    The Project Gutenberg EBook of Views of St. Paul's Cathedral, London, by
    W. J. Sparrow-Simpson

    This eBook is for the use of anyone anywhere in the United States and most
    other parts of the world at no cost and with almost no restrictions
    whatsoever.  You may copy it, give it away or re-use it under the terms of
    the Project Gutenberg License included with this eBook or online at
    www.gutenberg.org.  If you are not located in the United States, you'll have
    to check the laws of the country where you are located before using this ebook.

    Title: Views of St. Paul's Cathedral, London

    Author: W. J. Sparrow-Simpson

    Release Date: March 14, 2015 [EBook #48491]

    Language: English

    Character set encoding: ASCII

    *** START OF THIS PROJECT GUTENBERG EBOOK VIEWS OF ST. PAUL'S CATHEDRAL ***

    Produced by Andrew Sly, Al Haines and the Online Distributed
    Proofreading Team at http://www.pgdp.net

# VIEWS OF
ST. PAUL’S CATHEDRAL
London

WITH NOTES BY
THE REV. SPARROW SIMPSON, D.D.

PHOTOGRAPHED & PUBLISHED
BY FREEMAN DOVASTON

EALING, LONDON
W.

## THE WESTERN FAÇADE.

The first stone of S. Paul’s Cathedral was laid by Sir Christopher Wren and his Master-mason on June 21, 1675; the last stone of the lantern above the Dome was laid in 1710, by Mr. Christopher Wren (who was born a year before the laying of the first stone), in the presence of Sir Christopher (his father), Mr. Strong (the Master-builder), and other Free and Accepted Masons.

The dimensions of the Cathedral, as given in the Rev. Lewis Gilbertson’s excellent Official Guide, are as follows:—

The exterior length, exclusive of the projection of the steps, 515 feet; the interior, 479 feet; the width across the Transepts, from door to door, 250 feet; width across Nave and Aisles, 102 feet; and between the stone piers, 41 feet; the Western front, 180 feet; the diameter of the octagonal area at the crossing of Nave and Transept, 107 feet; the diameter of the drum beneath the Dome, 112 feet; of the Dome itself, 102 feet. The height of the Central Aisle, 89 feet. The total height from the pavement of the Churchyard to the top of the Cross, 365 feet; the height of the Western Towers, 221 feet. The entire cost seems to have been about a million pounds.

The exquisite Dome has been justly called “the very crown of England’s architectural glory.” As Mr. Fergusson has said, “its dimensions, the beauty of its details, the happy outline of the campaniles, the proportion of these to the façade, and of all the parts one to another, make up the most pleasing design of its class that has yet been executed.” Strype says, “This Cathedral is undoubtedly one of the most magnificent modern buildings in Europe.”

THE WESTERN FAÇADE.

## S. PAUL’S FROM THE SOUTH WEST.

This fine view was taken from the top of the buildings of the Post Office Savings Bank in Queen Victoria Street: taken, fortunately, before the erection of the large block of warehouses at the south west of the Churchyard. Since these buildings have been completed the lower part of the Cathedral can no longer be seen from the position just indicated. The exquisite proportions of the Dome are here displayed to the fullest advantage.

S. PAUL’S FROM THE SOUTH WEST.

## S. PAUL’S CATHEDRAL, WEST FRONT, N.W. ANGLE.

Here is seen a part of the Western Façade, with the noble flight of steps, the North Portico, and the North Eastern portion of the Churchyard. The columns with their capitals and the carving over the window in the lower part of the North Tower, are well displayed. In ancient times the Palace of the Bishops of London adjoined this tower.

S. PAUL’S CATHEDRAL, WEST FRONT, N.W. ANGLE.

## THE SOUTH TRANSEPT.

The beauty of the South West Campanile is well displayed in the present view. To the east of the small entrance door, which gives access to the geometrical staircase, is the Chapel of the Order of St. Michael and St. George, at one time used as the Consistory Court, in which ecclesiastical cases relating to the diocese were heard. Above the Chapel are seen the three windows of the Library.

The Transept itself with its graceful pillars, its lofty pediment surmounted by colossal figures of the Apostles, is a very pleasing composition. Perhaps this particular campanile is seen to the best advantage as it is approached from Cannon Street on a summer’s evening. The effect of the light of the westering sun is singularly charming.

