    The Project Gutenberg EBook of Pueblo Bonito, by Anonymous

    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: Pueblo Bonito
           Chaco Culture National Historic Park, New Mexico

    Author: Anonymous

    Release Date: March 29, 2019 [EBook #59155]

    Language: English

    Character set encoding: UTF-8

    *** START OF THIS PROJECT GUTENBERG EBOOK PUEBLO BONITO ***

    Produced by Stephen Hutcheson and the Online Distributed
    Proofreading Team at http://www.pgdp.net

# PUEBLO BONITO

CHACO CULTURE NATIONAL HISTORIC PARK
NEW MEXICO

PUEBLO BONITO
PLEASE STAY ON TRAIL

1

## PUEBLO BONITO

Chaco Canyon National Monument was established by presidential proclamation in 1907, owing largely to the efforts of Edgar L. Hewett, Director of the Museum of New Mexico and the School of American Research, whose first of many expeditions into the canyon was in 1902.

Pueblo Bonito, “the pretty village,” has been known by that name since at least as far back as 1840, and was probably named by Spanish or Mexican soldiers or traders.

Excavation of Pueblo Bonito was begun in 1896 by Richard Wetherill who homesteaded in the canyon, and by George H. Pepper of the American Museum of Natural History. The work was financed by two wealthy young brothers from New York, Frederick and Talbot Hyde, who formed the Hyde Exploring Expedition for the purpose. In four seasons 190 rooms were cleaned out. Research was resumed by a joint National Geographic Society—U.S. National Museum expedition in 1921 under the direction of Neil M. Judd, who in seven summers completed the excavation of 600 or more rooms and 33 kivas, and made extensive tests in the large trash mound, and in the plaza.

The Bonito Trail is about one-third of a mile long.[1] Along it you will find numbered markers corresponding to numbered paragraphs in this booklet. Please keep off all ruin walls.

[1]For metric conversion see table in back.

### 1

Pueblo Bonito, probably the largest single prehistoric Indian building in the Southwest at the time it was constructed, represents the highest development of Anasazi architecture. Most of the construction was between the years A.D. 1030 and 1079. The bulk of the wall’s thickness was made up of rough, unshaped random stones laid in mud mortar. Then the walls were veneered, inside and out, with the carefully fitted stone you see here. The stone used for the facing, a hard, dense sandstone, was quarried from a narrow band of rock at the top of the cliff behind the pueblo. So much of this stone was used to build the great houses of the canyon that most of it has been removed for a mile east and west of Pueblo Bonito, but in other places the signs of ancient quarrying are still evident.

2

West end of Pueblo Bonito during excavation by Wetherill and Pepper in the 1890’s

The small, rectangular openings in this wall were vents for air and light in the lower rooms. The round holes are sockets for vigas, ceiling beams.

### 2

The large, broken stones here and to your left are what remain of Threatening Rock, a large vertical slab of native rock which once stood separated from the cliff by a wide crack. The people of Pueblo Bonito felt the threat of its fall, for using posts, mud, and stone masonry, they attempted to shore up the rock, or 3 to prevent erosion of its base. Here you can see a remnant of that early attempt. The Navajos, who were not here until long after the last of the Anasazi departed, call Pueblo Bonito “the place where the cliff is propped up”, and they relate a tale about their predecessors pouring baskets of turquoise and white shell behind the rock as an offering to the spirits to prevent its fall. When the huge slab finally came down in January 1941, no turquoise was found, but it was discovered that the Anasazi had placed prayer sticks behind the rock. These are peeled and carved willow wands, painted and decorated with feathers, which are still used by Pueblo people somewhat in the way altar candles are used.

Prehistoric masonry at base of Threatening Rock before it fell—photo 1896

### 3

The rock around you is sandstone of the Cliff House formation, a member of the Mesaverde 4 group of sedimentary rocks laid down in Cretaceous times—70 to 80 million years ago—near the edge of a shallow sea. When the shoreline retreated and the waters became shallower, and fresh or brackish, the sediments were in the form of carbonaceous shale and coal which are exposed across the canyon. The Indians made no use of the coal as fuel, but jet and shale from that formation were made into figurines, beads, and pendants, and decomposed shales were used for pottery clay and for mortar.

### 4

Here is an overall view of Pueblo Bonito and the more than three acres it covers. The panels in front of you describe the construction sequences. An existing southeast-facing pueblo was used as the nucleus for the grander multi-storied Pueblo Bonito. The symmetry of the ground plan indicates that a well-conceived basic plan was adhered to throughout three generations of remodeling and enlarging.

