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diff --git a/15091.txt b/15091.txt new file mode 100644 index 0000000..66c282e --- /dev/null +++ b/15091.txt @@ -0,0 +1,977 @@ +The Project Gutenberg EBook of The Brochure Series Of Architectural +Illustration, Vol 1, No. 2. February 1895., by Various + +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.org + + +Title: The Brochure Series Of Architectural Illustration, Vol 1, No. 2. February 1895. + Byzantine-Romanesque Doorways in Southern Italy + +Author: Various + +Release Date: February 17, 2005 [EBook #15091] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK ARCHITECTURAL ILLUSTRATION *** + + + + +Produced by Juliet Sutherland, Thomas Cormode and the PG Online +Distributed Proofreading Team. + + + + + +[Illustration: IX. The Principal Doorway to the Cathedral at Trani, Italy.] + + + + +THE BROCHURE SERIES + +OF ARCHITECTURAL ILLUSTRATION. + +VOL. I. FEBRUARY, 1895. No. 2. + + * * * * * + +BYZANTINE-ROMANESQUE DOORWAYS IN SOUTHERN ITALY. + + +The illustrations chosen for this issue are all from the Byzantine +Romanesque work in the province of Apulia, that portion of Southern +Italy familiar in school-boy memory as the heel of the boot. Writers +upon architecture have found it difficult to strictly classify the +buildings of this neighborhood, as in fact is the case with most of the +medieval architecture of Italy, although the influences which have +brought about the conditions here seen are in the main plainly evident. +The traditions and surroundings, of Roman origin, were modified by trade +and association with the Levant through the commerce of Venice and Pisa, +resulting in a style embodying many of the characteristics of both the +Romans and the builders of Byzantium. Oftentimes these characteristics +are so blended and modified by one another as to be entirely +indistinguishable, while at other times features unquestionably +belonging to the Romanesque or the Byzantine will be found side by side. +An illustration of the latter condition may be seen in the two views of +the doorway to the cathedral of Trani. (Plates IX. and X.) On account of +the intimate relations maintained during the Middle Ages between this +province and Magna Grecia, and it may be partly on account of the +comparative remoteness from the principal cities of the north, the +Byzantine influence is here more strongly marked than in the cities of +Central and Northern Italy. + +According to the classification adopted by Fergusson, the church of San +Miniato at Florence is one of the oldest examples and a good type of +this rather mixed style. It was built about the year 1013. It is +rectangular in plan, nearly three times as long as wide, with a +semicircular apse. Internally it is divided longitudinally into aisles, +and transversely into three nearly square compartments by clustered +piers, supporting two great arches which run up to the roof. The whole +of the inner compartment is occupied by a crypt or under church open to +the nave, above which is the choir and altar niche, approached by +flights of steps in the aisles. This general arrangement is followed +more or less closely in the churches at Bittonto, Bari, Altamura, Ruvo, +Galatina, Brindisi, and Barletta. The scale of the southern churches is, +however, much smaller than those of the north, the width of the nave of +the cathedral at Trani being only 50 feet, and the length 167 feet, +while the corresponding dimensions of the cathedral at Pisa, which is +referred to by Fergusson as the most notable example of this style in +the north, are 106 x 310 feet. + +In these smaller churches, as far as external treatment is concerned, +the main attention is devoted to the principal facade, and here most of +the ornament is usually covered with a rich hood supported by pillars +resting on monsters, following the custom prevalent throughout Italy +during this period. Above this is either a gallery or one or two +windows, and the whole generally terminates in a circular rose window +filled with tracery. + +[Illustration: X. The Principal Doorway to the Catherdral at Trani, Italy.] + +Fergusson's final summing up of the architecture of this neighborhood +can scarcely be considered too enthusiastic in the light of the eight +illustrations here given. He says: "No one who takes the pains to +familiarize himself with the architecture of these Southern Italian +churches can well fail to be impressed with their beauty. That beauty +will be found, however, to arise not so much from the dimensions or +arrangement of their plans, or the form of their outline, as from the +grace and elegance of their details. Every feature displays the feeling +of an elegant and refined people, who demanded decoration as a +necessity, though they were incapable of rising to any great +architectural conception. They excelled as ornamentists, though at best +only indifferent architects." + +The examples of doorways chosen for illustrating this number +unquestionably show the work of men