It should have been mentioned in the previous note, had space permitted, that the Choir was opened for Divine Service on December 2, 1697, on the Thanksgiving Day for the Peace after the Treaty of Ryswick; the Morning Prayer Chapel being opened a little later.

THE SOUTH TRANSEPT.

## THE WESTERN END OF THE NAVE.

This portion of the Cathedral is of especial dignity. The great height of the entrance arch, the massive doors, the noble space, the fine view north and south of the lateral Chapels, with their carved oak screens, the broad span of the side arches, the height of the vaulting and its careful decoration, combine to make this entrance of the Cathedral very imposing. If the visitor enters by the great western doors, he cannot fail to be impressed by the grand view which presents itself, the fine Nave, the broad Transepts, the lofty Reredos, more than 400 feet distant; and, as he paces eastward, at every step some fresh beauty reveals itself. Most impressive of all it is to see, on the occasion of some great festival, the vast spaces of Choir, Transepts, Dome area, and Nave crowded with worshippers, every seat occupied, and hundreds of people filling such standing room as remains. In one of the Annual Musical Services a short pause is made for silent prayer, and the stillness of the great multitude, after the strains of Bach’s immortal Passion Music, is wonderfully solemn.

THE WESTERN END OF THE NAVE.

## THE NORTH-WEST CHAPEL.

At the western end of the North Aisle of the Nave is a spacious Chapel, used every day for the celebration of the Holy Communion at eight o’clock in the morning, for a short service at mid-day (at 1.15), and for an evening service at eight o’clock. The oak panelling is that originally introduced by Sir Christopher Wren; the mosaic at the west end commemorates Archdeacon Hale, who died in 1870; the large window on the north is a memorial to Dean Mansel, Dean of the Cathedral from 1868 to 1871; the beautiful mosaic in the eastern apse is a more recent addition.

The Chapel was at first called the Morning Prayer Chapel, and was opened for use on February 1st, 1699, though the Cathedral itself was still far from completion. Here, for many years, Morning Prayers were said at an early hour: in 1699, at 6 o’clock in summer, and 7 o’clock in winter; at the present time prayers are said at 8 o’clock in the Crypt Chapel.

THE NORTH-WEST CHAPEL.

## THE TOMB OF GENERAL GORDON

Has almost become a place of pilgrimage. His heroic character, his tragic end, have deeply touched the hearts of his countrymen, and, indeed, of countless strangers also. The Tomb is a finely conceived work of Sir Edgar Boehm.

On the left is the Wellington Monument; on the right are seen the colours of the 57th and 77th Regiments borne by them in the Crimea.

THE TOMB OF GENERAL GORDON.

## THE WELLINGTON MONUMENT

Is thus described by the Rev. Lewis Gilbertson in his Authorized Guide to S. Paul’s Cathedral: “This is the most important work of Alfred Stevens; by far the finest monument in S. Paul’s, and by many considered to be the best work of its kind done in England in the last three hundred years. It was originally designed to fill the eastern arch of the Nave on the north side, and was intended to be surmounted by an equestrian statue of the Duke; but the horse was vetoed, and the monument erected in the old Consistory Court. It has now been removed to the middle arch on the north side of the Nave, where possibly it may eventually be finished according to the artist’s design. The bronze groups at the base of the pediment are especially fine. The subjects are: Virtue keeping Vice beneath its feet, and Truth pulling out the tongue of Falsehood.”

The actual tomb of the great Duke is in the Crypt of the Cathedral, a massive sarcophagus wrought from a boulder of porphyry found in Cornwall, resting upon a granite base. The simple grandeur of the monument is admirably in keeping with the character of the man whom it commemorates. The mortal remains of England’s greatest General lie close to those of England’s greatest Admiral.

THE WELLINGTON MONUMENT.

## ACROSS THE DOME TO THE NORTH TRANSEPT.

Immediately facing the spectator is a screen which formerly supported the Organ, bearing a copy of the famous inscription to Wren, which is also found above his tomb. To the right and left are dimly seen the statues of Dr. Johnson and Sir Joshua Reynolds. The broad area of the Dome, seen to the best advantage when crowded with worshippers (as it is three times every Sunday, and on many other occasions also) is very impressive.