We don’t know the exact number of rooms the pueblo contained because many of the upper walls had fallen during the centuries it stood empty and abandoned, but sections of the rear wall were known to be five stories high, and some estimates run to 800 rooms. However, many of the rooms in the older section were trash-filled to serve as footings for the rooms above, and other rooms were destroyed to clear space for kivas, and it is probable that no more than 600 rooms were usable at any one time. The excavator, Judd, estimated a population of 1,000.

From here, too, you can see the pueblo in relation to its canyon setting and to some of its sister communities. The deep arroyo in the middle of the floodplain was probably a shallow streambed bordered by sedges, willows, and cottonwoods. Otherwise the environment was not much different from what we know today. Garden plots, irrigated both from the arroyo and by runoff water from the cliffs, covered much of the canyon bottom.

A relatively smaller population of Anasazi had inhabited the canyon for at least 500 years when, with the building of Pueblo Bonito and other large communal houses, the population was greatly swelled. The increased demands for wood and water, 5 more intensive cultivation, and the heavy foot traffic on friable soil undoubtedly placed a strain on the environment, but the deterioration of resources alone doesn’t explain the total abandonment of the area at about A.D. 1300. It is likely that there were political, or other social factors involved whose traces are hard to find in the archeological remains.

### 5

This broken section of wall shows its construction of a core of rough stone faced with smaller, selected stones, each having at least three plane surfaces. Note that the wall is thick at the bottom where the entire weight was carried, but is narrower at the top where less strength was needed. The tapering is evidence of prior planning—the builders knew when they started that they were going to build four to five stories—but the wall was not erected as a single operation. As the height for each story was reached, beams were built into the wall, and the ceiling was covered to provide a platform from which to work while raising the walls another stage.

### 6

You are standing near the ceiling level of the ground floor rooms. Rock debris and silting from the canyon wall has buried the lower part of the house. By referring to the ground plan at the front of the booklet you can see that this section 6 of the wall is a “curtain wall” with a narrow, triangular space behind it. Visible in the masonry are the butts of small poles used as tie rods that bridge the opening behind the wall. The space was not a room, but was filled to lend strength to the juncture of the older western section and a new arc of outside wall running east. At the top of the wall to your right you can see timbers built into masonry like reinforcing rods.

At the foot of the cliff behind the ruin are the remains of a kiva and a one-room house built against the rock. There is an interesting petroglyph cut into the sandstone.

### 7

You may walk into this small ground floor storeroom to inspect the original ceiling. The doorway was once plugged with masonry, but it was opened by an early explorer. This section of the pueblo is part of the first construction of Pueblo Bonito behind the older pueblo of the A.D. 900’s. Tree-ring dates from the Ponderosa pine vigas indicate that the room was built in A.D. 1038. Peeled willow sticks were laid across the beams and covered with juniper bark, and finally about six inches of packed soil to make a floor for the room above. The room to the left has not been excavated.

The next doorway you pass on your way to Station 8 is now closed with a modern gate. The room behind it was used for a storeroom by Richard Wetherill whose first camp was pitched outside the wall of the pueblo in this vicinity. When Pueblo Bonito was built there were 18 doorways in the rear wall, but all were plugged up by the Indians at some later date so that the only entry into the house was at the south wall of the plaza.

### 8

The rooms surrounding you are part of the old, southeast-facing pueblo, built between 919 and about 936, over and around which the grander Pueblo Bonito was built 100 years later. Note the cruder masonry and thinner walls. The vertical poles incorporated into the wall in front of you represent an earlier method of construction. Often the poles supported a matting or wattle of small branches which served as lath to hold a thin wall of mud 7 plaster. Later the people used small posts as a frame for stacking hand-molded adobe bricks or stones, and still later began to lay ashlar courses in which the strength was gained by lapping stones across the joints between stones in the course below. When Pueblo Bonito was built, the eastern end of the old pueblo was leveled to make way for new rooms, and some rooms at the southwest end were torn out when kivas were put in.

Hyde Expedition camped behind Pueblo Bonito, 1890’s

Many of the old rooms were filled with trash and it is possible that the smaller pueblo was not occupied when the new builders started to work on the later structure. Eight or more of the rooms (including the one you are standing in) had been used as burial chambers for more than 90 individuals.

