The Project Gutenberg EBook of Buried Cities, Part 3, Mycenae, by Jennie Hall

This eBook is for the use of anyone anywhere 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.net


Title: Buried Cities, Part 3, Mycenae

Author: Jennie Hall

Release Date: August 10, 2004 [EBook #9627]

Language: English

Character set encoding: ASCII

*** START OF THIS PROJECT GUTENBERG EBOOK BURIED CITIES, PART 3, MYCENAE ***




Produced by Juliet Sutherland, David Widger and PG Distributed
Proofreaders





BURIED CITIES, Part 3

MYCENAE

BY

JENNIE HALL

Author of "Four Old Greeks," Etc. Instructor in History and English in
the Francis W. Parker School, Chicago

With Many Drawings and Photographs From Original Sources



The publishers are grateful to the estate of Miss Jennie Hall and to her
many friends for assistance in planning the publication of this book.
Especial thanks are due to Miss Nell C. Curtis of the Lincoln School,
New York City, for helping to finish Miss Hall's work of choosing the
pictures, and to Miss Irene I. Cleaves of the Francis Parker School,
Chicago, who wrote the captions. It was Miss Katharine Taylor, now of
the Shady Hill School, Cambridge, who brought these stories to our
attention.




FOREWORD: TO BOYS AND GIRLS

Do you like to dig for hidden treasure? Have you ever found Indian
arrowheads or Indian pottery? I knew a boy who was digging a cave in
a sandy place, and he found an Indian grave. With his own hands he
uncovered the bones and skull of some brave warrior. That brown skull
was more precious to him than a mint of money. Another boy I knew was
making a cave of his own. Suddenly he dug into an older one made years
before. He crawled into it with a leaping heart and began to explore. He
found an old carpet and a bit of burned candle. They proved that some
one had lived there. What kind of a man had he been and what kind
of life had he lived--black or white or red, robber or beggar or
adventurer? Some of us were walking in the woods one day when we saw a
bone sticking out of the ground. Luckily we had a spade, and we set to
work digging. Not one moment was the tool idle. First one bone and then
another came to light and among them a perfect horse's skull. We felt as
though we had rescued Captain Kidd's treasure, and we went home draped
in bones.

Suppose that instead of finding the bones of a horse we had uncovered a
gold-wrapped king. Suppose that instead of a deserted cave that boy
had dug into a whole buried city with theaters and mills and shops and
beautiful houses. Suppose that instead of picking up an Indian arrowhead
you could find old golden vases and crowns and bronze swords lying in
the earth. If you could be a digger and a finder and could choose your
find, would you choose a marble statue or a buried bakeshop with bread
two thousand years old still in the oven or a king's grave filled with
golden gifts? It is of such digging and such finding that this book
tells.



CONTENTS

  1. How a Lost City Was Found

  _Pictures of Mycenae_:

  The Circle of Royal Tombs

  Doctor and Mrs. Schliemann at Work

  The Gate of Lions

  Inside the Treasury of Atreus

  The Interior of the Palace

  Gold Mask; Cow's Head

  The Warrior Vase

  Bronze Helmets; Gem

  Bronze Daggers

  Carved Ivory Head; Bronze Brooches

  A Cup from Vaphio

  Gold Plates; Gold Ornament

  Mycenae in the Distance




MYCENAE


HOW A LOST CITY WAS FOUND

Thirty years ago a little group of people stood on a hill in Greece. The
hilltop was covered with soft soil. The summer sun had dried the grass
and flowers, but little bushes grew thick over the ground. In this way
the hill was like an ordinary hill, but all around the edge of it ran
the broken ring of a great wall. In some places it stood thirty feet
above the earth. Here and there it was twenty feet thick. It was built
of huge stones. At one place a tower stood up. In another two stone
lions stood on guard. It was these ruined walls that interested the
people on the hill. One of the men was a Greek. A red fez was on his
head. He wore an embroidered jacket and loose white sleeves. A stiff
kilted skirt hung to his knees. He was pointing about at the wall and
talking in Greek to a lady and gentleman. They were visitors, come to
see these ruins of Mycenae.