ACROSS THE DOME TO THE NORTH TRANSEPT.

## INTERIOR OF THE CATHEDRAL FROM THE WEST.

This view exhibits the entire length of the choir, including the lofty Reredos. On the right and left are seen the Choir Stalls, Grinling Gibbons’ famous work, and the two fine Organ cases. The fine Organ, originally the work of Father Smith, is a masterpiece of Mr. Willis, whose consummate skill, aided no doubt by the magnificent building in which the instrument stands, has found no higher expression than in this finished work. The Choir Aisles are entered through iron gates, of great delicacy and beauty, the work of M. Tijou. The marble Pulpit, from the design of Mr. F. C. Penrose, is a memorial to Captain Robert Fitzgerald.

INTERIOR OF THE CATHEDRAL FROM THE WEST.

## THE MONUMENT TO LORD NELSON.

“The funeral of Nelson was a signal day in the annals of S. Paul’s. The Cathedral opened wide her doors to receive the remains of the great Admiral, followed, it might almost be said, by the whole nation as mourners. The death of Nelson in the hour of victory, of Nelson whose victories at Aboukir and Copenhagen had raised his name above any other in our naval history, had stirred the English heart to its depths, its depths of pride and sorrow. The manifest result of that splendid victory at Trafalgar was the annihilation of the fleets of France and Spain, and, it might seem, the absolute conquest of the ocean, held for many years as a subject province of Great Britain. The procession, first by water, then by land, was of course magnificent, at least as far as prodigal cost could command magnificence. The body was preceded to S. Paul’s by all that was noble and distinguished in the land, more immediately by all the Princes of the blood and the Prince of Wales.”

This account is taken from Dean Milman’s Annals of S. Paul’s. The Dean, then a youth, was present at the funeral, and could remember the solemn effect of the sinking of the coffin to its resting place, and the low wail of the sailors who bore and encircled the remains of their admiral.

The monument, by Flaxman, originally stood at the entrance to the Choir. When the Choir was extended westward in 1870, it was removed to its present much more favourable position in the South Transept.

THE MONUMENT TO LORD NELSON.

## THE NAVE SEEN FROM THE WESTERN END OF THE CHOIR.

In this view the two portions of the organ are seen. These grand cases formed the eastern and western fronts of the instrument when it stood over the Choir Screen; they exhibit some of Grinling Gibbons’ finest work. The projecting portion on the north side formerly contained the Choir Organ; the corresponding projection on the south is a copy of the original work.

Looking westward the Great Entrance Doors are seen, and above them a large window of Munich glass, a memorial to Mr. Thomas Brown, a member of the great publishing firm of Messrs. Longman. The main subjects of the window are the conversion of S. Paul on the Damascus Road, and the restoration of sight to the Apostle by Ananias; right and left of the lower subject are kneeling figures of the donor and his wife.

Two of the Mosaics in the pendentives of the Dome are faintly indicated. The eight pendentives exhibit the four greater Prophets, Isaiah, Ezekiel, Jeremiah, Daniel; and the four Evangelists. The work was executed by Dr. Salviati of Venice. Above the Whispering Gallery, beyond the range of the picture, are carved stone figures of the four great Doctors of the Western and of the Eastern Church; for the Western Church, SS. Augustine, Jerome, Gregory the Great, Ambrose; for the Eastern, SS. Chrysostom, Basil, Gregory Nazianzen, Athanasius.

THE NAVE SEEN FROM THE WESTERN END OF THE CHOIR.

## THE CHOIR, LOOKING EAST.

The most prominent object in this view is the stately Reredos, the work of Messrs. Bodley & Garner. The following description of it was read by Mr. Garner before the S. Paul’s Ecclesiological Society.

“The design consists of a basement, against which the altar stands, with small doorways to give access to the apse behind. Over these doors which are of pierced brass, are angels supporting the crossed swords and keys, the arms of the diocese, and emblems of S. Paul and S. Peter, and they are flanked by sculptured festoons of fruit and flowers separated by marble panels. Above this is a range of sculptured panels, with coloured marble backgrounds supporting an open colonnade of semi-circular plan. A large group of sculpture, a sort of carved picture in bold relief, occupies the centre, flanked on each side by twisted columns of rich Brescia marble, wreathed with foliage in gilded bronze. These support an entablature and rich pediment. The frieze is of Rosso Antico, bearing the inscription Sic Deus dilexit mundum, ‘So God loved the World,’ in bronze letters. The whole is crowned with a central niche and surrounding statues, at a height of between sixty and seventy feet from the ground.