The burials that have been found in Chaco have been of the people who preceded the builders of Bonito and the other great 8 pueblos, or of contemporaries of theirs from the many smaller pueblos in the canyon, or of members of a small group that moved into the canyon from the north after Pueblo Bonito was largely, if not entirely, abandoned. So far archeologists have not discovered how, or where, the considerable population that lived in Pueblo Bonito, Chetro Ketl and other large houses disposed of their dead.

The modern roofs in this area protect remains of original ceilings.

### 9

This open area is the plaza or courtyard. It served much the same function as a town square where ceremonial dances and other group activities took place. Also, when weather permitted, much of the daily domestic work was done here—shelling corn, twisting cordage, scraping hides, firing pottery, and fashioning tools of stone, bone and wood.

The plaza was divided by a single row of rooms into two courts. Many grinding stones were found in these rooms which served as one of two community centers for mealing corn into flour. Corn was ground on a large troughed stone, the metate (meh-TAH-tay), with a smaller, loaf-shaped stone, the mano. The metates 9 were arranged in a line of bins where several women could work together. Another milling center was in four adjacent rooms in the east wing.

### 10

The round underground room, a bit over 45 feet in diameter at the floor, is a great kiva which served as a religious center. Its roof, supported by four rubble-filled masonry columns, was 9 feet 7 inches above the floor. Thirty-four niches around the wall above the upper bench may once have held offerings of jewelry and other valued materials, but were open and empty at the time of excavation. The chamber was entered at the north end by a series of stone steps. You may enter and examine in detail a great kiva across the canyon at Casa Rinconada.

Another great kiva in the west court, and the division of the plaza, suggests to some students that the people were divided into two groups, each group responsible for certain ceremonies at different times of the year—summer people and winter people—as is true of many of the Rio Grande pueblos today.

National Geographic painting by Peter V. Bianchi, February 1964

### 11

The ordinary kivas let down into this raised terrace served smaller groups than the great kiva. In today’s Pueblo villages kivas are used as meeting places by both male and female members of 10 curing societies, as workshops for making ritual equipment, for dance rehearsal, and as sleeping places for boys while they are receiving religious instruction.

Kivas were more numerous than great kivas—37 have been identified in Pueblo Bonito—though not all were usable at one time. The kiva on the left was razed. All the timbers were removed and the open pit was used as a refuse dump by people in nearby rooms.

An architectural trait peculiar to Chacoan kivas is the low bench with from four to ten pilasters made of juniper logs buried in the wall and extending horizontally onto the bench. The pilasters supported the butts of log stringers which encircled the kiva. The stringers held the weight of another, but smaller, circle of stringers, and that circle still another, until 12 to 14 layers of poles in ever-decreasing circles made a dome-like ceiling of cribbing. A nearly intact roof in a nearby kiva was found to have used 350 timbers in its construction.

Close to the wall the ceiling was only about three feet above the floor, but at the center of the room there was an eight to ten foot clearance. The space between the outside of the roof-dome and the wall of the kiva was filled with earth and rubble to level off a flat court even with the level you are standing on. When these kivas were all in use their presence was indicated only by ladders protruding from rectangular openings which served both as entryways and smoke holes.

sub-floor vent

The trench in the floor, once covered with slabs of stone, was an air duct. Rising heat from the fire in the round pit pulled fresh air through the duct and down a vertical shaft just outside the kiva wall to provide ventilation.

The smaller kiva on your right, as you proceed along the trail, is unusual in having four tall masonry pilasters. Rather than a cribbed roof, it probably had a flat roof of horizontal timbers to 11 give it an even seven-foot clearance over the entire space.

### 12

These ground floor rooms were used for storage and were reached from the living rooms above them by means of ladders through open hatchways in the ceiling.

Doorways were closed by leaning large, flat slabs of ground sandstone against sloping collars of masonry in the jambs, or by suspending matting from small sticks in the lintel.

### 13

The fire-reddened walls in this room resulted from a fire that destroyed the ceiling. The unburned area near the floor shows that the fire occurred after abandonment of the rooms. The earthen floors of the rooms above had leaked through and piled up against these walls. Tree-ring dates from charred beams fallen to the floor indicate construction at about A.D. 1100—one of the last additions to be built. The room had been left empty except for three scrapers made from deer bone. Each was beautifully inlaid with turquoise, jet and shell.

Note the diagonal doorway in the southeast corner of the room above.

### 14

The three doorways in this room have been successively modified by adding new sills, lintels, and secondary jambs, sloped to accommodate door slabs.