who labored for the enjoyment and +satisfaction to be got from their work. This is sufficiently evident in +the results before us. Its logical and constructive bearing can of +course be called in question, as in fact is the case with all but the +merest fraction of the architectural efforts of the world. As decoration +we can but admire the masterly way in which the ornament is distributed, +the refined sense of scale and proportion, and the skilful and subtle +treatment of light and shade, even if the detail of the ornament itself +is crude and archaic. + +In making the choice of these subjects this point was kept in mind, and +they are not offered as material which can be cut out in portions of the +size and shape desired and transferred bodily by the designer to +embellish a modern masterpiece, in the manner in which the Gothic +architects of Venice used their patterns of window tracery. These plates +show certain qualities in decorative design in their fullest and best +development, and are on this account invaluable as suggestions to +designers of the present day. For "cribbing material" they do not stand +for much; but this should not be counted as against their usefulness, +for the draughtsman who has not advanced beyond the "cribbing" stage has +much still to learn before he can do the best and most satisfactory +work. + + +IX. and X. + +PRINCIPAL DOORWAY TO THE CATHEDRAL AT TRANI, ITALY. + +The cathedral at Trani dates from about the middle of the twelfth +century. Its main features have been indicated above in describing the +general characteristics of the class of churches to which it belongs. +The bronze doors shown in the illustration were made in 1160, and are +exceptionally fine examples of the work of this period. + + +XI. + +PRINCIPAL DOORWAY TO THE CATHEDRAL AT CONVERSANO, ITALY. + +Doorways of this general design are so familiar in the so-called +Romanesque architecture of our American cities that it seems almost like +an old friend; but we regret to say that most of our American designs +would hardly show to advantage if compared side by side with this. + + +XII. + +PORTION OF THE FACADE OF THE BASILICA AT ALTAMURA, ITALY. + +The remarkable sense of spotting and distribution of ornament shown in +the designing of this facade can hardly be too much commended. The +strong light and long slanting shadows of the photograph are well +calculated to emphasize this quality in the design, and we can readily +find justification here for the estimate of Fergusson quoted above. + + +XIII. and XIV. + +PRINCIPAL DOORWAY TO THE BASILICA AT ALTAMURA, ITALY, AND DETAIL OF THE +SAME. + + +XV. + +DOOR OF MADONNA DI LORETO, TRANI, ITALY. + + +XVI. + +ENTRANCE TO THE CHURCH OF THE ROSARY, TERLIZZI, ITALY. + + +[Illustration: XI. The Principal Doorway to the Cathedral at Conversano, +Italy.] + + + + +#Advice to Young Architects.# + + +Prof. Aitchison's Royal Academy Lectures upon Architecture should be +read by all students who can obtain access to them, and this is not +really very difficult to accomplish, as they are always reported at +length in the English architectural periodicals, and then usually +reprinted without credit by one or more of the American papers. The +latest one, reported in the _Builder_ of Feb. 16, is that delivered on +Feb. 4, under the general title "The Advancement of Architecture." It +deals in a common-sense fashion with the aesthetics of architecture, and +contains many valuable suggestions upon the study and practice of +architecture as an art. The three following quotations are well worth +attentive reading:-- + +"Swift, in his 'Letters to a Young Clergyman,' says: 'I cannot forbear +warning you in the most earnest manner against endeavoring at wit in +your sermons, because, by the strictest computation, it is very near a +million to one that you have none.' Perhaps that would be good advice to +all who consciously seek for what is called originality, which is mostly +attained by exaggeration, disproportion, and oddness of arrangement; +real originality only comes from original minds, and will in that case +show itself properly and naturally, just as wit shows itself +spontaneously in the witty; for surely those original architects, who +have only been able to raise in us emotions of contempt or disgust, +would have been judicious had they abstained from the attempt. I think +that most architectural students, if they will only study the best +buildings, will make their plans to accurately answer the purposes +wanted, including the efficient lighting of the rooms, will study the +Vitruvian symmetry until their eye revolts from disproportion, will try +and make their profiles tell the story they want told, and will try and +bring such parts that, from the exigencies of the case, obtrude +themselves in odd places into harmony with the whole, that they will +produce an effect which will raise their buildings to the dignity of +humanity, and out of the range of the dog-kennel and rabbit-hutch type, +and will not exhibit