"Once, long, long ago," he was saying, "a great city was inside these
walls. Giants built the walls. See the huge stones. Only giants could
lift them. It was a city of giants. See their great ovens."

He pointed down the hill at a doorway in the earth. "You cannot see well
from here. I will take you down. We can look in. A great dome, built of
stone, is buried in the earth. A passage leads into it, but it is filled
with dirt. We can look down through the broken top. The room inside is
bigger than my whole house. There giants used to bake their bread. Once
a wicked Turk came here. He was afraid of nothing. He said, 'The giants'
treasure lies in this oven. I will have it.' So he sent men down. But
they found only broken pieces of carved marble--no gold."

While the guide talked, the gentleman was tramping about the walls. He
peered into all the dark corners. He thrust a stick into every hole. He
rubbed the stones with his hands. At last he turned to his guide.

"You are right," he said. "There was once a great city inside these
walls. Houses were crowded together on this hill where we stand. Men and
women walked the streets of a city that is buried under our feet, but
they were not giants. They were beautiful women and handsome men.

"It was a famous old city, this Mycenae. Poets sang songs about her. I
have read those old songs. They tell of Agamemnon, its king, and his
war against Troy. They call him the king of men. They tell of his
gold-decked palace and his rich treasures and the thick walls of his
city.

"But Agamemnon died, and weak kings sat in his palace. The warriors of
Mycenae grew few, and after hundreds of years, when the city was old and
weak, her enemies conquered her. They broke her walls, they threw down
her houses, they drove out her people. Mycenae became a mass of empty
ruins. For two thousand years the dry winds of summer blew dust over her
palace floors. The rains of winter and spring washed down mud from her
acropolis into her streets and houses. Winged seeds flew into the cracks
of her walls and into the corners of her ruined buildings. There they
sprouted and grew, and at last flowers and grass covered the ruins.
Now only these broken walls remain. You feed your sheep in the city of
Agamemnon. Down there on the hillside farmers have planted grain above
ancient palaces. But I will uncover this wonderful city. You shall see!
You shall see how your ancestors lived.

"Oh! for years I have longed to see this place. When I was a little boy
in Germany my father told me the old stories of Troy, and he told me of
how great cities were buried. My heart burned to see them. Then, one
night, I heard a man recite some of the lines of Homer. I loved the
beautiful Greek words. I made him say them over and over. I wept because
I was not a Greek. I said to myself, 'I will see Greece! I will study
Greek. I will work hard. I will make a bankful of money. Then I will
go to Greece. I will uncover Troy-city and see Priam's palace. I
will uncover Mycenae and see Agamemnon's grave.' I have come. I have
uncovered Troy. Now I am here. I will come again and bring workmen with
me. You shall see wonders." He walked excitedly around and around the
ruins. He told stories of the old city. He asked his wife to recite
the old tales of Homer. She half sang the beautiful Greek words. Her
husband's eyes grew wet as he listened.

This man's name was Dr. Henry Schliemann. He kept his word. He went
away but he came again in a few years. He hired men and horse-carts. He
rented houses in the little village. Myceae was a busy place again after
three thousand years. More than a hundred men were digging on the top
of this hill. They wore the fezes and kilts of the modern Greek. Little
two-wheeled horse-carts creaked about, loading and dumping.

Some of the men were working about the wall near the stone lions.

"This is the great gate of the city," said Dr. Schliemann. "Here the
king and his warriors used to march through, thousands of years ago. But
it is filled up with dirt. We must clear it out. We must get down to the
very stones they trod."

But it was slow work. The men found the earth full of great stone
blocks. They had to dig around them carefully, so that Dr. Schliemann
might see what they were.

"How did so many great stones come here?" they said among themselves.

Then Dr. Schliemann told them. He pointed to the wall above the gate.

"Once, long, long ago," he said, "the warriors of Mycenae stood up
there. Down here stood an army--the men of Argos, their enemies. The men
of Argos battered at the gate. They shot arrows at the men of Mycenae,
and the men of Mycenae shot at the Argives, and they threw down great
stones upon them. See, here is one of those broken stones, and here, and
here. After a long time the people of Mycenae had no food left in their
city. Their warriors fainted from hunger. Then the Argives beat down the
gate. They rushed into the city and drove out the people. They did not
want men ever again to live in Mycenae, so they took crowbars and tried
to tear down the wall. A few stones they knocked off. See, here, and
here, and here they are, where they fell off the wall. But these great
stones are very heavy. This one must weigh a hundred twenty tons,--more
than all the people of your village. So the Argives gave up the attempt,
and there stand the walls yet. Then the rain washed down the dirt from
the hill and covered these great stones, and now we are digging them out
again."