“The general idea of the sculptured subjects is to express the Incarnation and Life of our Lord, beginning with the two figures at the extremities of the colonnade, which are those of the Angel Gabriel and S. Mary, and represent the Annunciation. The panel on the north side is the Nativity, the large subject in the centre the Crucifixion, with the Entombment beneath it; and the group on the south side the Resurrection. The panels of the pedestals are filled with Angels bearing instruments of the Passion. The niche above the pediment is occupied by the figure of S. Mary with the Divine Child in her arms; the statues of S. Paul and S. Peter on either hand. The figure on the summit of the niche is an ideal one of the Risen Saviour.

“The entire Altar Screen is executed in white Parian marble, with bands and panels of Rosso Antico, Verdi di Prato, and Brescia marble. The enrichments are generally gilt, the steps in front of the Altar are of white marble, and the pavement of Rosso Antico, Brescia, and Verdi di Prato.” See Rev. L. Gilbertson’s Guide.

THE CHOIR, LOOKING EAST.

## THE BISHOP’S THRONE.

Is placed on the south side of the Choir at the extreme east, and is occupied by the Bishop of London on great occasions. On ordinary days he sits in the central stall on the same side of the Choir. The Throne, like the stalls, is the work of Grinling Gibbons. Thirty of the stalls are set apart for the Prebendaries of the Cathedral, and on each is the name of the Prebend from which the income of each occupant was anciently derived, together with the opening words of the Psalm commencing the portion of the Psalter which each Prebendary was bound to recite daily; the Psalms being divided into thirty parts, and the whole Psalter being thus said every day.

To the left, or east, of the Throne, is seen the extremely beautiful Grille or Screen of wrought iron enriched by gilded bronze. The greater part of the ironwork once formed the gates at the western entrance of the Choir.

In the foreground appears a grand bronze Candelabrum, an exact copy of that in the Cathedral of S. Bavon, Ghent. There are four of these Candelabra at Ghent, which are said to have been removed from S. Paul’s Cathedral. Copies of two of these now adorn the Sanctuary; one only is seen in the illustration.

THE BISHOP’S THRONE.

## THE NORTH AISLE OF THE CHOIR, LOOKING WEST.

Over the back of the Choir Stalls, which are seen on the left of the picture, rise a few of the pedal pipes of the Organ, the largest of which is thirty-two feet in length. Through the openwork of Tijou’s beautiful iron gates, the view extends across the Dome to the extreme west of the Cathedral. At the end of the North Aisle of the Nave a glimpse is obtained of a window (presented by Mr. H. F. Vernon in 1861) containing a full length figure of S. Paul.

THE NORTH AISLE OF THE CHOIR, LOOKING WEST.

## THE CRYPT CHAPEL.

In this Chapel Matins are said at eight o’clock in the morning on all week days throughout the year. In the foreground is the burial place of Dean Milman, marked by a slab with a cross wrought upon its surface. To the west of this, not shown, however, in the view, is the grave of Dr. Liddon. In the Aisles to the right and left are seen a few fragments of monuments from the old Cathedral, scanty relics, spared by the great fire of 1666 and by the ruthless hand of the destroyer.

THE CRYPT CHAPEL.

## THE CRYPT: NELSON’S TOMB.

The present view represents one of the most picturesque scenes in the Crypt. Here, surrounded by an arcade, in the very heart of the Cathedral, immediately beneath the centre of the Dome, stands the tomb of England’s greatest naval hero.

The Sarcophagus itself has a strange history. It is usually said to have been designed by Torregiano as a portion of the memorial of Wolsey. “It lay for centuries neglected in Wolsey’s Chapel at Windsor. Just at the time of Nelson’s death, George III. was preparing to make that chapel a cemetery for his family. It was suggested as fit to encase the coffin of Nelson. It is a fine work marred in its bold simplicity by a tawdry coronet, but the master Italian hand is at once recognised by the instructed eye.” So Dean Milman writes.

