The Project Gutenberg eBook of French Cave Paintings

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.

*** This is a COPYRIGHTED Project Gutenberg eBook. Details Below. ***

*** Please follow the copyright guidelines in this file. ***

Title: French Cave Paintings

Release date: April 1, 1995 [eBook #249]
Most recently updated: December 2, 2022

Language: English

*** START OF THE PROJECT GUTENBERG EBOOK FRENCH CAVE PAINTINGS ***

20,000 Year Old Cave Paintings

Foreword by the Editor

This is a XHTML version of "French Cave Paintings", originally published by Project Gutenberg on April 1995 as e-text #249 and consisting of a set of documents available under the Generic Name of "cavepxxx.xxx".

These documents have been embedded together in this strictly valid (as of the time it was prepared) XHTML 1.0 document, thanks to which they can be viewed as a single multimedia document using any Web browser capable to render standard, well-formed HTML or XHTML files.

Complete, up-to-date, information about the Library Catalog Record referring to this work, and its past and possible future editions, can be found starting from the Project Gutenberg Web site, http://www.gutenberg.org/

Rome, November 2000.

CONTENTS

Document: Cavep.eng

Document: Cavep.fr

List of Pictures (JPEG)

JPEG Pictures

chevo11.jpg

mamot11.jpg

gvpda11.jpg

hyene11.jpg

List of Pictures (GIF)

GIF Pictures

chevo11.gif

mamot11.gif

gvpda.gif

hyene11.gif

We are not sure Mr. Clottes wants to keep a copyright on these, or whether he wants to put them in the Public Domain; in either case, we would prefer not to jeopardize his rights, and we thus are preparing this release as if it were copyrighted in 1995.

The translation in the original message we received was: "All rights reserved" so we are presuming the copyright. "Tous droits reserves" in the original French message... which is also included in this package and in English.

If you want to get permission to use these for more uses than a private one, we suggest you contact the Minstry of Culture.

Here is the permission statement we received in both French and English, and we are VERY glad to have received it on such short notice, and did not want to disturb things further by asking an additional time for more details.

Monsieur,

Comme suite votre courrier ilectronique du 7 fivrier dernier, je vous informe que M. Jean Clottes, conseiller scientifique du sous-directeur de l'archiologie et auteur des quatre photographies et du texte sur la grotte ricemment dicouverte en Ardhche, a donni son autorisation pour l'utilisation de ses photographies dans le cadre du projet de CD-ROM Gutenberg.

Merci de ne pas oublier de mentionner son nom sur les documents publiis.

Sir,

As per your email of February 7th, I informed Mr. Jean Clottes, Scientific Consul to the Deputy-Director of Archeology and author of the four photographs and the texts concerning the cave paintings discovered in Ardhche, to get his authorization for the utilization of his photographs by the staff of Project Gutenberg's CDROM.

Please do not forget to mention his name in the documents you publish.

<Contents

Project Gutenberg Document: Cavep.eng

This is an English translation of the original message we received. This file should be named cavep.eng The original French language file should be names cavep.fr

Only the first portion has been translated, more coming.

AN EXCEPTIONAL ARCHEOLOGICAL DISCOVERY

A Paleolithical Embellished Cave found in France (Ardeche)

An exceptional archeological discovery has been made public on January 17, 1995, by the Minister of Culture and French-Speaking language <Francophonie>, Mr. Jacques TOUBON.

Discovered during December 1994 at Vallon-Pont-d'Arc (Ardeche, France), the cave, composed of several spacious galleries and dens, is adorned with some 300 paleolithical paintings and engravings (dating 18,000 - 20,000 years before present time), which focus on a wide variety of animals including bears, owls, mammooths, rhinos and felines.

The cave has also retained several vestiges of human activities: fireplaces <hearths>, entailed flints and other clues which denote an evolution in tools and habits. Totally left intact and untouched by any human intrusion throughout the ages, the cave represents and exceptional source of studies for archeologists.

In the wake of the artistical and archeological interest spawned by this thrilling discovery of national and international importance, the Director of Cultural Heritage has signed on January 13th the proceedings to classify the site. <I don't know if the translation makes sense: a "classified site" is a site which, due to its cultural importance, becomes an official patrimony of the nation> This urgency measure, taking effect immediately, confers the cave for one year the same statute and privileges which the historical monuments benefit.

In order to ensure the preservation and the security of the cave, the Prefect of Ardeche has also signed on January 13 a by-law prohibiting the access to the cavity.