The doors may seem small but they were not made for ease of passage, but rather for reduced heat-loss and to make them easier to close off. In fact, the doors of the great Chacoan pueblos were unusually large for Anasazi houses. Typical doorways for the period were narrower and with high sills.

The mud plaster on the south wall is original.

### 15

The doorway in the east wall was plugged with masonry. Such sealed-off doors were common and probably for a variety of reasons as the use of rooms changed and apartments were 12 rearranged. Sometimes grain-storage rooms were temporarily closed with quickly-laid, crude masonry and mortar to render them rodent-proof.

Series of doorways [photo by Hal Malde]

Almost ten feet below this floor is the floor of a kiva which was part of an earlier version of Bonito’s town plan. It was filled and buried by this later construction.

13

### 16

The T-shaped doorway, though not common, is found from Colorado and Utah south into the mountains of northern Mexico. We can only speculate about its purpose. Of the 32 T-doors remaining in Pueblo Bonito, most are exterior doors facing kiva courts.

### 17

This well-preserved ceiling is the original one. The fresh-looking sawed ends and notches in the beams is where sections were removed for tree-ring dating. The small round holes, less destructive of the timber, are made with a hollow auger bit which removed a core—the preferred method of taking samples. Seven dates were obtained from the cores and sections in this room. Three of them were cutting dates, indicating the last year of the growth of the trees: A.D. 1077, 1078, and 1079. The construction date was probably 1079 or 1080.

Though this section of the pueblo was three stories high, some of the ground floor rooms were used as living quarters equipped with firepits. Relatively few firepits were found in the ruin, most of them in one story sections, in the open on the edges of the plaza, or next to an outer wall in a kiva courtyard, but there was evidence in the fill of the rooms that others had existed on the upper floors and on the terraced roofs.

### 18

Above and to the left of the rooms you have just left is another corner window. On the morning of the winter solstice in December the rays of the rising sun shine through this window and strike the opposite corner of the room behind it, a fact that is probably more than coincidental. We know that in the 11th century Indians in Mexico were making solar and lunar observations and calculations that were in some respects more sophisticated than were possible in most of Europe.

The long low ridge in front of the pueblo was the trash dump. It was built up of ashes from the firepits, floor sweepings, construction debris, bones, food refuse, human waste, scraps from craftwork, broken pottery—everything that was no longer of any use. With only a little imagination one can picture the mound with a band of small, naked children playing “king of the hill”, and with foraging turkeys, and dogs burying or digging up bones.

14

Four story wall [photo by Hal Malde]

15

## OTHER PLACES TO VISIT IN CHACO CANYON

1) Just west of Pueblo Bonito is PUEBLO DEL ARROYO where you can see the ruins of a smaller communal house occupied at the same time.

2) Across the canyon, on the CASA RINCONADA TRAIL, you can go down into the largest great kiva in Chaco Canyon, and you can inspect three small pueblos.

3) One-half mile east is CHETRO KETL, the second largest of the great pueblos, with some features not seen at Pueblo Bonito.

4) Four miles east, up the canyon, is the VISITORS’ CENTER with restrooms, a museum, and an information desk.

PLEASE RETURN THIS BOOKLET
OR YOU MAY TAKE IT WITH YOU FOR 40¢ DEPOSITED
IN THE STAND

16

15M—4th printing—6/87—SPMA

17

Brief Metric Conversion Table
½ inch | = | 12.70 millimetres
1 inch | = | 25.40 millimetres
2 inches | = | 50.80 millimetres
1 foot | = | 30.48 centimetres
1 yard | = | 0.914 metres
¼ mile | = | 400 metres
½ mile | = | 800 metres
1 mile | = | 1.6 km
3½ miles | = | 5.6 km
4½ miles | = | 7.2 km
15 miles | = | 24 km
20 miles | = | 32 km
60 miles | = | 96 km
200 miles | = | 320 km
1 acre | = | 0.4 hectares
2½ acres | = | 1 hectare

## Transcriber’s Notes

- Silently corrected a few palpable typos.
- Retained publication information from the printed edition: this eBook is public-domain in the country of publication.
- In the text versions only, text in italics is delimited by _underscores_.

    End of the Project Gutenberg EBook of Pueblo Bonito, by Anonymous

    *** END OF THIS PROJECT GUTENBERG EBOOK PUEBLO BONITO ***

    ***** This file should be named 59155-h.htm or 59155-h.zip *****
    This and all associated files of various formats will be found in:
            http://www.gutenberg.org/5/9/1/5/59155/

    Produced by Stephen Hutcheson 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.