diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-03-07 18:20:47 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-03-07 18:20:47 -0800 |
| commit | d1f3919c62c793e28f8ab0b034b9a14407f23988 (patch) | |
| tree | d395b9a8d7e2b1f842ecb183d61e949e918fa2aa | |
| parent | 03f907a780bb7a684ece1203d4c91b50428be783 (diff) | |
| -rw-r--r-- | 43257-0.txt | 396 | ||||
| -rw-r--r-- | 43257-0.zip | bin | 27898 -> 0 bytes | |||
| -rw-r--r-- | 43257-8.txt | 1543 | ||||
| -rw-r--r-- | 43257-8.zip | bin | 27829 -> 0 bytes | |||
| -rw-r--r-- | 43257-h.zip | bin | 1990639 -> 0 bytes | |||
| -rw-r--r-- | 43257-h/43257-h.htm | 426 | ||||
| -rw-r--r-- | 43257.txt | 1543 | ||||
| -rw-r--r-- | 43257.zip | bin | 27790 -> 0 bytes |
8 files changed, 6 insertions, 3902 deletions
diff --git a/43257-0.txt b/43257-0.txt index bd009bd..aee9386 100644 --- a/43257-0.txt +++ b/43257-0.txt @@ -1,36 +1,4 @@ -The Project Gutenberg EBook of The Mentor: Holland, v. 2, Num. 6, Serial -No. 58, by Dwight Elmendorf - -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/license - - -Title: The Mentor: Holland, v. 2, Num. 6, Serial No. 58 - May 1, 1914 - -Author: Dwight Elmendorf - -Release Date: July 20, 2013 [EBook #43257] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: HOLLAND, V. 2 *** - - - - -Produced by Juliet Sutherland, Harry Lamé and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - +*** START OF THE PROJECT GUTENBERG EBOOK 43257 *** TRANSCRIBER’S NOTES: @@ -1180,364 +1148,4 @@ THE MENTOR BINDER End of the Project Gutenberg EBook of The Mentor: Holland, v. 2, Num. 6, Serial No. 58, by Dwight Elmendorf -*** END OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: HOLLAND, V. 2 *** - -***** This file should be named 43257-0.txt or 43257-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/2/5/43257/ - -Produced by Juliet Sutherland, Harry Lamé and the Online -Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from 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.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is 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.org/license - -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.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and 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 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need, are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation 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 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.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. +*** END OF THE PROJECT GUTENBERG EBOOK 43257 *** diff --git a/43257-0.zip b/43257-0.zip Binary files differdeleted file mode 100644 index 67bca4a..0000000 --- a/43257-0.zip +++ /dev/null diff --git a/43257-8.txt b/43257-8.txt deleted file mode 100644 index dab53ca..0000000 --- a/43257-8.txt +++ /dev/null @@ -1,1543 +0,0 @@ -The Project Gutenberg EBook of The Mentor: Holland, v. 2, Num. 6, Serial -No. 58, by Dwight Elmendorf - -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/license - - -Title: The Mentor: Holland, v. 2, Num. 6, Serial No. 58 - May 1, 1914 - -Author: Dwight Elmendorf - -Release Date: July 20, 2013 [EBook #43257] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: HOLLAND, V. 2 *** - - - - -Produced by Juliet Sutherland, Harry Lamé and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - - - TRANSCRIBER'S NOTES: - - Text printed in italics and in bold face in the original work are - represented here as _text_ and =text=, respectively. - - More Transcriber's Notes may be found at the end of this text. - - - - - LEARN ONE THING - EVERY DAY - - - MAY 1 1914 - - SERIAL No. 58 - - - THE - MENTOR - - - HOLLAND - - - By DWIGHT L. ELMENDORF - Lecturer and Traveler - - - DEPARTMENT OF - TRAVEL - - - VOLUME 2 - NUMBER 6 - - - TWENTY CENTS A COPY - - - - -THE MENTOR ASSOCIATION - - - ESTABLISHED FOR THE DEVELOPMENT OF A POPULAR INTEREST IN ART, - LITERATURE, SCIENCE, HISTORY, NATURE, AND TRAVEL - - =CONTRIBUTORS=--PROF. JOHN C. VAN DYKE, C. F. TALMAN, PROF. ALBERT - BUSHNELL HART, REAR ADMIRAL ROBERT E. PEARY, WILLIAM T. HORNADAY, - DWIGHT L. ELMENDORF, HENRY T. FINCK, WILLIAM WINTER, ESTHER - SINGLETON, PROF. G. W. BOTSFORD, IDA M. TARBELL, GUSTAV KOBBÉ, DEAN - C. WORCESTER, JOHN K. MUMFORD, W. J. HOLLAND, LORADO TAFT, KENYON - COX, E. H. FORBUSH, H. E. KREHBIEL, PROF. HAROLD JACOBY, BURGES - JOHNSON, STEPHEN BONSAL, JAMES HUNEKER, W. J. HENDERSON, AND OTHERS. - - -THE PLAN OF THE ASSOCIATION - -The purpose of The Mentor Association is to give its members, in an -interesting and attractive way the information in various fields of -knowledge which everybody wants and ought to have. The information is -imparted by interesting reading matter, prepared under the direction of -leading authorities, and by beautiful pictures, reproduced by the most -highly perfected modern processes. The object of The Mentor Association -is to enable people to acquire useful knowledge without effort, so that -they may come easily and agreeably to know the world's great men and -women, the great achievements and the permanently interesting things in -art, literature, science, history, nature and travel. - -The purpose of the Association is carried out by means of simple -readable text and beautiful illustrations in The Mentor. - -The annual subscription is Four Dollars, covering The Mentor Course, -which comprises twenty-four numbers of The Mentor in one year. - - - The Mentor is published twice a month by The Mentor Association, Inc. - 222 Fourth Avenue, New York City - - - SUBSCRIPTION, FOUR DOLLARS A YEAR. FOREIGN POSTAGE 75 CENTS EXTRA. - CANADIAN POSTAGE 50 CENTS EXTRA. SINGLE COPIES TWENTY CENTS. - PRESIDENT, THOMAS H. BECK; VICE-PRESIDENT, WALTER P. TEN EYCK; - SECRETARY, W. D. MOFFAT; TREASURER, J. S. CAMPBELL; ASST. TREASURER - AND ASST. SECRETARY, H. A. CROWE. - - - _Copyright, 1914, by The Mentor Association, Inc._ - - _Entered as second-class matter March 10, 1913, at the post office at - New York, N. Y., under the Act of March 3, 1879._ - -[Illustration: MONTALBANS TOWER, AMSTERDAM] - - - - -_HOLLAND_ - -_The History of Holland_ - -ONE - - -The history of Holland is a record of the unexpected. One might think -that this flat country would have a story as monotonous as the land on -which it is built, that it would be the last part of the world to be the -center of fierce battles and bloody wars. Yet there took place in this -little country, formed principally of the mud deposited by three rivers, -the Rhine, the Meuse, and the Schelde, some of the most important deeds -in the history of the world. - -The earliest inhabitants of this part of Europe are said to have been -some of the barbarians that accompanied the Cimbri and Teutons in their -expedition against Italy. The Romans, however, held sway over this -district until near the end of the fourth century, when the Franks took -possession and settled there. Later the Holy Roman Emperor Charlemagne -extended his supremacy over the whole of the Netherlands, and under his -successors a system of dividing the land among the vassal princes -gradually developed. Thus the feudal system grew up. - -The situation of the country on the ocean and the mouths of three great -rivers invited the people to commerce. Then, also, the big cities grew -up and surrounded themselves with strong forts. - -In 1477 the Netherlands came into possession of the House of Hapsburg by -the marriage of Mary of Burgundy, the daughter of Charles the Bold, with -Maximilian, afterward emperor of the Holy Roman Empire. Their son, -Philip the Handsome, was the father of Charles V, who subsequently -became King of Spain. Under his rule the Netherlands enjoyed a golden -era of prosperity; but during the reign of his bigoted son, Philip II, -there began that apparently hopeless struggle of the weak people of the -north against the haughty Spaniards, which lasted for eighty years and -which ended in the establishment of the powerful Dutch republic. The -great founder of Dutch liberty was William of Nassau, the Silent. Today -he is revered by the Dutch as a mighty hero and martyr. - -It was in 1579 that the Union of Utrecht laid the foundation on which -the republic of the United Netherlands was to be raised. By the Peace of -Westphalia in 1648 the independence of the United Provinces was -recognized. - -The prosperity of Holland was great. Its navigators explored the most -distant coasts in the world, and its trading posts in East India yielded -a rich harvest. It had commerce with all nations, and at the same time -its art reached its highest point of excellence. - -For many years the fortunes of the Netherlands varied from