Paris, January the 18th, 1995

< Contents < Document: Cavep.eng

Project Gutenberg Document: Cavep.fr

This is the original message we received in French. This file should be named cavep.fr The English translation should be named cavep.eng

Decouverte d'une grotte ornee paleolithique a Vallon-Pont-d'Arc (Ardeche)

Cliches : Ministere de la culture et de la francophonie - Direction du Patrimoine Jean Clottes. Tous droits reserves.

Une decouverte archeologique d'une importance exceptionnelle vient d'intervenir dans les gorges de l'Ardeche, en limite du site naturel classe, en l'espece d'un vaste reseau souterrain orne d'un tres grand nombre de peintures et de gravures d'epoque paleolithique (vers 18000-20000 ans avant le present).

La decouverte est intervenue sur le territoire de la commune de Vallon-Pont-d'Arc, le 25 decembre dernier, dans le cadre d'une prospection archeologique autorisee au titre des dispositions de la loi validee du 27 septembre 1941 portant reglementation de la recherche archeologique de France. Elle est le fait de M. Jean-Marie Chauvet, agent de surveillance titulaire au sein du Service regional de l'archeologie (D.R.A.C Rhône-Alpes) assiste de deux benevoles Mme Eliette Brunel-Deschamps et M. Christian Hillaire.

Au terme d'une desobstruction manuelle conduite dans un boyau tres etroit marquant le fond d'une cavite mineure s'ouvrant dans les falaises du Cirque d'Estre, les inventeurs ont debouche par une cheminee dans un tres vaste reseau totalement vierge, richement concretionne et recelant de nombreux restes paleontologiques en place (os d'ours de cavernes- Ursus spelaeus- dans leur bauge d'hibernation). Les galeries, fortement dimensionnees (section de 5 x 4 metres en moyenne), joignent plusieurs vastes salles (jusqu'a 70 x 40 metres) et sont, de place en place, decorees de peintures et de gravures de figurations animalieres isolees ou organisees en panneaux comprenant plus de cinquante unites dont les dimensions varient de 0,50 m a 4 metres de long. Au total, environ 300 peintures a l'ocre rouge ou au noir ont ete actuellement observees et au moins autant de gravures. On remarque plusieurs cas de superposition, et, localement, des voiles concretionnes ou des griffades d'ours, l'ensemble de ces faits authentifiant (s'il en etait besoin) l'anciennete de ces decors.

a chaque extremite du reseau visite on peut constater la presence d'acces anciens actuellement colmates par des eboulis et des depots argileux.

L'ensemble des galeries parcourues cumule un lineaire de plusieurs centaines de metres au long duquel se developpe un bestiaire tres original et particulierement varie (chevaux, rhinoceros, lions, bisons, aurochs, ours, pantheres, mammouths, bouquetins, hiboux, etc...) accompagne de signes symboliques, de panneaux ponctues et de mains positives ou negatives.

Au plan artistique, il se degage un ensemble absolument unique dans le Sud de la France, que son importance et son originalite placent au meme rang que l'ensemble figure de Lascaux meme s'il n'offre pas de veritable polychromie ni le meme dimensionnement des representations.

Partout, les traits peints ou graves sont plus ou moins concretionnes. Les traits peints, vus dans leurs details, presentent l'aspect erode caracteristique des peintures anciennes, meme celles apparemment les mieux conservees. En outre, la grotte est vierge, avec des sols intacts et d'innombrables vestiges non touches. Dans une salle, un ensemble de gravures (cheval, mammouth, hibou) se trouve sur une retombee de voute a 5 ou 6 m du sol ; au-dessous, un vaste effondrement ancien explique ce qui s'est passe : une aspiration a provoque la formation de cet entonnoir et le sol sur lequel se trouvait l'artiste a alors disparu, de sorte que les gravures sont maintenant inaccessibles. Donc, l'authenticite est evidente.

La zone a peintures rouges comprend plusieurs panneaux de points, auxquels s'ajoutent parfois des signes, y compris des signes complexes originaux. Les panneaux avec des animaux rouges sont divers : dans une petite galerie, un cerf, est suivi tout au fond, de trois ours des cavernes et d'un cheval. Ailleurs, un grand panneau comprend plusieurs ours, dont un a l'avant-train tachete, un felin lui aussi tachete sur le haut du corps, un bouquetin et deux mammouths. Sur une paroi se voient un enorme rhinoceros a la corne disproportionnee, trois autres rhinoceros, un mammouth, deux felins, quatre mains positives et deux ou trois negatives, un demi-cercles de points rouges, un grand bovine, un signe fait de deux demi-cercles accoles. En tout, outre les points et les signes, plusieurs mains negatives completes et les mains positives, une trentaine de representations animales rouges et deux petites tetes de chevaux jaunes ont deja ete denombres. L'ours domine suivi du mammouth, du cheval, du rhinoceros, du felin ; le cerf, le bouquetin, l'aurochs, les indetermines, n'etant representes qu'a un seul exemplaire chacun.