ugliness, disproportion, or vulgarity. We see +plenty of examples where the designs have sunk much below this level; no +building of dead walls, with holes in it for doors and windows, could +cause us such disgust. Let me here say, by way of a parenthesis, that +if you candidly consider that your design is more offensive than a dead +wall, do not waste money and materials in making the wall more +repulsive, but let it alone." + +"Any one can be original if he be only impudent enough; any one can be +graceful if he is servile enough to copy: but to be both original and +graceful requires deep study, much striving, and natural talent." + +"I have also to remind you that architecture cannot be brought into +vigorous life again, so long as architects insist on using old forms for +beauty that are inseparable from a construction that has been abandoned; +so long as this practice persists, so long will architecture be a kind +of potted art; to be vigorous it must learn how to take the materials, +and construction that would be ordinarily used in buildings for purely +practical purposes, and give to these materials and this construction +forms that will excite the proper emotions. You must not suppose that I +mean that if you have a vast hall, or what not, that because you can put +an iron trussed roof over it from wall to wall, that this will make it +into a hall that will raise emotions. You will only get a rail-way +platform or a coal shed. You have got to set your wits to work to see +how it can be properly brought within the pale of aesthetics, and not +only as to the shapes and proportions of the parts, but the dividing of +the whole by supports. It is probable that if you were obliged to vault +a cathedral in stone, with no more money than was necessary, and to have +a clearstory to it, that you could not do it cheaper, and perhaps not +better, than the Gothic architects did it; but to vault such a building +in stone when you could do it much cheaper and better with iron ribs and +concrete is, in my opinion, _dilettante_ art. Groins are not beautiful +things, but, on the contrary, are ugly, and we should wish to obviate +their ugliness if we could; but when they were merely unavoidable +methods of cheap construction, we admire them for the invention and +skill of their architects, and we have to some extent got to love even +their ugliness from old association; though perhaps the ribs at +Westminster Abbey, as seen from the west end, are not offensive." + +[Illustration: XII. A Portion of the Facade of the Basilica at Altamura, +Italy.] + + + + +The Brochure Series of Architectural Illustration. + +PUBLISHED MONTHLY BY + +BATES & GUILD, + +6 BEACON STREET, BOSTON, MASS. + + * * * * * + +Subscription Rates per year . 50 cents, in advance +Special Club Rate for five subscriptions . . $2.00. + + * * * * * + +All who wish for a complete file of THE BROCHURE SERIES should send in +their subscriptions at once, as owing to the necessity of limiting the +edition of the first numbers and the impossibity of reprinting when this +edition is exhausted, subscriptions will have to date from the current +number at the time the order is received. Until the present stock gives +out, all subscriptions will be dated from the January number, but no +copies will be reserved for this purpose after April 1. + + * * * * * + +Response to the call for subscriptions to THE BROCHURE SERIES has been +gratifyingly prompt and generous. The first subscriber was Mr. George B. +Howe, 13 Walnut Street, Boston, the architect of the New Hampshire State +Building at the World's Fair. The first club came from the office of +Longfellow, Alden & Harlow, and was made up as follows: F.B. Wheaton, +R.T. Walker, H.W. Gardner, H.M. Seaver, and J.H. Buttimer. This was +closely followed by a club of eight from the office of Shepley, Rutan & +Coolidge, and another of five from the office of Edwin J. Lewis. The +first response from out of town was a club of five from the office of +Martin & Hall of Providence, R.I. Others "too numerous to mention" came +along in quick succession, and the new magazine may now be considered +well launched on its trial trip. + + * * * * * + +As the plan of THE BROCHURE SERIES is unique in architectural +journalism, much of the work to be done during its first year will +necessarily be, to a certain extent, experimental. Although the +publishers have for a number of years tried to keep as closely as +possible in touch with the profession throughout the country, the +diversity of tastes to which the new magazine is intended to appeal, and +the practical requirements which it is intended to meet, make even the +simple matter of selecting proper material for publication a difficult +task. Consequently suggestions or criticisms which may lead to its +improvement in any particular will be welcome. + + * * * * * + +The design used for the cover of THE BROCHURE SERIES is the result of a +competition in which twenty-three drawings were submitted, and is the +work of