The men worked at the gateway for many weeks. At last all the dirt and
the blocks had been cleared away. The tall gateway stood open. A hole
was in the stone door-casing at top and bottom. Schliemann put his hand
into it.

"See!" he cried. "Here turned the wooden hinge of the gate."

He pointed to another large hole on the side of the casing. "Here the
gatekeeper thrust in the beam to hold the gate shut."

Just inside the gate he found the little room where the keeper had
stayed. He found also two little sentry boxes high up on the wall. Here
guards had stood and looked over the country, keeping watch against
enemies. From the gate the wall bent around the edge of the hilltop,
shutting it in. In two places had been towers for watchmen. Inside this
great wall the king's palace and a few houses had been safe. Outside,
other houses had been built. But in time of war all the people had
flocked into the fortress. The gate had been shut. The warriors had
stood on the wall to defend their city.

But while some of Dr. Schliemann's men were digging at the gateway and
the wall, others were working outside the city. They were making a great
hole, a hundred and thirteen feet square. They put the dirt into baskets
and carried it to the little carts to be hauled away. And always Dr.
Schliemann and his wife worked with them. From morning until dusk every
day they were there. It was August, and the sun was hot. The wind blew
dust into their faces and made their eyes sore, and yet they were happy.
Every day they found some little thing that excited them,--a terra cotta
goblet, a broken piece of a bone lyre, a bronze ax, the ashes of an
ancient fire.

At first Dr. Schliemann and his wife had fingered over every spadeful
of dirt. There might be something precious in it. "Dig carefully,
carefully!" Dr. Schliemann had said to the workmen. "Nothing must be
broken. Nothing must be lost. I must see everything. Perhaps a bit of a
broken vase may tell a wonderful story."

But during this work of many weeks he had taught his workmen how to dig.
Now each man looked over every spadeful of earth himself, as he dug it
up. He took out every scrap of stone or wood or pottery or metal and
gave it to Schliemann or his wife. So the excavators had only to study
these things and to tell the men where to work. When a man struck some
new thing with his spade, he called out. Then the excavators ran to
that place and dug with their own hands. When anything was found, Dr.
Schliemann sent it to the village. There it was kept in a house under
guard. At night Dr. Schliemann drew plans of Mycenae. He read again old
Greek books about the city. As he read he studied his plans. He wrote
and wrote.

"As soon as possible, I must tell the world about what we find," he said
to his wife. "People will love my book, because they love the stories of
Homer."

There had been four months of hard work. A few precious things had
been uncovered,--a few of bronze and clay, a few of gold, some carved
gravestones. But were these the wonders Schliemann had promised? Was
this to be all? They had dug down more than twenty feet. A few more
days, and they would probably reach the solid rock. There could be
nothing below that. November was rainy and disagreeable. The men had to
work in the mud and wet. There was much disappointment on the hilltop.

Then one day a spade grated on gravel. Once before that had happened,
and they had found gold below. They called out to Dr. Schliemann. He and
his wife came quickly. Fire leaped into Schliemann's eyes.

"Stop!" he said. "Now I will dig. Spades are too clumsy."

So he and his wife dropped upon their knees in the mud. They dug with
their knives. Carefully, bit by bit, they lifted the dirt. All at once
there was a glint of gold.

"Do not touch it!" cried Schliemann, "we must see it all at once. What
will it be?"

So they dug on. The men stood about watching. Every now and then they
shouted out, when some wonderful thing was uncovered, and Schliemann
would stop work and cry,

"Did not I tell you? Is it not worth the work?"

At last they had lifted off all the earth and gravel. There was a great
mass of golden things--golden hairpins, and bracelets, and great golden
earrings like wreaths of yellow flowers, and necklaces with pictures
of warriors embossed in the gold, and brooches in the shape of stags'
heads. There were gold covers for buttons, and every one was molded into
some beautiful design of crest or circle or flower or cuttle-fish.

