Donatello, by Lord Balcarres

THE FULL PROJECT GUTENBERG™ LICENSE [125] "Works," 1796, i. 151. [126] "Lectures," 1838, p. 248. [127] Semper, p. 93. [128] Ed. 1768, p. 74. [129] "Donatellus, qui primum omnium vetustis monumentis mirifice delectatus est, eaque imitari ac probe exprimere in suis operibus adsidue studuit."—"Dactyliotheca Smithiana," 1768, II. p. cxxvi. [130] See Schmarsow, p. 32. [131] See "Arch. Storico dell' Arte," 1888, p. 24. [132] Victoria and Albert Museum, No. 7629, 1861. Bocchi says: " Un quadro di marmo di mano di Donatello di basso relievo: dove è effigiato quando da le chiavi Cristo a S. Pietro. Estimata molto da gli artefici questa opera: la quale per invenzione è rara, e per disegno maravigliosa. Molto è commendata la figura di Cristo, e la prontezza che si scorge nel S. Pietro. E parimente la Madonna posta in ginocchione, la quale in atto affetuoso ha sembiante mirabile e divoto ," p. 372. [133] "Ammaestramento Utile," 1686, p. 141. " Una testa nel deposito a mano destra della Porta Maggiore, è scoltura di Donatello Fiorentino. " In Chapel of Paul V., Sta. M. Maggiore: " In terra in una lapide vi è di profilo la figura del Canonico Morosini, opera di Donatello famoso scultore e architetto. " Ibid. p. 241. [134] Molinier, "Les Plaquettes," 1886, p. xxvi. [135] Cf. St. Ursula, Accademia, Venice, No. 574. [136] " ... una colonna nel mezzo dove è un Davitte di Donatello dignissimo. " Letter to Alberto Lollio, 17. viii. 1549, Bottari, iii. 341. [137] Giù abasso è Davit di bronzo sopra la colonna fine di marmo variegato. "Memoriale." [138] "Life of Bandinelli," x. 301. [139] "Due dialogi di Giovanni Andrea Gilio da Fabriano," 1564; a tiresome and discursive tirade. [140] 22. viii. 1582. Reprinted in Bottari, ii. 529. [141] Contract with Domopera of Siena. Payment for wax, for making the bronze figures for the Baptistery. 16, iv. 1428. Lusini, 38. [142] Reymond, I., p. 107. [143] By Nino Pisano, in Sta. Caterina, Pisa. [144] 14, vii. 1428. [145] 27, v. 1434. [146] Letter from Matteo degli Orghani, printed with the other documents in C. Guasti, opere, iv. 463-477. [147] A pair of terra-cotta variants of these panels are preserved in the Wallace Collection at Hertford House. [148] Psalm cl. [149] Psalm cxlix. [150] "Trattato della Pintura," Richter, i. 291. [151] This open form of trouser, of which one sees a variant on the Martelli David, was also classical. The Athis or Phrygian shepherd usually wears something of the kind. [152] Very similar classical types are in the British Museum, No. 1147; and the Eros springing forward in the Forman Collection (dispersed in 1899) is almost identical. [153] From the Piot Collection. Figured in "Gaz. des Beaux Arts," 1890, iii. 410. [154] Victoria and Albert Museum, No. 475, 1864. A winged boy carrying a dolphin. [155] In Grosvenor House. Bronze; generally known as "The Laughing Boy." [156] Its proportion is impaired by the basal drapery, which was grafted to the statue at a later date. This bust belonged to Sabba da Castiglione, who was very proud of it. He was born within twenty years of Donatello's death. [157] No. 383. Marble. Goupil Bequest. [158] Stucco, No. 38 A . Cf. also one belonging to Herr Richard von Kaufmann, Berlin. [159] No. 1274, St. John, Florentine School, a painting. [160] Cf. Naples Museum, No. 5592. [161] Cf. drawings of façades in Vettorio Ghiberti's Note-book. [162] Bargello Cortile, No. 3, by Niccolo di Piero. [163] Borghini, in 1586, gave a curious recipe for colouring marble according to antique rules. Florentine ed. 1730, p. 123. [164] It used to be over one of the doors, preserved in una custodia which Richa thought ought to have been made of crystal, so precious was the bust.