good to bad. -In 1795 the French Republicans took possession of the country and -founded the Batavian republic. In 1806 Louis Bonaparte was created king -of Holland by his brother Napoleon. Four years later Napoleon annexed -Holland to France, giving as the reason his belief that it was formed of -the alluvial deposit of French rivers. At last, in November, 1813, the -French were expelled from Holland; and in 1815, by the Congress of -Vienna, the southern or Belgian province of the Netherlands was united -with the northern into a single kingdom, and the Prince of Orange was -created king of the Netherlands under the title of William I. This union -was severed by the Belgian revolution of 1830. Ten years later, William -I abdicated in favor of his son William II, who was in turn succeeded by -William III. - -His daughter Wilhelmina is the present ruler of Holland. Her daughter, -Princess Juliana, was born April 30, 1909. - - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 2. No 6. SERIAL No. 58 - COPYRIGHT, 1914, BY THE MENTOR ASSOCIATION, INC. - -[Illustration: VEEN KADE, THE HAGUE] - - - - -_HOLLAND_ - -_William the Silent_ - -TWO - - -William the Silent is to Holland what George Washington is to the United -States. As the principal opponent of Philip II of Spain he was the very -incarnation of the national spirit in the greatest period of Dutch -history. He dared to stand forth as the fearless leader of a persecuted -people in opposition to the mightiest monarch then on earth. William, -Prince of Orange and Count of Nassau, was surnamed "The Silent" not -because he was gloomy, but because he was able to hide his plans with -wonderful discretion. He was born on April 16, 1533. He was a great -favorite of Charles V of Spain, who appointed him, when he was only -twenty-two years old, governor of the provinces of Holland, Zealand, and -Utrecht. When the Low Countries came into possession of the Duke of -Alva, the Spanish governor, William set out on a short but useless -campaign to liberate the southern provinces. Four years later he was -invited by Holland and Zealand to command their troops against the -Spaniards. Shortly afterward he captured Middelburg and succeeded in -raising the siege of Leyden. The Union of Utrecht, the famous defensive -league of the North Netherlands, was formed in 1579. Soon afterward -William was exiled by Philip II; but the States General defied his -authority, and in 1581 formally threw off their allegiance to the -Spanish crown. - -However, so anxious was Philip to have William out of the way that he -offered a reward of 25,000 crowns and a title of nobility to anyone who -would assassinate him. Many were the cowardly attacks made against the -brave Dutchman, eight attempts being made before the one that finally -succeeded. - -On July 10, 1584, William, in company with his beautiful young wife, was -coming to dinner down the stairway of the Prinsenhof--his house in -Delft. Suddenly from the corner of the corridor a man stepped forth -holding a petition. The prince asked him to present it later when he was -not busy. During the meal William was as usual very cheerful; but his -wife seemed to have a premonition of danger. She spoke to him several -times of the strange man they had met in the hall, remarking that she -had never seen a more villainous face. This did not disturb William in -the least, and at the close of the meal he led the way back along the -corridor. As he approached the staircase, without a moment's warning the -assassin sprang forth and shot him in the breast. The prince reeled -backward a few steps and fell into the arms of his wife. A few minutes -later the founder of Dutch liberty had passed into history. - -William the Silent was the foremost statesman of his time. He gave up -great position, vast wealth, and at last his life, to rescue the -Netherlands from the tyrannical power of Spain; and he had the -satisfaction of knowing before he died that the cause for which he had -suffered so much would succeed. - -His murderer, Balthazar Gerard, was executed by having the flesh torn -from his body with redhot pincers. - -[Illustration: STREET SCENE, AMSTERDAM] - - - - -_HOLLAND_ - -_Amsterdam_ - -THREE - - -Amsterdam has often been called "The Venice of the North." Between the -two cities there is a resemblance; but they also differ from each other -essentially. Venice is golden; while Amsterdam is gray. Venice inspires -romantic memories and poetical associations; Amsterdam, even with its -many attractions, is distinctly practical and commercial. - -Amsterdam is a seaport in the province of North Holland. It is one of -the chief commercial cities in Europe and the largest city in the -kingdom of Holland. It is one of the wealthiest cities in the world. - -Amsterdam stands on flat, marshy ground into which piles fifty feet long -are driven to form the foundations of brick houses, which are usually -six or seven stories high. The form of the city is a crescent, and the -arms of its canals project into the Y. - -Amsterdam is really a city founded upon islands, ninety in all. It has -miles of liquid streets, which are spanned by three hundred bridges. All -through the city float heavy barges, many of which are the homes of -citizens. - -Among some classes of the Dutch it is customary, when a young man has -saved or borrowed enough money, to buy a huge, broad-shouldered boat and -install therein not only his entire family, but also his poultry, hogs, -and even cows. From then on he is independent, and master of his own -floating house, stable, farmyard, and express wagon. He transports loads -of merchandise from town to town, and is in a small way even a farmer. -When he moors his boat to take his wares from house to house he uses a -cart, and to draw this cart he employs dogs. When the merchandise is -sold the driver calmly seats himself in the cart and makes his patient -animals pull him home. If he does not own a dog, he merely puts the yoke -upon the shoulders of his wife, and she acts as a willing steed. - -The little houses in the vicinity of Amsterdam are thoroughly -characteristic of Holland. They have sharply pointed roofs of pretty red -tiles, neatly painted walls and blinds, and a monstrous windmill on one -side. Within they are scoured and polished so that they almost shine -with cleanliness. Even among the wealthy citizens of Amsterdam there is -not much display of luxury. The houses are quite plain, but always -brightly clean. - -To most people who are used to paved streets and plenty of dry land it -would not be pleasant to dwell among the watery streets with their -narrow sidewalks of Amsterdam; but to a Dutchman it is impossible to -have too much water about his house. Even with a canal in front and -another on each side he will add, if possible, an artificial pond in his -small garden. - -[Illustration: STREET SCENE, ROTTERDAM] - - - - -_HOLLAND_ - -_Rotterdam_ - -FOUR - - -Rotterdam, the famous commercial center of Holland, lies fourteen miles -from the North Sea at the union of two rivers, one of which is called -the Rotte, and with the great dam erected on its banks gives to the town -its name. To a visitor the most notable feature of this great Dutch city -is its multitude of bridges, most of which are drawbridges, continually -rising and falling like parts of a huge machine. - -Rotterdam received its first municipal privileges in 1340. Its modern -prosperity dates from the separation of Belgium from the kingdom of the -Netherlands. The largest seagoing ships can now be admitted to the quays -of the town. Great cargoes of oil, grain, coffee, tobacco, and coal pass -through it, and its cattle market is the most important in Holland. - -It is a remarkable fact that in Rotterdam almost every man one meets has -either a cigar or a pipe in his mouth. The Dutch are great smokers. It -is said that the boatmen measure distances not by miles, but by -pipefuls. Many of the natives are believed to sleep at night with their -pipes between their teeth, so that they may have their morning smoke -without any delay. The Hollanders call tobacco smoke their second -breath, and a cigar the sixth finger of their hands. - -In Rotterdam is situated the home of the greatest smoker that the world -has ever known, Meinheer Van Klaes. His average consumption was one -hundred and fifty grams of tobacco a day. Nevertheless he lived to be -ninety-eight years old. His directions as to how his funeral should be -conducted are interesting: "I wish that all my friends who are smokers -shall be specially invited to my funeral. Each of them shall receive a -package of tobacco and two pipes, and they are requested to smoke -uninterruptedly during the funeral ceremonies. My body shall be inclosed -in a coffin lined with wood of my old cigar boxes. Beside me in the -casket shall be laid my favorite meerschaum, a box of matches, and a -package of tobacco. When my body is lowered into the grave every person -present is requested to pass by and cast upon it the ashes from his -pipe." - -It is said that these requests were faithfully complied with. There is -also a report which says that at his funeral the smoke was so dense that -a horn had to be blown to enable the mourners to find the door. - -Rotterdam suffered from a great fire in 1563, and also underwent great -loss during the struggle with the Spaniards who occupied the city in -1572. Since 1573, however, its progress has been remarkable. - -[Illustration: SCENE IN HAARLEM] - - - - -_HOLLAND_ - -_Tulips and Windmills_ - -FIVE - - -Spring is the best time to visit Haarlem in Holland. The traveler to -this city passes through wonderful fields covered with broad sheets of -scarlet, white, and yellow tulips. It is a sight never to be forgotten. -But, beautiful as the tulips are, it is not for this that the Hollanders -grow them in such quantities. They grow the bulb not for the flower but -for the "onion," as it is called. - -The cultivation of tulips is a great business in Holland; but today only -a small percentage of the population commercialize the flower, compared -to the number that cultivated it in the seventeenth century. The -tulipomania of that time was really a form of gambling, in which -admiration of the flower and interest in its culture were secondary -matters. In those days thousands of florins were paid for a single bulb. - -Tulips grow wild along the northern shores of the Mediterranean, and in -Africa and the Far East. They were introduced into the Low Countries in -the sixteenth century from Constantinople and the Levant. Owing to their -great beauty the flowers became immediate favorites in European gardens. -It was in 1637 that the extraordinary tulipomania first took possession -of the Dutch. Not only were flower merchants seized with it, but almost -every citizen took up tulip growing. A single bulb called the "Semper -Augustus" was sold for thirteen thousand florins, and for another of the -same variety was traded "a new carriage, a pair of gray horses, and -forty-six hundred guilders." A prize of one hundred thousand florins -offered by the horticultural society at Haarlem was won by the black -tulip of Cornelius van Baerle. But when the government stepped in and -enforced a law against gambling the price of tulips fell to nothing. The -bubble burst, and thousands of dealers were beggared in a single night. - -There is an old Dutch proverb which says, "God made the sea; but we make -the shore." For hundreds of years the Hollanders have proved this true -by literally making the land upon which they live. They must continually -fight against the encroachment of the sea, and a big factor in the work -of keeping the ocean out is done by great windmills, which pump the -water from the fields into the rivers and canals, and thus drain the -land. - -Everywhere in Holland windmills can be seen. Besides pumping and -draining, they also saw wood and grind corn. Although nowadays steam and -gasolene engines can do most of the work formerly performed by -windmills, they still form a picturesque part of the Dutch landscape. By -draining whole marshes they have transformed this waste land into -beautiful green and fertile fields. In passing from The Hague to Haarlem -on the train one can see the largest of these "polders," as the drained -marshes are called. - -Windmills were used as early as the twelfth century. In all the older -windmills a shaft called the wind shaft carried four to six arms or -whips, on which long, narrow sails were spread. The tips of the sails -made a circle of sixty to eighty feet in diameter. It is this type of -windmill, with its long arms waving above the landscape, that is -associated so closely with Holland. - -[Illustration: RYKS MUSEUM, AMSTERDAM] - - - - -_HOLLAND_ - -_Art in Holland_ - -SIX - - -Many people consider Dutch art the most interesting in the world. The -artists of Holland did not portray classic gods and prayerful madonnas. -They were too practical and matter-of-fact for that. Their minds were -serious, and scenes of everyday life attracted them more than they did -the artists of Italy or Spain. Portrait painting began very early among -the Dutch. This was because the Dutch spirit was essentially commercial. -The prosperous burghers liked to have great artists paint them, and they -were usually willing to pay pretty well for the privilege. Also the -nobility, due to their love of splendor, gave abundant employment to the -artists. - -Some of the earlier Dutch artists who achieved fame are the brothers Van -Eyck, Hugo van der Goes, Roger van der Weyden, and Quentin Massys. But -greater than any of these is Frans Hals, who was born in 1580. He was a -great portrait painter. His marvelous capacity for catching an -impression on the instant brought him many patrons. He loved to paint -people as they were, and jolly topers and rich burghers were his -favorite subjects; but, great artist though he was, he died almost in -poverty. - -Rembrandt Harmanzoon van Rijn, who was born in 1607, the son of a miller -of Leyden, has been called the greatest painter of northern Europe. -Today his pictures are beyond price. His influence on the Dutch artists -that followed him was very great. But he died at the age of sixty-two, -alone and neglected. - -Paul Potter, called the "Raphael of animal painters," was born in 1625, -and died from overwork at the age of twenty-nine. It is said that he -painted portraits of animals, and tried to know the character of every -beast that he drew. - -Jan Steen painted all sorts of subjects,--chemists in their -laboratories, card parties, marriage feasts, religious subjects, and -especially children. Besides being a successful artist, he was a brewer -at Delft. He failed in this business and opened a tavern. Hence he has -often been called "the jolly landlord of Leyden." - -Pieter de Hooch was the most neglected of all Dutch painters; yet in -1876 the Berlin Museum paid $26,000 for one of his paintings. He was -born in Rotterdam about 1630, and became one of the most charming -painters of homely subjects that Holland has produced. He died at -Haarlem about 1681. - -Meyndert Hobbema was born in Amsterdam about 1638, and was buried there -in a pauper's grave in 1709. Although today he is considered one of the -great landscape painters of Holland, his work was not appreciated during -his lifetime. Hobbema liked to paint only landscapes. It is said that -when it was necessary for him to get a figure in a picture he had -another artist do it. - -All these men were great artists of Holland. And it is a peculiar thing -that most of them lived in the sixteenth and seventeenth centuries. -Since then Holland has done comparatively little in art. - -[Illustration: The Mint Tower, Amsterdam] - - - - - HOLLAND - - - By DWIGHT L. ELMENDORF - - _Lecturer and Traveler_ - - - THE MENTOR · DEPARTMENT OF TRAVEL · MAY 1, 1914 - - - MENTOR GRAVURES - - THE RYKS MUSEUM, AMSTERDAM - VEEN KADE, THE HAGUE - STREET SCENE, ROTTERDAM - STREET SCENE, AMSTERDAM - MONTALBANS TOWER, AMSTERDAM - SCENE IN HAARLEM - - -Holland has been described as a "country of unpainted pictures." That is -the artist's point of view; for his eye takes in the picturesque -possibilities of the subject. To us it seems as if Holland is of all -countries the one most often seen in pictures. While, no doubt, there -are many "untouched pictures" in the miles of level Dutch landscape, art -has surely shown a generous recognition of Holland's attractive scenery, -and has celebrated its picturesqueness to all the rest of the world. -Holland is a country of dikes and level meadow lands, of windmills and -canals. From the point of view of an aëronaut the Dutch cities look like -a map of Mars. This is especially true of Amsterdam, which, viewed from -above, appears to be a network of canals. These canals are an attractive -feature of the cities. In some cases the whole street is canal; in other -cases the street is both "wet and dry"--a canal flanked by a street. - -[Illustration: Copyright, American Press Association - -"THE HOUSE IN THE WOOD," THE HAGUE - -This is Queen Wilhelmina's favorite place of residence. It is located in -the forest park about one and a half miles from The Hague, and was the -meeting place of the first International Peace Conference, held in 1899] - -Imagine a country, in some spots lower