And among them lay the bones of three persons. Across the forehead of
one was a diadem of gold, worked into designs of flowers. "See!" cried
Schliemann, "these are queens. See their crowns, their scepters."

For near the hands lay golden scepters, with crystal balls.

And there were golden boxes with covers. Perhaps long ago, one of these
queens had kept her jewels in them. There was a golden drinking cup with
swimming fish on its sides. There were vases of bronze and silver and
gold. There was a pile of gold and amber beads, lying where they had
fallen when the string had rotted away from the queenly neck. And
scattered all over the bodies and under them were thin flakes of gold in
the shapes of flowers, butterflies, grasshoppers, swans, eagles, leaves.
It seemed as though a golden tree had shed its leaves into the grave.

"Think! Think! Think!" cried Schliemann. "These delicate lovely things
have lain buried here for three thousand years. You have pastured your
sheep above them. Once queens wore them and walked the streets we are
uncovering."

The news of the find spread like wildfire over the country. Thousands of
people came to visit the buried city. It was the most wonderful treasure
that had ever been found. The king of Athens sent soldiers to guard the
place. They camped on the acropolis. Their fires blazed there at night.
Schliemann telegraphed to the king:

"With great joy I announce to your majesty that I have discovered
the tombs which old stories say are the graves of Agamemnon and his
followers. I have found in them great treasures in the shape of ancient
things in pure gold. These treasures, alone, are enough to fill a great
museum. It will be the most wonderful collection in the world. During
the centuries to come it will draw visitors from all over the earth to
Greece. I am working for the joy of the work, not for money. So I give
this treasure, with much happiness, to Greece. May it be the corner
stone of great good fortune for her."

The work went on, and soon they found another grave, even more
wonderful. Here lay five people--two of them women, three of them
warriors. Golden masks covered the faces of the men. Two wore golden
breastplates. The gold clasp of the greave was still around one knee.
Near one man lay a golden crown and a sceptre, and a sword belt of gold.
There was a heap of stone arrowheads, and a pile of twenty bronze swords
and daggers. One had a picture of a lion hunt inlaid in gold. The wooden
handles of the swords and daggers were rotted away, but the gold nails
that had fastened them lay there, and the gold dust that had gilded
them. Near the warriors' hands were drinking cups of heavy gold. There
were seal rings with carved stones. There was the silver mask of an
ox head with golden horns, and the golden mask of a lion's head. And
scattered over everything were buttons, and ribbons, and leaves, and
flowers of gold.

Schliemann gazed at the swords with burning eyes.

"The heroes of Troy have used these swords," he said to his wife,
"Perhaps Achilles himself has handled them." He looked long at the
golden masks of kingly faces.

"I believe that one of these masks covered the face of Agamemnon. I
believe I am kneeling at the side of the king of men," he said in a
hushed voice.

Why were all these things there? Thousands of years before, when their
king had died, the people had grieved.

"He is going to the land of the dead," they had thought. "It is a dull
place. We will send gifts with him to cheer his heart. He must have
lions to hunt and swords to kill them. He must have cattle to eat. He
must have his golden cup for wine."

So they had put these things into the grave, thinking that the king
could take them with him. They even had put in food, for Schliemann
found oyster shells buried there. And they had thought that a king, even
in the land of the dead, must have servants to work for him. So they had
sacrificed slaves, and had sent them with their lord. Schliemann found
their bones above the grave. And besides the silver mask of the ox head
they had sent real cattle. After the king had been laid in his grave,
they had killed oxen before the altar. Part they had burned in the
sacred fire for the dead king, and part the people had eaten for the
funeral feast. These bones and ashes, too, Schliemann found. For a long,
long time the people had not forgotten their dead chiefs. Every year
they had sacrificed oxen to them. They had set up gravestones for them,
and after a while they had heaped great mounds over their graves.