Recent researches have shown that the Sarcophagus, which is of white and black marble, is the work of Benedetto da Rovezzano, by whom it was commenced in 1524 as part of a stately monument intended by Cardinal Wolsey as a magnificent memorial of himself. It appears that Henry VIII. took possession of the materials prepared for Wolsey’s monument, and that Benedetto was commissioned to transform it into a memorial for the king. The sculptor spent upon it eleven years of labour, but the costly work was never completed. The body of Nelson rests, not in the Sarcophagus, but beneath it.

THE CRYPT: NELSON’S TOMB.

## THE CRYPT: WITH THE TOMB OF SIR CHRISTOPHER WREN.

Near the eastern end of the South Aisle of the Crypt, under a very simple tomb, lie the mortal remains of the great Architect of the Cathedral. On a black marble slab, part of which is seen in the picture, are the following words:—Here lieth Sir Christopher Wren, Kt., the builder of this Cathedral Church of S. Paul, &c., who dyed in the year of our Lord MDCCXXIII, and of his age XCI. A singularly modest epitaph for so great a man, and that, too, at a period when fulsome phrases abounded. A little westward of the tomb, on a tablet affixed to the wall, are the memorable words, admirable in their brevity and point:—Lector, si monumentum requiris, circumspice. The tomb itself, including the black marble slab, is only sixteen-and-a-half inches in height. Closely adjoining the tomb, on its northern side, are buried two eminent presidents of the Royal Academy, Sir Frederick Leighton and Sir John Millais; at the extreme distance are seen, on the left side the bust of Sir John Alexander Macdonald, late Premier of the Dominion of Canada; and on the right side, that of Sir Henry Smith Park, Minister Plenipotentiary in Japan and China. Nearer to the spectator, on the right, is the memorial to Archdeacon Claughton, Bishop of Colombo, whilst on the left, is dimly seen a monumental brass, commemorating the Special Correspondents who fell in the Campaign in the Soudan; opposite to which, on the right, is the bust of the painter, James Barry.

THE CRYPT: WITH THE TOMB OF SIR CHRISTOPHER WREN.

## THE LIBRARY.

This noble room, situated at the west end of the Cathedral, immediately above the Chapel of the Order of S. Michael and S. George, contains an interesting and important collection of books; comprising a number of early English Bibles, a few ritual books, a large and valuable series of Sermons preached at Paul’s Cross or in the Cathedral; a few plays acted by the “Children of Paul’s,” some royal and other important autographs, and over ten thousand printed books, besides as many separate pamphlets.

In the view is seen a model of part of the Western Front of the Cathedral, once in the possession of Richard Jennings, the Master-builder of S. Paul’s. In the case on which it stands is the superb large paper copy of Walton’s Polyglot Bible (large paper copies are of great rarity); an exceedingly fine copy of the Prayer Book of 1662, and of the Bible of 1640, both of which belonged to Bishop Compton, the founder of the Library, whose portrait hangs upon its eastern wall. Just to the right of this case, is a cast of an important Danish Monumental Stone, found in 1852, in S. Paul’s Churchyard: it bears a Runic inscription.

In the glass case in the middle of the room are exposed to view a considerable number of interesting objects: copies of episcopal seals, a facsimile of the tonsure plate once used at S. Paul’s, a chain with which a book was fastened to the Library shelves; some medals connected with the history of the Cathedral; and some curious books. The finely carved brackets which support the gallery, long ascribed to Grinling Gibbons, have been ascertained to be the work of Jonathan Maine, carver, in 1708.

THE LIBRARY.

Of the same Series, and Uniform with this Book:

- ST. BARTHOLOMEW THE GREAT, SMITHFIELD.
- WESTMINSTER ABBEY.
- SOUTHWARK CATHEDRAL.
- CHRIST’S HOSPITAL (THE BLUE COAT SCHOOL, since demolished).
- LONDON. FAMOUS BUILDINGS AND STREET VIEWS.

Price 6d. each, post free 7d., from the Publisher,
FREEMAN DOVASTON, EALING, LONDON, W.

Transcriber’s note:

Minor typographical errors in the original have been silently corrected.