than the sea, maintaining its -existence only by constant vigilance and industry, fighting for its very -life through the changing seasons against the one great enemy, water. -The dunes or sand hills which line the coast serve as a barrier against -the sea. These are reinforced by coarse grass, which holds the sand -together. In some places the dikes are made of earth, sand, and clay, -held together by willows, which are carefully planted so as to form a -binder. In other places dikes are built of stone. The dikes are the -fortifications against the inroads of the ocean, and also the floods in -the rivers that flow through Holland to the sea. - -[Illustration: Copyright, American Press Association - -HOUSES OF PARLIAMENT, THE HAGUE - -With the Queen's Fish Pond in the foreground] - -When there are heavy rains in Germany the Rhine brings down a great -additional volume of water, which has to be checked by the dikes and led -away by the canals. Holland's fight against water has been a warfare of -varying fortunes. At times in the past dikes have been broken, great -tracts of land have been inundated, and thousands of people drowned. - -The Dutch are a careful, plodding, and industrious people, and they have -profited by experience. As a result they are now not only holding their -water enemy in check, but they have actually advanced upon the sea, and -have taken from it sufficient territory to add materially to their -cultivated lands. But the contest with the rivers and the sea has to be -constant. A special body of engineers is appointed to look after the -work, and the Dutch government spends annually several million dollars -to keep the dikes in order and hold the ground. Water is confined in -canals and in large basins; and the ever-faithful windmill, when not -otherwise engaged, is employed to pump the water from the lowlands. - - -DIKES AND WINDMILLS - -The dikes and the windmills are the two great factors of physical and -commercial life in Holland. The dike safeguards the land; the windmill -fans the currents of trade. Whether corn is to be ground, timber sawed, -tobacco cut, paper manufactured, or water pumped, the long arms of the -mill perform a willing and efficient service while the wind blows. The -importance of the dike is reflected in the names of many Dutch towns. -The word _dam_ or _dike_ is to be found almost everywhere. Amsterdam is -the "dike" of the River Amstel (ahm´-stel); Rotterdam, the "dike" of the -River Rotte; Zaandam (zahn-dahm´), the "dike" of the River Zaan--and so -on. The thought of the protecting dike was generally in mind when a town -was founded. The windmill is not only an untiring servant of industry, -but is a sign of Dutch prosperity as well. You may hear it said of a -Hollander, "He is worth ten millions." You are quite as likely to hear -it said, "He is worth ten windmills." - -[Illustration: THE ROYAL PALACE, AMSTERDAM - -The palace, formerly the town hall, was begun in 1648, finished in 1655, -and cost 8,000,000 florins. It rests on a foundation of 13,659 piles, -and its tower is 167 feet high. The weather vane on the tower represents -a merchant vessel, formerly the crest of the city] - -It required dogged determination and persevering energy to make the -history of Holland. The Dutch people successfully resisted Spanish -domination at a time when Spain was a supreme world power, and then they -built up a government of their own in a country where they had to fight -for the very existence of the land. In government administration, in -thrift and commercial enterprise, in exploration and colonization, in -literature, and in arts, Holland has proved herself to be a wonderful -little country. She has had much to say in the Congress of Nations. One -of her chief cities, The Hague, is identified in everyone's mind with -one of the most important world movements of modern times,--the -International Peace Conference. - -The population of Holland does not exceed 6,000,000, and there are only -four towns having a population exceeding 100,000,--Amsterdam, The -Hague, Rotterdam (rot´-er-dam; Dutch, rot-ter-dahm´), and Utrecht -(u´-trekt; Dutch, oo´-trekt). - - -AMSTERDAM - -This most interesting city is situated where the River Amstel enters the -Zuyder Zee (zy´-der zee; Danish, zoi´-der zay). Just where the city lies -there is an arm of the sea which goes by the odd name of Y or Ij -(pronounced _eye_). Amsterdam is the chief commercial city of Holland; -though in some branches of business Rotterdam disputes its supremacy. -The city is of odd, semicircular shape, and is intersected by canals, -which run in curves like the rows of seats in an amphitheater. Each of -these semicircular canals marks the line of the city walls and moat at -different times. Other canals cross these in such a manner as to cut the -city up into a number of islands. The old part of the city lies in the -very center, inclosed by the inner semicircular canal. At one end of -this canal is the "Weepers' Tower," which takes its name from the fact -that it stands at the head of what was the old harbor, and was the -scene, therefore, in ancient times, of many sad leavetakings. There -wives and sweethearts said goodby to the men who went "down to the sea -in ships." - -[Illustration: THE GATE OF THE STADTHOLDER, THE HAGUE] - -[Illustration: THE NEW THEATER, AMSTERDAM] - -Amsterdam is supposed to have originated about 1204, when Gysbrecht II, -Lord of Amstel, built a castle there. It came to be really important -about the end of the sixteenth century, when the wars with Spain had -ruined Antwerp, and many merchants, manufacturers, and artists left -there and settled in Amsterdam. The population of the city today is -close to 600,000, and it is one of the busiest markets in Europe, doing -a large business in imports, especially in the products of the Dutch -colonies. - -[Illustration: Copyright, American Press Association - -PALACE OF PEACE, THE HAGUE] - -The city, moreover, is very beautiful. The main canals are lined with -avenues of elms, and they offer a picturesque appearance and a pleasant -shade. The streets are full of life, and their interest is enhanced by -the varied activities of those who walk and ride on the paved roads and -others who ply oddly constructed boats through the waterways. - - -A CITY BUILT ON PILES - -The costumes, while not so picturesque as those to be found in the -country districts, are interesting to the traveler from other lands. The -houses are built on piles driven into the soft soil--a fact that the -witty old Erasmus of Rotterdam turned to jest by saying that he knew a -city whose inhabitants dwelt in the tops of trees like rooks. - -There are so many things in Amsterdam of historic, literary, and art -interest that no one can expect to "do the city" and do it thoroughly in -the brief time usually allotted by the ordinary tourist. For the student -of art there is enough to fill a month's time. The home city of -Rembrandt naturally holds the interest of an artist, and the Ryks Museum -contains a wonderful collection of Dutch art and Historic relics. - -[Illustration: Copyright, American Press Association - -THE RIDDERZAAL, THE HAGUE - -The old Ridderzaal on the Brennenhof is the ancient castle of the counts -of Holland. The most modern improvements, such as electricity and -telephones, have been installed in this ancient structure. The grand -assembly hall seats two hundred and eighty, and is lighted by eight -immense chandeliers of antique style, containing fifty-four lights -each] - - -RYKS MUSEUM - -This museum is an impressive stone and brick building, constructed in -1877-1885, and filling nearly three acres of ground. It holds a place -among the greatest museums of the world, and in its devotion to its own -particular subject--Dutch art and history--it is unique. It is not the -lover of art alone who will find the place fascinating: the historian -will be held by the military, naval, and colonial collection; the -antiquarian will linger over the old works in gold and silver, the -models of ships of different periods, antique books and furniture, -textiles and stained glass; while the artist will regard the picture -galleries as a treasure house. - -For the artist, if interested in the Dutch masters of art, the museum is -the one particular place in Europe. There about him he will find some of -the most celebrated works of Rembrandt, Franz Hals, Paul Potter, Jan -Steen (stane), Hobbema (hob´-be-mah), and other Dutch painters. - -The picturesque old buildings of Amsterdam, especially those in the -inner city, will delight the visitor. Many of these have great historic -interest--notable among them Admiral de Ruyter's (ry´-ter; Dutch, -roi´-ter) house, bearing his portrait in relief on its front, and a -little beyond that the old Montalbans Tower. - -[Illustration: Copyright, Underwood & Underwood - -A STREET IN AMSTERDAM] - -The Royal Palace is a solid building which was begun in 1648, just after -the Peace of Westphalia, and was finished in the course of seven years -at a cost of 8,000,000 florins ($3,216,000). It is not a beautiful -building; but in its structure and its inner equipments it is -interesting as showing the character of Dutch life and government. You -bring from a visit to the palace an impression of the solidity, power, -and the enduring virtues that are the ancestral inheritance of the -Hollander. - -No visit to Amsterdam is complete without a sight of the Zoölogical -Garden, which is one of the best in Europe, and a trip out to the unique -little Island of Marken. There in that odd spot you will find all the -picturesqueness of Holland in solid deposit. Gaily colored costumes are -everywhere; houses are queer in structure and in furnishing; and manners -and habits of life are peculiar and interesting. But let the visitor be -cautious in Marken. It has of recent years come to be a show place, -stocked with all sorts of Dutch articles of no special value, most of -which are manufactured solely to catch the fancy of the unwary tourist. - - -HAARLEM - -On returning from Marken the traveler will find it worth his while to -run west to the quaint old town of Haarlem (hahr´-lem). This is the city -of the governor of the province of North Holland, and is one of the -cleanest and neatest towns in the Netherlands. Its population is -something over 70,000, and it has the appearance of prosperity and -welfare. During the Middle Ages, Haarlem was the residence of the counts -of Holland, and was the scene of several important military engagements -between the Dutch and the Spaniards. It is famous for its horticulture, -and furnishes bulbs to every country in Europe and North America. Along -about the middle of spring a wonderful sight may be seen in the lands -surrounding Haarlem. Whole fields of hyacinths, crocuses, anemones, -tulips, lilies, etc., offer a brilliant variety of color and fill the -air with delicious perfume. It is a feast for the senses indeed! - -[Illustration: Copyright, American Press Association - -SAINT NICHOLAS CHURCH, AMSTERDAM] - - -ROTTERDAM - -Situated about thirty miles south of Amsterdam and Haarlem is Rotterdam, -the second largest town in the Netherlands, which has a population of -about 370,000. To some it is known chiefly as the home of the -illustrious Erasmus, who was born there in 1465. In the great -marketplace of Rotterdam there stands a fine bronze statue of Erasmus. - -To merchants Rotterdam is known as one of the busiest import cities on -the Continent; as in its import trade it is exceeded only by Hamburg and -Antwerp, while its cattle market is the most important in Holland. There -is much life in Rotterdam, and plenty of entertainment to enliven the -visitor who goes there for other purposes than those of trade. - -[Illustration: THE POSTOFFICE, ROTTERDAM] - -Boyman's Museum contains a most valuable collection of Dutch art, and -the churches, parks, and public ways are attractive and interesting. -Down at the large docks you will find busy scenes; at the Wilhelmina -Kade especially, where the great passenger steamers lie. You will meet -that name _Kade_ wherever you go in the towns of Holland. It means quay, -and the different thoroughfares distinguished by the name are either -quays or else have been quays in times past, and in the course of the -city's growth have become streets with waterways in them. - -You will be impressed with the vast multitude of bridges in Rotterdam. I -do not know that they actually exceed in number the bridges of -Amsterdam; but they appear to, for many can be seen from almost every -point of view. The service of the canal to Holland is manifold, and this -is true in winter as well as in summer. Over the frozen surface of the -canal children skate to school, women skate to their shopping, and those -who have time for recreation skim the icy surfaces from town to town in -skating trips. - - -THE HAGUE - -There are many towns in Holland to invite the traveler, and most of them -will delight him as well. This is especially true of Utrecht, Dordrecht, -and Delft, the last famous the world over for its pottery. It is well, -however, when making a visit to Holland, to save The Hague until the -last. - -The Hague is the political capital of Holland, and in some ways the most -beautiful and interesting of all Dutch cities. It is a most cosmopolitan -town, and its population includes many distinguished people. Among the -cities of Holland, The Hague leads in culture and refinement, as -Amsterdam and Rotterdam do in commerce. It is, moreover, the most -attractive city. In neatness and in cleanliness it is claimed that The -Hague cannot be excelled by any city in the world. You are willing to -believe that when you are there. - - -THE HOUSE IN THE WOOD - -The full Dutch name of this city of royalty is 's Graven Hage ('s -grah´-fen hah´-ge), which means "the count's inclosure." The name was -given to it originally when it was a richly wooded plain and a hunting -resort of the counts of Holland. It is now the residence of the queen of -Holland and the seat of government, where most of the important national -transactions of the last three hundred years have taken place. There is -no great amount of business at The Hague. It is a place of important -political affairs and of social life and enjoyment. The life there is -distinguished for its gaiety, and the society for its distinction. Great -interest naturally centers in "The House in the Wood," a most -picturesque château erected in 1645 for Princess Amalia, consort of -Prince Frederick Henry, son of Henry the Silent. This is the favorite -home of royalty. The most interesting apartment in the palace is the -Orange Room, which was prepared by the princess as a memorial to her -husband, and has been the scene of many important diplomatic and social -events. The first International Peace Conference, at which twenty-six -powers were represented, met in this room in the summer of 1899. The -House in the Wood is beautifully furnished and decorated, and, more than -the usual royal residence, it realizes the meaning of the word "home." - -[Illustration: GROOTE KERK, DORDRECHT - -This church dates from the fourteenth century. Its tower is two hundred -and thirty feet high] - - -ATTRACTIONS OF THE HAGUE - -The population of The Hague is more than 240,000, and it has, besides -The House in the Wood, a number of notable features. There is the -celebrated picture gallery called the Mauritshuis, the Municipal Museum -which, next to the Ryks, is the finest in Holland, the Mesdag Museum, -which contains among other art treasures a fine collection of pictures -by the Barbizon painters, and the Steengracht Gallery, which is rich in -modern French and Dutch paintings. The quaint old Hall of the Knights -will attract attention for its historic interest, and so will the -beautiful and imposing national monument, which was set up in 1869 to -commemorate the restoration of Dutch independence and to honor Prince -William Frederick of Orange. - -Altogether The Hague is a delight to the traveler. Thackeray exclaimed -over it, "The brightest little brick city, with the pleasantest park to -ride in, the neatest, comfortable people walking about, the canals not -unsweet, and busy and picturesque with life!" - -[Illustration: THE CATHEDRAL, UTRECHT - -The cathedral was erected in 1254-67. At the time it was one of the -finest and largest churches in Holland] - - -SCHEVENINGEN - -[Illustration: ON THE BEACH, SCHEVENINGEN] - -It might be Brighton or Margate, and, except for the swarm of hooded -beach chairs, it might be Coney Island, this popular seaside resort of -Holland. Most of the features familiar to those who frequent the sea -coast resorts of other lands are to be found at Scheveningen. There is -the wide, gradually shelving beach, ceaselessly washed by the rolling -surf, crowded with people of all ages and stations, bobbing in the -water, frolicking on the beach, or sedately seated in the shaded chairs. -Back on the beach runs the long line of hotels and cottages that we find -at all great ocean resorts. The pleasure of playing on the seashore is -much the same wherever humanity is found, and no matter what the -locality may be the pleasure in all places finds pretty much the same -forms of expression. - -Scheveningen (shay´-ven-ing-en) began its life as a fishing village