—"Ch. Fiorentine," 1758, v. 39. [165] Victoria and Albert Museum, No. 7585, 1861. [166] Bargello, No. 18, and No. 6, life-sized bronze. [167] Bargello, 17. [168] Gaye, i. 121. [169] Victoria and Albert Museum, No. 923, 1900, and Museo Archeologico, No. 1681, both marble. [170] Nos. 585 and 758. [171] "Life of Henry VII.," ed. 1825, iii. 417. [172] See Westmacott's lectures on Sculpture, II. III., Athenæum , 1858. [173] 2nd Comm. Vasari, I. xxx. [174] Letter of 1739, p. 186. [175] 17, viii. 1549, Antonio Doni, printed in Bottari, iii. 341. [176] These dialogues will be found at great length in Borghini, Vasari, Leonardo da Vinci, Alberti, &c. Castiglione also devotes a canto of the "Cortegiano" to the subject. [177] Gotti, "Vita," i. 66. [178] Rumour was very severe. " Elle m'a pour toujours dégoûte de la pénitence ," sighed Des Brosses. This inimitable person was the critic who, after visiting the Arena chapel at Padua, observed that nowadays one would scarcely employ Giotto to paint a tennis-court. [179] Richa, III., xxxiii. [180] The inscription is: "Votis publicis S. Mariæ Magdalenæ simulacrum ejus insigne Donati opus pristino loco elegantiario repositum anno 1735." [181] See p. 199 . Moreover, in 1458 Donatello accepted a commission at Siena for a marble San Bernardino. And the Anonimo Morelliano mentions four other marble reliefs at Padua. [182] Siena Cathedral, bronze; Berlin Museum, bronze; Frari Church, Venice, wood. [183] 10, ii. 1423. On 29, iv. 1423, Donatello received 5 lbs. 3 oz. of wax for modelling the figure. Luzi, "Duomo di Orvieto," 1867, p. 406. [184] Vasari, i. 147. [185] Che niuno maestro di legname possa fare di pietra. Rules of Sculptors of Sienna, 1441, ch. 39. Milanesi, i. 120. [186] In Museum. From the Capella Manfredi in San Girolamo degli Osservanza outside the town, suppressed in 1866. Cf. two similar statuettes in terra-cotta, Bargello, Nos. 174 and 175. [187] Louvre, about 12 inches high, unnumbered. Museo Archeologico, Venice, No. 8. Frau Hainauer's bronze Baptist, signed by Francesco di San Gallo, is interesting in this connection. [188] Victoria and Albert Museum, No. 157, 1894. [189] Ibid. No. 7605, 1861, terra-cotta. Louvre, No. 465, ditto. [190] Cf. Herr von Beckerath's in Berlin, and the Verrocchio-school Magdalen in the Berlin Gallery, No. 94. [191] Michael Angelo Gloria; Donatello Fiorentino e le sue opere ... a Padova, 1895, from which the dates are all quoted. [192] See Kristeller's Mantegna, translated by S.A. Strong, 1901, p. 17. [193] Over the Sacristy doors in the Cathedral. [194] Anonimo Morelliano (1520-40). Ed. of Bassano, 1800, p. 3. E da dietro l'altar sotto il scabello il Cristo morto, con le altre figure a circo, e le due figure da man destra con le altre due da man sinistra, pur de basso rilevo, ma de marmo, furono de mano de Donatello. [195] Cf. , for instance, the Madonna over the door of the Pisa Baptistery. [196] Cf. drawings of ewers in Uffizzi by Giacomone da Faenza, sixteenth century. [197] Cf. Battle of Romans and Barbarians, No. 12. Museo Nazionale, Rome. [198] Battle, Casa Buonarroti, Florence. [199] The Walpole Eagle from the Tiber, belonging to the Earl of Wemyss. [200] Victoria and Albert Museum, No. 7577, 1861. M.G. Dreyfus has a fine plaquette analogous to these large reliefs. [201] Cf. , for instance, Madame André's Pietà lunette, or the stone "Lamentation" in Victoria and Albert Museum, No. 314, 1878, almost German in its harsh realism. This came from the Palazzo Lazzara at Padua. [202] In Ludovisi Buoncompagni Collection, Museo Nazionale, marble. Cf. also the bust of Minatia Polla, so called, which might be by Verrocchio. [203] 7, xii. 1549. Printed in Bottari, ii. 70. [204] 19, x. 1451. Milanesi, ii. 271. [205] 17. x. 1457; ibid. 295. [206] Marble, No. 149. [207] The rules of the Sienese guild of painters provided against strife within their own circles by imposing a fine upon whoever dicesse vilania o parole ingiuriose al retore : Art. 55. Milanesi, i. 25. [208] "De antiq. urbis Patavii," 1560, p. 374. [209] "De Sculptura," 1504, gathering f. [210] Marble, in Sacristy of S. Antonio. [211] Victoria and Albert Museum, No. 75, 1879. [212] 29, vi. 1453. Donatello is still described as abitante in Padova . [213] Victoria and Albert Museum, No. 8717, 1863. [214] Museo Archeologico, Doge's Palace. [215] Louvre, "His de la Salle Collection," No. 385. [216] Marble, No. 39 b . [217] Cf. a Donatellesque stucco Madonna beneath a baldachino belonging to Signor Bardini, who also possesses a stucco Entombment similar to the London bronze. [218] Victoria and Albert Museum, No. 8552, 1863. Bronze. [219] Stucco No. 41. [220] See p. 62 . [221] v. 100. [222] Mentioned in his will. He died in 1500. Milanesi, iii. p. 8. [223] Marble, No. 39. Versions in soft materials exist in the Louvre, in the André and Bardini Collections, and a variant in the Victoria and Albert Museum, No. 7590, 