally: but soon found that
you could only represent a world where nothing is still for a moment,
and where colours have odours and odours musical notes, by formal and
conventional images, midway between the scenery and persons of common
life, and the geometrical emblems on mediæval talismans. His images are
still few, though they are becoming more plentiful, and will probably
be always but few; for he who is content to copy common life need never
repeat an image, because his eyes show him always changing scenes, and
none that cannot be copied; but there must always be a certain monotony
in the work of the Symbolist, who can only make symbols out of the
things that he loves. Rossetti and Botticelli have put the same face
into a number of pictures; M. Maeterlinck has put a mysterious comer,
and a lighthouse, and a well in a wood into several plays; and Mr.
Horton has repeated again and again the woman of _Rosa Mystica_, and
the man-at-arms of _Be Strong_; and has put the crooked way of _The
Path to the Moon_, “the straight and narrow way” into _St. George_, and
an old drawing in _The Savoy_; the abyss of _The Gap_, the abyss which
is always under all things, into drawings that are not in this book;
and the wave of _The Wave_, which is God’s overshadowing love, into
_All Thy waves are gone over me_.

These formal and conventional images were at first but parts of his
waking dreams, taken away from the parts that could not be drawn; for
he forgot, as Blake often forgot, that you should no more draw the
things the mind has seen than the things the eyes have seen, without
considering what your scheme of colour and line, or your shape and kind
of paper can best say: but his later drawings, _Sancta Dei Genitrix_
and _Ascending into Heaven_ for instance, show that he is beginning to
see his waking dreams over again in the magical mirror of his art. He
is beginning, too, to draw more accurately, and will doubtless draw as
accurately as the greater number of the more visionary Symbolists, who
have never, from the days when visionary Symbolists carved formal and
conventional images of stone in Assyria and Egypt, drawn as accurately
as men who are interested in things and not in the meaning of things.
His art is immature, but it is more interesting than the mature art
of our magazines, for it is the reverie of a lonely and profound
temperament.

                                                        W. B. YEATS.

[Illustration]

[Illustration]

[Illustration]

[Illustration]

[Illustration]

[Illustration]

[Illustration]

[Illustration]

[Illustration]

[Illustration]

[Illustration]

[Illustration]

[Illustration]

[Illustration]

[Illustration]

[Illustration]

[Illustration]

[Illustration]

[Illustration]

[Illustration]

[Illustration]

[Illustration]

[Illustration]


  THIS BOOK WAS PRINTED BY MESSRS. MORRISON AND GIBB, TANFIELD,
  EDINBURGH.

  THE BLOCKS WERE ENGRAVED BY THE ART REPRODUCTION COMPANY, LONDON.




At the Unicorn Press.


MM. RODIN, FANTIN-LATOUR, AND LEGROS.

    Three Lithographed Drawings by WILL ROTHENSTEIN. _In a Wrapper.
        Price_ =£2, 2s.= _each set_.

*⁎* These Portraits were made from sittings given in Paris in 1897.
Only fifty copies of each drawing were printed (by Mr. Way), and the
stones have been destroyed. Twenty-five sets (each drawing on hand-made
Van Guelder paper and signed by the Artist) now remain for sale.


MR. AUBREY BEARDSLEY.

    A Lithographed Drawing by WILL ROTHENSTEIN. _Price_ =£1, 1s.=

*⁎* No later Portrait than this appears to have been made. After the
first few trial proofs only fifty copies were printed, and the stone
has been destroyed. The few copies now offered are all numbered and
signed Artist’s Proofs.


PIRANESI’S “CARCERI.”

    Sixteen Plates, each measuring 21 by 16 inches over all, with an
        Introduction by E. J. OLDMEADOW. Two hundred copies only.
        _Price_ =£2, 2s.= _net_.

                                                      [_Nearly ready._


A BOOK OF GIANTS.

    Drawn, engraved, and written by WILLIAM STRANG. _Fcap. 4to, in a
        binding designed by the Author. Price_ =2s. 6d.= _net_.

*⁎* “A Book of Giants” contains twelve original wood engravings,
accompanied by humorous verses. Admirers and collectors of Mr. Strang’s
etchings will hasten to acquire copies of this, his first published set
of woodcuts; but its interest for a wider public, and as a children’s
book, should be only a degree less great.

Twenty-five copies, printed from the original blocks, will be
hand-coloured by Mr. Strang. Particulars of this edition may be
obtained from the Publishers.


A BOOK OF IMAGES.

    Drawn by W. T. HORTON, and Introduced by W. B. YEATS. _Fcap. 8vo,
        boards. Price_ =2s. 6d.= _net_.

*⁎* This book contains twenty-four drawings, including a set of
Imaginary Landscapes and a number of Mystical Pieces.


VERISIMILITUDES.

    A Volume of Stories by RUDOLF DIRCKS. _Imperial 16mo, cloth,
        gilt._ =3s. 6d.=

=The Manchester Courier=:--“Mr. Dircks is one of the cleverest writers
of the day.... Sure analysis of character, artistic use of incident....
The volume will be highly valued by lovers of short stories.”