away -back in 1400. It is situated about three miles from The Hague, and has -been a bathing resort since 1815, growing in popularity and population -until now the annual number of visitors is about 40,000, chiefly Dutch -and German, but including also many Britons and Americans. The season -runs from the first of June to the end of September, and, just as in the -case of other summer resorts, its activities are at their height about -the first of August. - -Aside from its many attractions as a summer resort, Scheveningen has -some historic interest. It was from there that Charles II set sail when -he returned to England to assume the crown at the time of the -Restoration. This was in 1660. Thirteen years later that sturdy naval -hero Admiral de Ruyter engaged in a sea battle off Scheveningen, and -there defeated the combined forces of France and England. - - -DUTCH COUNTRY LIFE AND PEOPLE - -For those who would know Holland and the people, no trip would be -complete that merely included a few of the prominent cities. Take your -pack if you care for tramping, or engage a car if you prefer to ride: -you will find the roads good. Then go through the country and meet the -people in their simplest condition. The Dutch farmer has not changed in -several hundred years. He is a thrifty, contented individual, and his -life will interest you. You will find the country families hospitable, -and you will learn much from them that the city Hollanders have not told -you. As you go through the farm districts you will be impressed with the -varied color and the picturesque qualities of everything. And though you -may not be an artist you must, in the course of a sojourn in Holland, -feel the stir of art consciousness. - -Aptly indeed has Holland been called "a land of untouched pictures." - - - - -SUPPLEMENTARY READING - - - THE RISE OF THE DUTCH REPUBLIC - - _J. L. Motley._ - - - HISTORY OF THE UNITED NETHERLANDS - - _J. L. Motley._ - - Two justly famous and comprehensive historical works. - - - MOTLEY'S DUTCH NATION - - _W. E. Griffis._ - - A condensation of Motley's works brought down to 1908. - - - DUTCH LIFE IN TOWN AND COUNTRY - - _P. M. Hough._ - - A well written and authoritative book. - - - THE AMERICAN IN HOLLAND - - _W. E. Griffis._ - - A book that cannot fail to interest. - - - HOLLAND - - _George Wharton Edwards._ - - A book delightfully written, and artistically illustrated by a well - known painter. - - - - -_THE OPEN LETTER_ - - -The travel impressions of an artist are always interesting. Mr. George -Wharton Edwards in his book, "Holland of Today," presents with brush and -pencil a vivid and attractive picture of life and natural conditions in -the Netherlands: - - * * * * * - -"The first impression that the traveler in Holland gets is in one -respect similar to that given by the far western prairie regions, and -the broad, wind-swept flat country with comparatively few trees, and -lying open to the gales of the North Sea, has a little of the same bare -aspect. But with this is mingled a most decided aspect of novelty. Here -the fields are cultivated with the care of suburban market gardens, and -are separated by long V-shaped ditches, through which the water runs -sluggishly some feet below the surface of the ground. Looking across -them, one sees broad, brown, velvety-hued sails moving in various -directions among the growing crops; the roadway is on an embankment, -running high above the land, frequently crossing canals lying far enough -below for the brightly painted barges with lowered masts to pass freely, -generally without the need of drawbridges. - - * * * * * - -"The passenger boats, once so common in the canals, are fast -disappearing; like the diligences, they have been replaced by the system -of tram-cars which now cross the country, but here and there this -old-fashioned means of communication between the towns and villages -still survives, and it is certainly a delightful experience to make a -journey on market day in one of these arks. It is generally a long and -rather narrow boat, low in the water, and usually painted green and -white, with a low-roofed deck cabin divided into two compartments -running the entire length, with clean board seats, and tiny -lace-curtained windows, the floor scrubbed with sand until it is almost -as white as snow. The roof is covered with a mixture of sand and -pulverized shells, on a foundation of bitumen to hold it. It is most -delightful to sail or be pulled along by 'boy power' through the country -between the 'pollarded green banks' and look upon the changing landscape -and the brown-armed mills in legions engaged in battle against the water -enemy. - - * * * * * - -"The very laws of nature have here been reversed, for disregarding the -injunction, every house is builded upon the sand, and the whole coast is -held together practically by straws. There being little or no wood in -the country whole forests have been brought hither in ships and buried -as pile foundations for the cities. Save in the Island of Urk in the -Züyder Zee there is not a stone to be found anywhere. Yet artificial -mountains (almost) have been brought in vessels from Sweden and Norway -and in masterful and ingenious manner erected as barriers against the -sea." - - * * * * * - -Concerning the people of Holland, Mr. Edwards has this to say: "The -superficial observer will perhaps find that the people move more slowly -and deliberately than his standard demands; that there are not enough of -the quaint costumes, of which he has read so much, to be seen in the -large centers, to satisfy his sense of the picturesque; but for him -whose eyes are open to the glory of attainment and the greatness of art, -whose mind is attuned to effects of environment upon the development of -character, who can appreciate the brave and successful attempts of a -people grown out of the very soil to ameliorate sorrow, poverty, and -suffering, and who have succeeded in spite of adverse conditions and -climate in establishing an almost ideal form of civilization and -government, I say no land has so much to offer as little Holland. As the -poet says: - - "'What land is this that seems to be - A mingling of the land and sea? - This land of sluices, dykes, and dunes? - This water-net that tesselates - The landscape? This unending maze - Of gardens, through whose latticed gates - The imprisoned pinks and tulips gaze; - Where in long summer afternoons - The sunshine, softened by the haze, - Comes streaming down as through a screen - Where over fields and pastures green - The painted ships float high in air, - And over all and everywhere - The sails of windmills sink and soar, - Like wings of sea-gulls on the shore?'" - - - - -Let Your Friends Share the Privilege of Membership in The Mentor -Association - - -The Course for One Year Provides: - - 1--A growing library of the world's knowledge--twenty-four numbers a - year. - - 2--A beautiful art collection for the home--one hundred and - forty-four art prints in sepia gravure and color. - - 3--One hundred and forty-four crisp monographs--one to accompany - each Mentor Gravure. - - 4--A reading course throughout the year. - - 5--An education for all the family, under the direction of the - foremost educators in this country--in art, literature, science, - history, nature, and travel. - - -Send the names of three friends whom you wish to nominate for -membership, and to whom you would like to have us send presentation -copies of The Mentor. - - - - -THE MENTOR - - -The Mentor Service - -THIS SERVICE COVERS THE needs of those who want to gain knowledge by an -easy and agreeable method. - -Send for our booklet descriptive of The Mentor Club Service. It presents -many varied Mentor courses specially planned for the use of -reading-clubs. - -The Mentor Association will supply to its members supplementary reading -courses dealing with any or all of the subjects in The Mentor Courses. -These courses of reading are prepared under the direction of the -Advisory Board of The Mentor--all of them prominent educators. - -The Mentor Association will also secure books for members, supplying -them postpaid at publishers' prices. - -The Mentor Inquiry Department gives to its members a full and -intelligent service in answering inquiries concerning books, reading, -and all matters of general information having a bearing on The Mentor -Courses. - -MANY READERS HAVE COME TO KNOW THE VALUE OF THE MENTOR SERVICE. IN THE -FULLEST SENSE IT SUPPLEMENTS AND ROUNDS OUT THE PLAN OF THE MENTOR. ALL -MEMBERS OF THE ASSOCIATION ARE INVITED TO TAKE ADVANTAGE OF THIS SERVICE - - -THE MENTOR BINDER - - Every page of The Mentor, cover included, contains