Une centaine de figures noires a ete denombree : les rhinoceros dominent largement, suivis des felins puis des chevaux, les ours, des rennes, des bisons, des aurochs. On note la presence de mammouths, de cerfs megaceros, d'un bouquetin, de deux indetermines. Parmi les gravures, a noter 5 mammouths, 3 bouquetins, 2 rhinoceros, 2 chevaux, 1 aurochs, 1 hibou.

La facture de ces representations est excellente. Les proportions des corps sont naturalistes. Il s'agit surtout de dessins au trait, encore que certains presentent des a-plats de peinture a l'interieur des tetes ou des corps et un rendu savant du modele. De nombreux details anatomiques sont precises, de sorte que les animaux sont le plus souvent determinables sans ambiguite quant a l'espece et meme quant au sexe (femelles bisons, par exemple). Les dessins noirs ont "un air de famille" : la composition des panneaux, la facture des animaux, la technique employee partout avec une egale maitrise feraient penser a une meme "main". On peut legitimement se demander s'il ne s'agirait pas, en tres grande partie, de l'œuvre d'une seule personne, un grand maitre du trait. Les recherches futures le preciseront.

Par le nombre et la diversite des œuvres, par leur qualite esthetique et leur conservation, par leur originalite aussi (dominance d'especes rares ailleurs), par la preservation du contexte, cette grotte est unique et d'une importance mondiale. C'est l'un des plus grand chefs d'œuvres de l'art prehistorique.

Au plan paleontologique, la cavite recele egalement les restes d'une centaine d'ursides, soit en place dans leur loge d'hibernation, soit en position secondaire, que les os aient ete deplaces par le passage de l'Homme, ou que certains cranes aient ete redisposes par lui en des emplacements privilegies de la grotte (par exemple au centre d'une salle en rotonde, sur un bloc rocheux).

Cette abondance de restes dans un milieu preserve de toute perturbation moderne confere un second caractere d'importance a la decouverte.

Au plan archeologique, il convient de souligner le caractere unique d'un milieu clos exempt de toute intrusion et de tout remaniement. Outre les figurations, l'Homme a laisse dans la cavite de nombreux temoins de ses activites : foyers, silex tailles, traces de torches d'eclairage, amenagements de blocs rocheux, agencement de restes faunistiques et, surtout, de tres nombreuses empreintes de cheminement melees a celles des ours qui ont ete leurs contemporains dans les galeries. On remarque egalement des points d'extraction du sediment : confection de boulettes d'argile, recherche d'oxydes de fer et de manganese pour la confection des peintures.

a ce jour, il parait que la grotte est le seul reseau orne totalement intact qui nous soit parvenu depuis le Paleolithique.

Au plan de l'etude du milieu, la tres recente ouverture de la cavite permettra d'en etudier la climatologie interne. Il convient aussi de souligner la puissance des depots sedimentaires que la reprise d'erosion posterieure a l'occupation humaine a permis de mettre ponctuellement en evidence dans des puits de dissolution diriges vers le reseau perenne toujours actif a ce jour. La carbonatation des galeries est egalement intervenue apres le passage de l'Homme, scellant en de nombreux points des artefacts dans la calcite.

Il existe la une occasion unique d'etude naturaliste visant a retracer l'evolution des milieux naturels durant le dernier glaciaire et l'Holocene.

C'est la convergence de l'ensemble de ces caracteres, deja exceptionnels pour chacun d'entre eux, qui confere une importance absolue au reseau nouvellement decouvert.

< Contents < Document: Cavep.fr

List of Pictures (JPEG)

Cave Painting featuring several animals including equines and bovines.