1861. [224] Marble, Berlin Museum. [225] Victoria and Albert Museum, No. 7412, 1860; Berlin Museum; collections of Herr von Beckerath and Herr Richard von Kaufmann. [226] Louvre, Berlin Museum; Verona, in the Viccolo Fogge; cf. also the relief under the archway in the Via de' Termini, Siena. [227] Victoria and Albert Museum, No. 57, 1867. [228] Giovanni Bastianini, 1830-68, though the doyen of forgers, did not profit by his dexterity, and died almost penniless. [229] Terra-cotta. [230] Victoria and Albert Museum, No. 8376, 1863. [231] No. 53 e. Bergamo, Morelli Collection, No. 53. [232] Victoria and Albert Museum, No. 93, 1882. [233] Ibid. No. 7594, 1861. [234] One was in the Spitzer Collection, another belongs to M. Gustave Dreyfus. [235] No. 294, Davillier bequest; and in the entrance hall to the Sacristy of the Eremitani at Padua. [236] Terra-cotta No. 39a. [237] The others are Victoria and Albert Museum, No. 7624, 1861, marble. Berlin Museum, stucco. Madame André, marble, finer than the London version. Marquise Arconati-Visconti, Paris, marble, and a rough uncoloured stucco in the Casa Bardini. [238] Properly speaking, they are ambones. They stand in the west end of the nave of the church close to the junction of the transepts. [239] 7, xii. 1547. " ... Donato non fece mai la più brutta opera ," &c. Letter printed in Bottari, i. 70. [240] It is probable that these famous horses were mere wrecks in the fifteenth century. At any rate, Lafreri's engraving of 1546 shows one of them without breast or forelegs, the remainder of the horse being nothing but a large pillar of brick. Herr von Kaufmann has an admirable statuette of Donatello's latter period modelled from the horses on the San Lorenzo frieze. Cf. also Mantegna in the Madonna di San Zeno, Verona. [241] E.g. , work wrongly attributed to Donatello: the figure of Plenty in the courtyard of the Canigiani Palace, Florence; the Lavabo in San Lorenzo; the two figures on the famous silver altar at Pistoja; the bronze busts in the Bargello; the font at Pietra Santa; chimney-pieces, gateways, stemme , and numberless Madonnas and small bronzes. [242] Casa Buonarroti, Florence. [243] From the Gualandi Collection. It is attributed by some to a Neapolitan sculptor. [244] "Vita," 1553, p. 14. [245] "Ricordi," 1554, p. 51. [246] "De Sculptura," 1504, gathering f. "Donatellus ... aere ligno, marmore laudatissimus, plura hujus unius manu extant opera, quam semel ab eo ad nos cæterorum omnium ." [247] "Italia Illustrata," Bâle, 1531, p. 305. " Decorat etiam urbem Florentiam ingenio veterum laudibus respondente, Donatello Heracleotae Zeusi aequiparandus, ut vivos, juxta Virgilii verba, ducat de marmore vultus. " [248] "De Viris illustribus," Florence ed. 1745, p. 51. " Donatellus ... excellet non aere tantum, sed etiam marmore notissimus, ut vivos vultus ducere, et ad antiquorum gloriam proxime accedere videatur. " [249] "Dialogues," Raczynski ed. Paris, 1846, p. 56. [250] "Due Trattati," ed. Milanesi, 1857, passim. [251] "Due Vite di Brunellesco," p. 142. [252] Semper, 321. [253] "Lem.," iii. 243, in first edition. [254] 1677 edition. [255] Gauricus, b. 1. [256] Vespasiano de' Bisticci, Vite. [257] "Vasari," iii. 253. [258] Ibid. iii. 244. [259] " Fo in Fiorenza ad tempo de' nostri padri Donatello huomo raro, semplicissimo in ogni altra cosa excepto che in la scultura ." [260] Matteo degli Orghani, writing in 1434, says: " Impero che è huomo ch' ogni picholo pasto è allui assai, e sta contento a ogni cosa ." Guasti, iv. 475. Donatello died in 1466, probably on December 15. He was buried in San Lorenzo at the expense of the Medici. Masaccio painted his portrait in the Carmine, but it is lost. The Louvre panel No. 1272, ascribed to Paolo Ucello, shows the painter, Manetti, Brunellesco, and Donatello. Monuments have been recently erected to the sculptor in his native city. For Donatello's homes in Florence, see "Misc. Fiorentina," vol. i. No. 4, 1886, p. 60, and "Miscellanea d'arte," No. 3, 1903, p. 49. *** END OF THE PROJECT GUTENBERG EBOOK DONATELLO, BY LORD BALCARRES *** 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.

Related documents

• The Trail of the Sword, Volume 4#33828
• The Trail of the Sword, Volume 3#33827
• Rob Roy — Volume 01#34341
• By Scarlet Torch and Blade#60389
• The Roll of Honour, Volume 1#65594