matter that - readers want to keep. The Mentor Association is now supplying to its - members a binder which holds twelve or thirteen Mentors and has - proved satisfactory in every way. This binder has been arranged so - as to hold The Mentor complete and it has tapes to which the - pictures are attached, so that they swing freely in their place and - the pictures can be enjoyed as well as the text on the back. - - The price of these binders is One Dollar each. - - - MAKE THE SPARE - MOMENT COUNT - - - - - TRANSCRIBER'S NOTES: - - The spelling of the original work has been retained. - - Section Amsterdam, pronunciation of Zuyder Zee: Danish should - probably be Dutch. - - The poem at the end of the Open Letter is part of Longfellow's - Kéramos. - - Following are the correct spellings of the Dutch names given by the - authors: - Brennenhof: Binnenhof - Ryks Museum: Rijksmuseum - Ryks: Rijks - Harmanzoon: Harmenszoon - Veen Kade: Veenkade - Montalbans Tower: Montelbaans - Zuyder Zee, Züyder Zee: Zuiderzee - Meinheer: Mijnheer - Zealand: Zeeland - Franz Hals: Frans Hals - Y, Ij: IJ (occasioanlly Y) - 's Graven Hage: 's Gravenhage. - - - - - -End of the Project Gutenberg EBook of The Mentor: Holland, v. 2, Num. 6, -Serial No. 58, by Dwight Elmendorf - -*** END OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: HOLLAND, V. 2 *** - -***** This file should be named 43257-8.txt or 43257-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/2/5/43257/ - -Produced by Juliet Sutherland, Harry Lamé and the Online -Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from 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.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is 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.org/license - -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.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and 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 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need, are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation 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 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.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. diff --git a/43257-8.zip b/43257-8.zip Binary files differdeleted file mode 100644 index 845697c..0000000 --- a/43257-8.zip +++ /dev/null diff --git a/43257-h.zip b/43257-h.zip Binary files differdeleted file mode 100644 index 9cda21d..0000000 --- a/43257-h.zip +++ /dev/null diff --git a/43257-h/43257-h.htm b/43257-h/43257-h.htm index e0de72c..742e51a 100644 --- a/43257-h/43257-h.htm +++ b/43257-h/43257-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Mentor: Holland, Serial No. 58, 1914, by Dwight L. Elmendorf. @@ -91,45 +91,7 @@ </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of The Mentor: Holland, v. 2, Num. 6, Serial -No. 58, by Dwight Elmendorf - -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/license - - -Title: The Mentor: Holland, v. 2, Num. 6, Serial No. 58 - May 1, 1914 - -Author: Dwight Elmendorf - -Release Date: July 20, 2013 [EBook #43257] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: HOLLAND, V. 2 *** - - - - -Produced by Juliet Sutherland, Harry Lamé and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 43257 ***</div> <div class="tnbox"> <p class="center">Please see the <a href="#TN">Transcriber’s Notes</a> at the end of this text.</p> @@ -1637,7 +1599,7 @@ Ryks: Rijks<br /> Harmanzoon: Harmenszoon<br /> Veen Kade: Veenkade<br /> Montalbans: Montelbaans<br /> -Zuyder Zee, Züyder Zee: Zuiderzee<br /> +Zuyder Zee, Züyder Zee: Zuiderzee<br /> Meinheer: Mijnheer<br /> Zealand: Zeeland<br /> Franz Hals: Frans Hals<br /> @@ -1645,386 +1607,6 @@ Y, Ij: IJ (occasioanlly Y)<br /> ’s Graven Hage: ’s Gravenhage.</p> </div><!--tnbox--> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The Mentor: Holland, v. 2, Num. 6, -Serial No. 58, by Dwight Elmendorf - -*** END OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: HOLLAND, V. 2 *** - -***** This file should be named 43257-h.htm or 43257-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/2/5/43257/ - -Produced by Juliet Sutherland, Harry Lamé and the Online -Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from 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.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is 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.org/license - -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.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and 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 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need, are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation 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 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.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - - -</pre> - +<div>*** END OF THE PROJECT GUTENBERG EBOOK 43257 ***</div> </body> </html> diff --git a/43257.txt b/43257.txt deleted file mode 100644 index ff709c5..0000000 --- a/43257.txt +++ /dev/null @@ -1,1543 +0,0 @@ -The Project Gutenberg EBook of The Mentor: Holland, v. 2, Num. 6, Serial -No. 58, by Dwight Elmendorf - -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/license - - -Title: The Mentor: Holland, v. 2, Num. 6, Serial No. 58 - May 1, 1914 - -Author: Dwight Elmendorf - -Release Date: July 20, 2013 [EBook #43257] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: HOLLAND, V. 2 *** - - - - -Produced by Juliet Sutherland, Harry Lame and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - - - TRANSCRIBER'S NOTES: - - Text printed in italics and in bold face in the original work are - represented here as _text_ and =text=, respectively. - - More Transcriber's Notes may be found at the end of this text. - - - - - LEARN ONE THING - EVERY DAY - - - MAY 1 1914 - - SERIAL No. 58 - - - THE - MENTOR - - - HOLLAND - - - By DWIGHT L. ELMENDORF - Lecturer and Traveler - - - DEPARTMENT OF - TRAVEL - - - VOLUME 2 - NUMBER 6 - - - TWENTY CENTS A COPY - - - - -THE MENTOR ASSOCIATION - - - ESTABLISHED FOR THE DEVELOPMENT OF A POPULAR INTEREST IN ART, - LITERATURE, SCIENCE, HISTORY, NATURE, AND TRAVEL - - =CONTRIBUTORS=--PROF. JOHN C. VAN DYKE, C. F. TALMAN, PROF. ALBERT - BUSHNELL HART, REAR ADMIRAL ROBERT E. PEARY, WILLIAM T. HORNADAY, - DWIGHT L. ELMENDORF, HENRY T. FINCK, WILLIAM WINTER, ESTHER - SINGLETON, PROF. G. W. BOTSFORD, IDA M. TARBELL, GUSTAV KOBBE, DEAN - C. WORCESTER, JOHN K. MUMFORD, W. J. HOLLAND, LORADO TAFT, KENYON - COX, E. H. FORBUSH, H. E. KREHBIEL, PROF. HAROLD JACOBY, BURGES - JOHNSON, STEPHEN BONSAL, JAMES HUNEKER, W. J. HENDERSON, AND OTHERS. - - -THE PLAN OF THE ASSOCIATION - -The purpose of The Mentor Association is to give its members, in an -interesting and attractive way the information in various fields of -knowledge which everybody wants and ought to have. The information is -imparted by interesting reading matter, prepared under the direction of -leading authorities, and by beautiful pictures, reproduced by the most -highly perfected modern processes. The object of The Mentor Association -is to enable people to acquire useful knowledge without effort, so that -they may come easily and agreeably to know the world's great men and -women, the great achievements and the permanently interesting things in -art, literature, science, history, nature and travel. - -The purpose of the Association is carried out by means of simple -readable text and beautiful illustrations in The Mentor. - -The annual subscription is Four Dollars, covering The Mentor Course, -which comprises twenty-four numbers of The Mentor in one year. - - - The Mentor is published twice a month by The Mentor Association, Inc. - 222 Fourth Avenue, New York City - - - SUBSCRIPTION, FOUR DOLLARS A YEAR. FOREIGN POSTAGE 75 CENTS EXTRA. - CANADIAN POSTAGE 50 CENTS EXTRA. SINGLE COPIES TWENTY CENTS. - PRESIDENT, THOMAS H. BECK; VICE-PRESIDENT, WALTER P. TEN EYCK; - SECRETARY, W. D. MOFFAT; TREASURER, J. S. CAMPBELL; ASST. TREASURER - AND ASST. SECRETARY, H. A. CROWE. - - - _Copyright, 1914, by The Mentor Association, Inc._ - - _Entered as second-class matter March 10, 1913, at the post office at - New York, N. Y., under the Act of March 3, 1879._ - -[Illustration: MONTALBANS TOWER, AMSTERDAM] - - - - -_HOLLAND_ - -_The History of Holland_ - -ONE - - -The history of Holland is a record of the unexpected. One might think -that this flat country would have a story as monotonous as the land on -which it is built, that it would be the last part of the world to be the -center of fierce battles and bloody wars. Yet there took place in this -little country, formed principally