Charles Edward Hooper of 250 West 14th Street, New York. The +other competitors, whose designs were all of a high order of excellence, +were: J. Mills Platt, Charles S. King, Francis S. Swales, Edwin S. +Gordon, Fred A. Miller, J.F. Strobel, Jr., George E. Roberts, of +Rochester, N.Y.; G.H. Ingraham, E.P. Dana, F.H. Hutchins, C.E. Patch, of +Boston; J.W. Cinder, W.B. Papin, H.G. Helmerichs, of St. Louis; Louis E. +La Baume, H.H. Braun, of New York City; and Stephen W. Dodge, of +Brooklyn. + + * * * * * + +Following out the general plan adopted in the first two issues, which, +contrary to the expectation of the publishers, has proved even so soon +an important feature of the magazine, the illustrations in the next two +numbers will be made up of related subjects. The March number will have +a collection of capitals (Byzantine and Romanesque) from Ravenna and +Palermo, and the April number eight windows from Apulia, of the same +general character as the doorways in the present number. + + + + +#Hints to Draughtsmen.# + + +Architectural students and draughtsmen will find the series of papers +begun in the Feb. 16 number of the _American Architect_, entitled "Hints +to Art Students on Travelling Abroad," filled with valuable suggestions. +The writer of these papers is Mr. J.W. Case, the latest of the Rotch +scholars returned. In the first paper Mr. Case points out the +desirability of preparatory training in academic design, drawing, +modelling, etc., and a knowledge of architectural history and of the +French language in order that the student may make the best use of the +opportunities open to him. He continues with a number of useful hints +upon the best methods to pursue in gaining this preparatory training. + +[Illustration: XIII. The Principal Doorway to the Basilica at Altamura, +Italy.] + +The second paper is devoted to practical suggestions of such immediate +value that it is worth while to quote a portion of them in full:-- + +"To get the most good out of a trip, one should be prepared to work in +all sorts of ways,--to make measured drawings, sketches, color notes, +squeezes, rubbings, sections with the lead; to study from plates and +make T-square sketches, scratch-book notes, photographic notes, and +memory sketches. + +"Travelling students are apt to place too much value on perspective +sketches. Good ones make a nice showing on returning home, but they are +of little value to any one but the maker. It is usually possible to find +photographs of the things over which one spends so many hours making +pretty sketches. But sketches do have a certain value in teaching +rendering, and encourage the habit of observing closely the effect of +light and shade. + +"Beautiful pencil sketches may be made on English metallic paper by +simply drawing the shadows on carving in full sunshine: colored papers +are very useful to gain quick effects with the use of Chinese white. A +pad of Whatman water-color paper, imperial size, is much better to work +on than a small cramped little book; and it may be used as a +drawing-board, thus diminishing the number of articles to carry. The +T-square will run along the edge of the block well enough for sketches, +but it is better to carry a straight-edge to clamp on the edge of the +block with thumb-screws for the square to work on. Have a canvas bag +made with a flap in which to carry the block. It will keep out the dirt +and dust of travel and be of great service. + +"Sometimes valuable color notes are to be had in crowded buildings where +it is not convenient to sit down and make a large study. For such cases +a small pocket water-color block will be very useful. There is a small +vest-pocket water-color box carrying six colors, which may be set over +the thumb, a water-bottle attached, and with it one can stand unobserved +in a corner and get color notes which otherwise must be passed by. In +studying fresco painting, tempera is very useful. It is mixed up with +water and applied to paper, but may be worked over in the manner of +oils,--a great advantage in making studies. + +"The _chambre eclaire_ is invaluable as an aid to drawing, in blocking +out water-colors. It will enable one to make a drawing in an hour which +otherwise would require all day. It is an instrument little known +outside of Paris, but is much in use there among architects. It consists +of a prism mounted on a telescoping leg which may be fastened to the +drawing-board. The eye looks through the prism and sees the building +reflected on the paper; all that remains to do is to trace this outline. +It does not teach one to draw, but it does save time, and produces +better drawings than can be made without it. The best place to buy them +is of Cevalier, on the Seine, near the Pont Netif, Paris. Only those +with the best prisms are of any use: such a one, with two adjustments +only, can be had for sixty-five francs. The table which is necessary for +its use costs fifteen francs additional; that is, a total cost of +sixteen dollars. In buying a