IMAGE >

Picture Information

File name: chevo11.jpg

Width:9.50000 inches (684 pixels)

Height: 6.38889 inches (460 pixels)

X dpi: 72

Y dpi: 72

Size on media support (bytes): 63,429

Format:JPEG Bitmaps (JPG)

Subformat: JPEG Compression

Type:24 Bit RGB Color

Cave Painting featuring a Mammoth and other animals

IMAGE >

Picture Information

File name: mamot11.jpg

Width: 9.40278 inches (677 pixels)

Height:6.47222 inches (466 pixels)

X dpi:72

Y dpi: 72

Size on media support (bytes): 70,961

Format:JPEG Bitmaps (JPG)

Subformat:JPEG Compression

Type: 24 Bit RGB Color

Cave Painting featuring several animals including rhinoceros.

IMAGE >

Picture Information

File name:gvpda11.jpg

Width:9.44444 inches (680 pixels)

Height:6.45833 inches (465 pixels)

X dpi:72

Y dpi: 72

Size on media support (bytes): 86,155

Format:JPEG Bitmaps (JPG)

Subformat: JPEG Compression

Type: 24 Bit RGB Color

Cave Painting featuring a hy(a)ena and another unidentified maculated animal.

IMAGE >

Picture Information

File name: hyene11.jpg

Width:9.43055 inches (679 pixels)

Height: 6.47222 inches (466 pixels)

X dpi: 72

Y dpi: 72

Size on media support (bytes): 72,802

Format:JPEG Bitmaps (JPG)

Subformat:JPEG Compression

Type:24 Bit RGB Color

<Contents <List of Pictures (JPEG)

Pictures (JPEG)

Cave Painting featuring several animals including equines and bovines. (JPEG)

< Contents <List of Pictures (JPEG)

Cave Painting featuring a Mammoth and other animals. (JPEG)

< Contents < List of Pictures (JPEG)

Cave Painting featuring several animals including rhinoceros. (JPEG)

< Contents < List of Pictures (JPEG)

Cave Painting featuring a hy(a)ena and another unidentified maculated animal. (JPEG)

< Contents < List of Pictures JPEG)

List of Pictures (GIF)

Cave Painting featuring several animals including equines and bovines.

IMAGE >

Picture Information

File name: chevo11.gif

Width:9.50000 inches (684 pixels)

Height: 6.38889 inches (460 pixels)

X dpi: 72

Y dpi: 72

Size on media support (bytes): 263,751

Format:CompuServe Bitmap (GIF)

Subformat: ZW Compression

Type:8 Bit paletted

Cave Painting featuring a Mammoth and other animals

IMAGE >

Picture Information

File name: mamot11.gif

Width: 9.40278 inches (677 pixels)

Height:6.47222 inches (466 pixels)

X dpi:72

Y dpi: 72

Size on media support (bytes): 268,285

Format:CompuServe Bitmap (GIF)

Subformat:ZW Compression

Type: 8 Bit paletted

Cave Painting featuring several animals including rhinoceros.

IMAGE >

Picture Information

File name:gvpda.gif

Width:9.44444 inches (680 pixels)

Height:6.45833 inches (465 pixels)

X dpi:72

Y dpi: 72

Size on media support (bytes): 312,161

Format:CompuServe Bitmap (GIF)

Subformat: ZW Compression

Type: 8 Bit paletted

Cave Painting featuring a hy(a)ena and another unidentified maculated animal.

IMAGE >

Picture Information

File name: hyene11.gif

Width:9.43055 inches (679 pixels)

Height: 6.47222 inches (466 pixels)

X dpi: 72

Y dpi: 72

Size on media support (bytes): 285,906

Format:CompuServe Bitmap (GIF)

Subformat:ZW Compression

Type:8 Bit paletted

<Contents <List of Pictures (GIF)

Pictures (GIF)

Cave Painting featuring several animals including equines and bovines. (GIF)

< Contents < List of Pictures (GIF)

Cave Painting featuring a Mammoth and other animals. (GIF)

< Contents < List of Pictures (GIF)

Cave Painting featuring several animals including rhinoceros. (GIF)

< Contents < List of Pictures (GIF)

Cave Painting featuring a hy(a)ena and another unidentified maculated animal. (GIF)

< Contents < List of Pictures (GIF)

*** END OF THE PROJECT GUTENBERG EBOOK FRENCH CAVE PAINTINGS ***

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.

This particular work is one of the few individual works protected by copyright law in the United States and most of the remainder of the world, included in the Project Gutenberg collection with the permission of the copyright holder. Information on the copyright owner for this particular work and the terms of use imposed by the copyright holder on this work are set forth at the beginning of this work.

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 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

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

Project Gutenberg™ 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.

back

back

back

back

back

back

back

back