That was a wonderful old world at Mycenae. The king's palace sat on a
hill. It was not one building, but many--a great hall where the warriors
ate, the women's large room where they worked, two houses of many
bedrooms, treasure vaults, a bath, storehouses. Narrow passages led from
room to room. Flat roofs of thatch and clay covered all. And there were
open courts with porches about the sides. The floors of the court were
of tinted concrete. Sometimes they were inlaid with colored stones. The
walls of the great hall had a painted frieze running about them. And
around the whole palace went a thick stone wall.

One such old palace has been uncovered at Tiryns near Mycenae. To-day
a visitor can walk there through the house of an ancient king. The
watchman is not there, so the stranger goes through the strong old
gateway. He stands in the courtyard, where the young men used to play
games. He steps on the very floor they trod. He sees the stone bases of
columns about him. The wooden pillars have rotted away, but he imagines
them holding a porch roof, and he sees the men resting in the shade. He
walks into the great room where the warriors feasted. He sees the hearth
in the middle and imagines the fire blazing there. He looks into the
bathroom with its sloping stone floor and its holes to drain off the
water. He imagines Greek maidens coming to the door with vases of water
on their heads. He walks through the long, winding passages and into
room after room. "The children of those old days must have had trouble
finding their way about in this big palace," he thinks.

Such was the palace of the king. Below it lay many poorer houses, inside
the walls and out. We can imagine men and women walking about this city.
We raise the warriors from their graves. They carry their golden cups in
their hands. Their rings glisten on their fingers, and their bracelets
on their arms. Perhaps, instead of the golden armor, they wear
breastplates of bronze of the same shape, but these same swords hang at
their sides. We look at their golden masks and see their straight noses
and their short beards. We study the carving on their gravestones, and
we see their two-wheeled chariots and their prancing horses. We look at
the carved gems of their seal rings and see them fighting or killing
lions. We look at their embossed drinking cups, and we see them catching
the wild bulls in nets. We gaze at the great walls of Mycenae, and
wonder what machines they had for lifting such heavy stones. We look at
a certain silver vase, and see warriors fighting before this very wall.
We see all the beautiful work in gold and silver and gems and ivory, and
we think, "Those men of old Mycenae were artists."





PICTURES OF MYCENAE


THE CIRCLE OF ROYAL TOMBS.

Digging within this circle, Dr. Schliemann found the famous treasure
of golden gifts to the dead, which he gave to Greece. In the Museum at
Athens you can see these wonderful things. (From a photograph in the
Metropolitan Museum.)


DR. AND MRS. SCHLIEMANN AT WORK.

This picture is taken from Dr. Schliemann's own book on his work.


THE GATE OF LIONS.

The stone over the gateway is immensely strong. But the wall builders
were afraid to pile too great a weight upon it. So they left a
triangular space above it. You can see how they cut the big stones with
slanting ends to do this. This triangle they filled with a thinner
stone carved with two lions. The lions' heads are gone. They were made
separately, perhaps of bronze, and stood away from the stone looking out
at people approaching the gate.


INSIDE THE TREASURY OF ATREUS.

No wonder the untaught modern Greeks thought that this was a giants'
oven, where the giants baked their bread. But learned men have shown
that it was connected with a tomb, and that in this room the men
of Mycenae worshipped their dead. It was very wonderfully made and
beautifully ornamented. The big stone over the doorway was nearly thirty
feet long, and weighs a hundred and twenty tons. Men came to this
beehive tomb in the old days of Mycenae, down a long passage with a high
stone wall on either side. The doorway was decorated with many-colored
marbles and beautiful bronze plates. The inside was ornamented, too, and
there was an altar in there.


THE INTERIOR OF THE PALACE.

From these ruins and relics, we know much about the art of the
Mycenaeans, something about their government, their trade, their
religion, their home life, their amusements, and their ways of fighting,
though they lived three thousand years ago. If a great modern city
should be buried, and men should dig it up three thousand years later,
what do you think they will say about us?


GOLD MASK.

This mask was still on the face of the dead king. The artist tried to
make the mask look just as the great king himself had looked, but this
was very hard to do.


A COW'S HEAD OF SILVER.

The king's people put into his grave this silver mask of an ox head with
golden horns. It was a symbol of the cattle sacrificed for the dead.
There is a gold rosette between the eyes. The mouth, muzzle, eyes and
ears are gilded. In Homer's Iliad, which is the story of the Trojan war,
Diomede says, "To thee will I sacrifice a yearling heifer, broad at
brow, unbroken, that never yet hath man led beneath the yoke. Her will I
sacrifice to thee, and gild her horns with gold."