table, be sure and get one with sliding +legs which can be taken off the head and packed flat. + +"One of the very best ways to study, and one which has very direct +tangible results, is by the aid of printed plates. Take such a book as +Letarouilly's _Edifices de Rome Moderne_. Go to the buildings themselves +and compare the drawing with the building; see what drawings on paper +really mean when executed; mark up the plate; note the proportion of +masses, the size of ornament, the relative proportion of openings, and +wall spaces, the effect of color and texture, and the use of material. +Make suggestions for better ornament, proportion, etc., and then go home +and make a new design with all the improvements you have noted. + +"The reverse of this method is, to sit down in front of the building +with T-square and triangle and translate the perspective building back +on to paper in elevation. + +[Illustration: XIV. Detail of the Principal Doorway to the Basilica at +Altamura, Italy.] + +"These two methods will aid one to tell from a drawing how the building +will actually look when executed. It will give an idea of the scale of +ornament, if a cornice looks just the right size on a certain building, +the plate will tell you just how high that is. The T-square sketch is +very valuable in cultivating the sense of proportion. Draw to scale such +parts of the sketch as can be easily measured, and put in the remainder +in proportion, and make these sketches at the scale at which you are +used to working in the office. They will be of immense advantage in +giving you a sense of absolute scale. + +"There is such a thing as 'absolute scale,' and scale is not simply +proportion. A drawing might be made in good proportion, and the building +look well if executed a thousand feet long, and yet lose all its +effectiveness if executed but one hundred feet in length, the relative +proportions of the parts remaining the same. It is a fact that certain +designs, which look well on paper, will not look well in execution, +except at a large scale. Therefore it is valuable in making a sketch to +put on it some of the measurements; and freehand sketches with +measurements marked on them have a value in giving absolute scale. + +"The back of a photograph is a very convenient place on which to make +notes of the building itself, in regard to color, material, suggested +changes, etc., and will be very useful in recalling the building to +memory. + +"Measuring buildings and drawing them out to scale is solid +architectural work, and nothing else can take its place. It gives a +realization of the actual size and appearance of things, and brings to +notice the stone-jointing, sections of mouldings, vaulting, roofing, and +construction in general. Measured work must be done very accurately, or +else the results have no more value than approximate measures on +sketches. + +"The drawing should be made exactly as the building exists, without any +change or improvement, or else the drawing will lose a great deal of its +value as a basis for study. Many of Letarouilly's are nearly valueless +as data for study because he has improved on the original, and thus his +drawing does not represent the building as it actually exists. + +"A good method of measuring buildings is to measure first the general +dimensions and block out the building on paper at a small scale, then +measure up windows, columns, etc., and set off full-size sections of all +the mouldings with a strip of thin lead, such as may be had at any +whole-sale lead store: only the thinnest sheet-lead will work, as the +thicker leads are too stiff to bend. The large final drawings can then +be made away from the building. It is important to draw out the building +completely at a small scale, however, as it is very annoying when making +the final drawing far away from the building to find that some important +dimension has been forgotten. + +"The ordinary tape stretches so much in long dimensions that it is +inaccurate. It is best to get a tape with a metallic strip in it, and it +should be at least fifty feet long in order to take dimensions over all, +which is much more accurate than measuring with a short tape from point +to point. + +"The metric system is very convenient, but it is better for American +students to use the English measure that they will have to use in +practice, and take the tape over with them, for it is difficult to find +them on the Continent. A sliding measuring-rod is nearly indispensable, +and it will be most convenient to carry if it folds up to the length of +the imperial drawing pad. Two large triangles are very useful in getting +the projection of mouldings, as they can be held together to form a +right angle." + +[Illustration: XV. Door of the Madonna di Loreto, Triani, Italy.] + + + + +#Books.# + + +_Verona and Other Lectures_. By John Ruskin, D.C.L., LL.D. New York: +Macmillan & Co., 1894. 