=The Star=:--“Good work. Mr. Dircks has insight and the courage to
efface himself; he is uncompromisingly true to his subjects; and he
knows to a hair’s-breadth what a short story can and cannot do.... Well
worth reprinting in the exquisite form given them by the publishers.”

=The Whitehall Review=:--“Great and nervous originality.... A masterly
observer.... A number of pictures of the emotions, drawn with a
fearless truth that is as delightful as it is rare, ... by a genuine
artist.”


SHADOWS AND FIREFLIES.

    By LOUIS BARSAC. _Imp. 16mo, bevelled and extra gilt. Price_
        =3s. 6d.= _net_. SECOND EDITION.

=The Outlook=:--“Mr. Barsac has a genuine gift of expression and a
refined sense of natural beauty.”

“J. D.” in =The Star=:--“The sonnets attain a particularly high level.
_The Earth Ship_ ... is splendidly imagined and splendidly wrought....
In all there is strong evidence of original poetical talent.”

=The New Age=:--“One of the most promising efforts of the younger muse
since the early volumes of Mr. William Watson and Mr. John Davidson.”


THE LITTLE CHRISTIAN YEAR:

    A BOOK OF PRAYERS AND VERSES. _Medium 16mo, parchment, gilt
        top. Price_ =2s. 6d.= _net_.

                                                        [_Just ready._


THE DOME.

    A Quarterly. _One Hundred pages, Pott 4to, boards. Price_ =1s.=
        _net, or_ =5s.= _per annum, post free_.

*⁎* Each number of _The Dome_ contains about twenty examples of Music,
Architecture, Literature, Drawing, Painting, and Engraving, including
several Coloured Plates. Among the Contributors to the first five
numbers are--Louis Barsac, Laurence Binyon, Vernon Blackburn, H. W.
Brewer, Ingeborg von Bronsart, L. Dougall, Olivier Destrée, Campbell
Dodgson, Edward Elgar, Charles Holmes, Laurence Housman, W. T. Horton,
Edgardo Levi, Liza Lehmann, Alice Meynell, J. Moorat, W. Nicholson,
Charles Pears, Stephen Phillips, Beresford Pite, J. F. Runciman, Byam
Shaw, Arthur Symons, Francis Thompson, F. Vielé-Griffin, Gleeson White,
J. E. Woodmeald, Paul Woodroffe, and W. B. Yeats.




Transcriber’s Notes


Italic text is enclosed in _underscores_. Boldface text is enclosed in
=equals signs=.

Simple typographical errors were corrected. Punctuation, hyphenation,
and spelling were made consistent when a predominant preference was
found in the original book; otherwise they were not changed.

The illustrations have no captions.

*** END OF THE PROJECT GUTENBERG EBOOK A BOOK OF IMAGES ***

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

Creating the works from print editions not protected by U.S. copyright
law means that no one owns a United States copyright in these works,
so the Foundation (and you!) can copy and distribute it in the
United States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part
of this license, apply to copying and distributing Project
Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for 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-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full
Project Gutenberg-tm License available with this file or online at
www.gutenberg.org/license.

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

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

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

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

1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are
in a constant state of change. If you are outside the United States,
check the laws of your country in addition to the terms of this
agreement before downloading, copying, displaying, performing,
distributing or creating derivative works based on this work or any
other Project Gutenberg-tm work. The Foundation makes no
representations concerning the copyright status of any work in any
country 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-tm License must appear
prominently whenever any copy of a Project Gutenberg-tm work (any work
on which the phrase "Project Gutenberg" appears, or with which the
phrase "Project Gutenberg" is associated) is accessed, displayed,
performed, viewed, copied or distributed:

  This eBook is for the use of anyone anywhere in the United States and
  most other parts of the world at no cost and with almost no
  restrictions whatsoever. You may copy it, give it away or re-use it
  under the terms of the Project Gutenberg License included with this
  eBook or online at www.gutenberg.org. If you are not located in the
  United States, you 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-tm electronic work is
derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to anyone in
the United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase "Project
Gutenberg" associated with or appearing on the work, you must comply
either with the requirements of paragraphs 1.E.1 through 1.E.7 or
obtain permission for the use of the work and the Project Gutenberg-tm
trademark as set forth in paragraphs 1.E.8 or 1.E.9.

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

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

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

1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including
any word processing or hypertext form. However, if you provide access
to or distribute copies of a Project Gutenberg-tm work in a format
other than "Plain Vanilla ASCII" or other format used in the official
version posted on the official Project Gutenberg-tm 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-tm License as specified in paragraph 1.E.1.

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

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

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

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

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

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

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

1.F.

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

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

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

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

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

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

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

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

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

Section 3. Information about the Project Gutenberg Literary
Archive Foundation

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

The Foundation's 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-tm 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-tm electronic works

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

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

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

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