THE WARRIOR VASE.

This vase was made of clay and baked. Then the artist painted figures on
it with colored earth. This was so long ago that men had not learned to
draw very well, but we like the vase because the potter made it such a
beautiful shape, and because we learn from it how the warriors of early
Mycenae dressed. Under their armor they wore short chitons with fringe
at the bottom, and long sleeves, and they carried strangely shaped
shields and short spears or long lances. Do you think those are
knapsacks tied to the lances?


BRONZE HELMETS.

These may have been worn by King Agamemnon, or by the Trojan warriors.
They are now in the Metropolitan Museum in New York.


GEM FROM MYCENAE.

Early men made many pictures much like this--a pillar guarded by an
animal on each side.


BRONZE DAGGERS.

It would take a very skilfull man to-day, a man who was both goldsmith
and artist, to make such daggers as men found at Mycenae. First the
blade was made. Then the artist took a separate sheet of bronze for his
design. This sheet he enamelled, and on it he inlaid his design. On one
of these daggers we see five hunters fighting three lions. Two of the
lions are running away. One lion is pouncing upon a hunter, but his
friends are coming to help him. If you could turn this dagger over, you
would see a lion chasing five gazelles. The artist used pure gold for
the bodies of the hunters and the lions; he used electron, an alloy of
gold and silver, for the hunters' shields and their trousers; and he
made the men's hair, the lions' manes, and the rims of the shields, of
some black substance. When the picture was finished on the plate, he
set the plate into the blade, and riveted on the handle. On the smaller
dagger we see three lions running.


CARVED IVORY HEAD.

It shows the kind of helmet used in Mycenae. Do you think the button at
the top may have had a socket for a horse hair plume?


BRONZE BROOCHES.

These brooches were like modern safety pins, and were used to fasten the
chlamys at the shoulder. The chlamys was a heavy woolen shawl, red or
purple.


ONE OF THE CUPS FOUND AT VAPHIO.

Some people say that these cups are the most wonderful things that
have been found, made by Mycenaean artists. Some people say that no
goldsmiths in the world since then, unless perhaps in Italy in the
fifteenth century, have done such lovely work. The goldsmith took a
plate of gold and hammered his design into it from the wrong side. Then
he riveted the two ends together where the handle was to go, and lined
the cup with a smooth gold plate. One cup shows some hunters trying to
catch wild bulls with a net. One great bull is caught in the net. One
is leaping clear over it. And a third bull is tossing a hunter on his
horns. On the other cup the artist shows some bulls quietly grazing in
the forest, while another one is being led away to sacrifice.

The Vaphian cups are now in the National museum in Athens. They were
found in a "bee-hive" tomb at Vaphio, an ancient site in Greece, not far
from Sparta. It is thought that they were not made there, but in Crete.


PLATES.

At Mycenae were found seven hundred and one large round plates of gold,
decorated with cuttlefish, flowers, butterflies, and other designs.


GOLD ORNAMENT. (Lower right hand corner.)


MYCENAE IN THE DISTANCE.





End of Project Gutenberg's Buried Cities, Part 3, Mycenae, by Jennie Hall

*** END OF THIS PROJECT GUTENBERG EBOOK BURIED CITIES, PART 3, MYCENAE ***

***** This file should be named 9627.txt or 9627.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.net/9/6/2/9627/

Produced by Juliet Sutherland, David Widger and PG Distributed
Proofreaders


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

Creating the works from public domain print editions 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 with public domain eBooks.  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
http://gutenberg.net/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 in the public domain 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 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.net

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (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.net),
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 Michael
Hart, 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
public domain works 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 F3.  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 MERCHANTIBILITY 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, is 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 web page at http://www.pglaf.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.  Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising.  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 located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., 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
business@pglaf.org.  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org

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 http://pglaf.org

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 including checks, online payments and credit card
donations.  To donate, please visit: http://pglaf.org/donate


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

Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For thirty 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 Public Domain 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:

     http://www.gutenberg.net

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.