8vo, pp. 204, plates xii. $2.50. + + +The art of Northern Italy has furnished the text for a very considerable +part of the writings of Mr. Ruskin, and there is no one writer among +those who have ventured to investigate and write upon this extremely +engrossing subject whose work has so great an interest for the +architect, or in fact is of so much value to him. It is not necessary +to agree with all of Mr. Ruskin's elaborate theories or to unqualifiedly +admire his drawings in order to find much of real value in his books. No +student of architecture can afford _not_ to read "The Stones of Venice," +and there are few books which should take precedence over it in the +formation of an architect's library. + +Apropos of the illustrations in the last number of THE BROCHURE SERIES, +in the descriptive notices of which we had occasion to refer to Mr. +Ruskin, his latest published work will be found interesting. The title, +"_Verona and other Lectures_," does not convey a very complete idea of +the contents of the book. None of the five lectures included is strictly +architectural in subject matter, and but one, the first, "Verona and its +Rivers," has any direct bearing upon architecture, and this only from +the historical side. The illustrations, with a single exception from +drawings by the author, although lacking in most of the qualities of +good draughtsmanship, are well worth examination and study. Plates II. +and V., "A Fountain at Verona," and "The Castelbarco Tomb, Sta. +Anastasia, Verona," the first made in 1841 and the second in 1835, are +from the point of view of the architect the most interesting. They are +both pencil sketches, the first accented with a few touches of wash in +the shadows and darker portions of the drawing. Plate IX. represents the +angle of the Ducal Palace, Venice, the same given as the frontispiece in +the last issue of THE BROCHURE SERIES. It would hardly be possible to +come nearer the same point of view if the coincidence were intentional. +In the comparison which this forces upon Mr. Ruskin very naturally +suffers, as might be expected, from the fact that his training in +drawing was not the most thorough. His proportions are somewhat faulty +and the detail is only vaguely suggested, in fact this is more or less +true of all his drawings. Nevertheless the book will be welcome to many +architects for the valuable suggestions it contains both in text and +illustrations; and the author's wonderful and fascinating literary style +is here as unmistakably in evidence as in any of his older works. This +alone is sufficient inducement to tempt the reader to take it up. + + + + +#Club Notes.# + + +At the suggestion of several subscribers, the addresses are given below +of the secretaries of the principal architectural clubs as far as they +are known to us, but there are several omissions and possibly some +mistakes. In order that these associations may be of as great mutual +assistance to each other as possible, through correspondence, the +exchange of notices of competitions, etc., it is requested that any not +included in the following list will communicate the desired information +to the editor of THE BROCHURE SERIES. Corrections or additions will be +made in later issues, and the various secretaries will confer a favor by +keeping the editor informed of any changes of address or organization. + + +LIST OF CLUBS. + +Sketch Club of New York, club rooms 1473 Broadway; recording secretary, +Alfred F. Evans; corresponding secretary, Hobart A. Walker. + +Boston Architectural Club, rooms 5 Tremont Place; secretary, F. Manton +Wakefield. + +The T-Square Club, Philadelphia, rooms Broad and Pine Streets; +secretary, A.C. Munoz, 212 South Third Street. + +Chicago Architectural Club, rooms 274 Michigan Avenue; secretary, John +Robert Dillon. + +St. Louis Sketch Club; secretary, E.G. Garden, Telephone Building. + +Art League, Milwaukee, Wis.; secretary, Elmer Grey, 904 Winchester +Street. + +St. Paul Architectural Sketch Club, rooms 239-241 Endicott Building; +secretary, John Rachac, Jr. + +Cleveland Architectural Club, rooms 1002 Garfield Building; secretary, +Herbert B. Briggs. + +Denver Architectural Sketch Club; president, William Cowe, 706 Cooper +Building. + +Rochester Sketch Club, secretary, G.F. Crump, Wilder Building. + +The Architectural League of New York, American Fine Arts Society +Building; secretary, Charles I. Berg, 10 West 23d Street. + +The Society of Beaux Arts Architects. New York City. + +[Illustration: XVI. Entrance to the Church of the Rosary, Terlizzi, +Italy.] + + + + + + +End of the Project Gutenberg EBook of The Brochure Series Of Architectural +Illustration, Vol 1, No. 2. February 1895., by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK ARCHITECTURAL ILLUSTRATION *** + +***** This file should be named 15091.txt or 15091.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/5/0/9/15091/ + +Produced by Juliet Sutherland, Thomas Cormode and the PG Online +Distributed Proofreading Team. + + +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. 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