    End of the Project Gutenberg EBook of Views of St. Paul's Cathedral, London, by
    W. J. Sparrow-Simpson

    *** END OF THIS PROJECT GUTENBERG EBOOK VIEWS OF ST. PAUL'S CATHEDRAL ***

    ***** This file should be named 48491-h.htm or 48491-h.zip *****
    This and all associated files of various formats will be found in:
            http://www.gutenberg.org/4/8/4/9/48491/

    Produced by Andrew Sly, Al Haines and the Online Distributed
    Proofreading Team at http://www.pgdp.net

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

    Creating the works from print editions not protected by U.S. copyright
    law means that no one owns a United States copyright in these works,
    so the Foundation (and you!) can copy and distribute it in the United
    States without permission and without paying copyright
    royalties. Special rules, set forth in the General Terms of Use part
    of this license, apply to copying and distributing Project
    Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm
    concept and trademark. Project Gutenberg is a registered trademark,
    and may not be used if you charge for the eBooks, unless you receive
    specific permission. If you do not charge anything for copies of this
    eBook, complying with the rules is very easy. You may use this eBook
    for nearly any purpose such as creation of derivative works, reports,
    performances and research. They may be modified and printed and given
    away--you may do practically ANYTHING in the United States with eBooks
    not protected by U.S. copyright law. Redistribution is subject to the
    trademark license, especially commercial redistribution.

    START: FULL LICENSE

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

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

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

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

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

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

    1.D. The copyright laws of the place where you are located also govern
    what you can do with this work. Copyright laws in most countries are
    in a constant state of change. If you are outside the United States,
    check the laws of your country in addition to the terms of this
    agreement before downloading, copying, displaying, performing,
    distributing or creating derivative works based on this work or any
    other Project Gutenberg-tm work. The Foundation makes no
    representations concerning the copyright status of any work in any
    country outside the United States.

    1.E. Unless you have removed all references to Project Gutenberg:

    1.E.1. The following sentence, with active links to, or other
    immediate access to, the full Project Gutenberg-tm License must appear
    prominently whenever any copy of a Project Gutenberg-tm work (any work
    on which the phrase "Project Gutenberg" appears, or with which the
    phrase "Project Gutenberg" is associated) is accessed, displayed,
    performed, viewed, copied or distributed:

      This eBook is for the use of anyone anywhere in the United States and
      most other parts of the world at no cost and with almost no
      restrictions whatsoever. You may copy it, give it away or re-use it
      under the terms of the Project Gutenberg License included with this
      eBook or online at www.gutenberg.org. If you are not located in the
      United States, you'll have to check the laws of the country where you
      are located before using this ebook.

    1.E.2. If an individual Project Gutenberg-tm electronic work is
    derived from texts not protected by U.S. copyright law (does not
    contain a notice indicating that it is posted with permission of the
    copyright holder), the work can be copied and distributed to anyone in
    the United States without paying any fees or charges. If you are
    redistributing or providing access to a work with the phrase "Project
    Gutenberg" associated with or appearing on the work, you must comply
    either with the requirements of paragraphs 1.E.1 through 1.E.7 or
    obtain permission for the use of the work and the Project Gutenberg-tm
    trademark as set forth in paragraphs 1.E.8 or 1.E.9.

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

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

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

    1.E.6. You may convert to and distribute this work in any binary,
    compressed, marked up, nonproprietary or proprietary form, including
    any word processing or hypertext form. However, if you provide access
    to or distribute copies of a Project Gutenberg-tm work in a format
    other than "Plain Vanilla ASCII" or other format used in the official
    version posted on the official Project Gutenberg-tm web site
    (www.gutenberg.org), you must, at no additional cost, fee or expense
    to the user, provide a copy, a means of exporting a copy, or a means
    of obtaining a copy upon request, of the work in its original "Plain
    Vanilla ASCII" or other form. Any alternate format must include the
    full Project Gutenberg-tm License as specified in paragraph 1.E.1.

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

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

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

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

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

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

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

    1.F.

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

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

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

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

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

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

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

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

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

    Section 3. Information about the Project Gutenberg Literary Archive Foundation

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

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

    For additional contact information:

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

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

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

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

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

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

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

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

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

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

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

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