of the mud deposited by three rivers, -the Rhine, the Meuse, and the Schelde, some of the most important deeds -in the history of the world. - -The earliest inhabitants of this part of Europe are said to have been -some of the barbarians that accompanied the Cimbri and Teutons in their -expedition against Italy. The Romans, however, held sway over this -district until near the end of the fourth century, when the Franks took -possession and settled there. Later the Holy Roman Emperor Charlemagne -extended his supremacy over the whole of the Netherlands, and under his -successors a system of dividing the land among the vassal princes -gradually developed. Thus the feudal system grew up. - -The situation of the country on the ocean and the mouths of three great -rivers invited the people to commerce. Then, also, the big cities grew -up and surrounded themselves with strong forts. - -In 1477 the Netherlands came into possession of the House of Hapsburg by -the marriage of Mary of Burgundy, the daughter of Charles the Bold, with -Maximilian, afterward emperor of the Holy Roman Empire. Their son, -Philip the Handsome, was the father of Charles V, who subsequently -became King of Spain. Under his rule the Netherlands enjoyed a golden -era of prosperity; but during the reign of his bigoted son, Philip II, -there began that apparently hopeless struggle of the weak people of the -north against the haughty Spaniards, which lasted for eighty years and -which ended in the establishment of the powerful Dutch republic. The -great founder of Dutch liberty was William of Nassau, the Silent. Today -he is revered by the Dutch as a mighty hero and martyr. - -It was in 1579 that the Union of Utrecht laid the foundation on which -the republic of the United Netherlands was to be raised. By the Peace of -Westphalia in 1648 the independence of the United Provinces was -recognized. - -The prosperity of Holland was great. Its navigators explored the most -distant coasts in the world, and its trading posts in East India yielded -a rich harvest. It had commerce with all nations, and at the same time -its art reached its highest point of excellence. - -For many years the fortunes of the Netherlands varied from good to bad. -In 1795 the French Republicans took possession of the country and -founded the Batavian republic. In 1806 Louis Bonaparte was created king -of Holland by his brother Napoleon. Four years later Napoleon annexed -Holland to France, giving as the reason his belief that it was formed of -the alluvial deposit of French rivers. At last, in November, 1813, the -French were expelled from Holland; and in 1815, by the Congress of -Vienna, the southern or Belgian province of the Netherlands was united -with the northern into a single kingdom, and the Prince of Orange was -created king of the Netherlands under the title of William I. This union -was severed by the Belgian revolution of 1830. Ten years later, William -I abdicated in favor of his son William II, who was in turn succeeded by -William III. - -His daughter Wilhelmina is the present ruler of Holland. Her daughter, -Princess Juliana, was born April 30, 1909. - - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 2. No 6. SERIAL No. 58 - COPYRIGHT, 1914, BY THE MENTOR ASSOCIATION, INC. - -[Illustration: VEEN KADE, THE HAGUE] - - - - -_HOLLAND_ - -_William the Silent_ - -TWO - - -William the Silent is to Holland what George Washington is to the United -States. As the principal opponent of Philip II of Spain he was the very -incarnation of the national spirit in the greatest period of Dutch -history. He dared to stand forth as the fearless leader of a persecuted -people in opposition to the mightiest monarch then on earth. William, -Prince of Orange and Count of Nassau, was surnamed "The Silent" not -because he was gloomy, but because he was able to hide his plans with -wonderful discretion. He was born on April 16, 1533. He was a great -favorite of Charles V of Spain, who appointed him, when he was only -twenty-two years old, governor of the provinces of Holland, Zealand, and -Utrecht. When the Low Countries came into possession of the Duke of -Alva, the Spanish governor, William set out on a short but useless -campaign to liberate the southern provinces. Four years later he was -invited by Holland and Zealand to command their troops against the -Spaniards. Shortly afterward he captured Middelburg and succeeded in -raising the siege of Leyden. The Union of Utrecht, the famous defensive -league of the North Netherlands, was formed in 1579. Soon afterward -William was exiled by Philip II; but the States General defied his -authority, and in 1581 formally threw off their allegiance to the -Spanish crown. - -However, so anxious was Philip to have William out of the way that he -offered a reward of 25,000 crowns and a title of nobility to anyone who -would assassinate him. Many were the cowardly attacks made against the -brave Dutchman, eight attempts being made before the one that finally -succeeded. - -On July 10, 1584, William, in company with his beautiful young wife, was -coming to dinner down the stairway of the Prinsenhof--his house in -Delft. Suddenly from the corner of the corridor a man stepped forth -holding a petition. The prince asked him to present it later when he was -not busy. During the meal William was as usual very cheerful; but his -wife seemed to have a premonition of danger. She spoke to him several -times of the strange man they had met in the hall, remarking that she -had never seen a more villainous face. This did not disturb William in -the least, and at the close of the meal he led the way back along the -corridor. As he approached the staircase, without a moment's warning the -assassin sprang forth and shot him in the breast. The prince reeled -backward a few steps and fell into the arms of his wife. A few minutes -later the founder of Dutch liberty had passed into history. - -William the Silent was the foremost statesman of his time. He gave up -great position, vast wealth, and at last his life, to rescue the -Netherlands from the tyrannical power of Spain; and he had the -satisfaction of knowing before he died that the cause for which he had -suffered so much would succeed. - -His murderer, Balthazar Gerard, was executed by having the flesh torn -from his body with redhot pincers. - -[Illustration: STREET SCENE, AMSTERDAM] - - - - -_HOLLAND_ - -_Amsterdam_ - -THREE - - -Amsterdam has often been called "The Venice of the North." Between the -two cities there is a resemblance; but they also differ from each other -essentially. Venice is golden; while Amsterdam is gray. Venice inspires -romantic memories and poetical associations; Amsterdam, even with its -many attractions, is distinctly practical and commercial. - -Amsterdam is a seaport in the province of North Holland. It is one of -the chief commercial cities in Europe and the largest city in the -kingdom of Holland. It is one of the wealthiest cities in the world. - -Amsterdam stands on flat, marshy ground into which piles fifty feet long -are driven to form the foundations of brick houses, which are usually -six or seven stories high. The form of the city is a crescent, and the -arms of its canals project into the Y. - -Amsterdam is really a city founded upon islands, ninety in all. It has -miles of liquid streets, which are spanned by three hundred bridges. All -through the city float heavy barges, many of which are the homes of -citizens. - -Among some classes of the Dutch it is customary, when a young man has -saved or borrowed enough money, to buy a huge, broad-shouldered boat and -install therein not only his entire family, but also his poultry, hogs, -and even cows. From then on he is independent, and master of his own -floating house, stable, farmyard, and express wagon. He transports loads -of merchandise from town to town, and is in a small way even a farmer. -When he moors his boat to take his wares from house to house he uses a -cart, and to draw this cart he employs dogs. When the merchandise is -sold the driver calmly seats himself in the cart and makes his patient -animals pull him home. If he does not own a dog, he merely puts the yoke -upon the shoulders of his wife, and she acts as a willing steed. - -The little houses in the vicinity of Amsterdam are thoroughly -characteristic of Holland. They have sharply pointed roofs of pretty red -tiles, neatly painted walls and blinds, and a monstrous windmill on one -side. Within they are scoured and polished so that they almost shine -with cleanliness. Even among the wealthy citizens of Amsterdam there is -not much display of luxury. The houses are quite plain, but always -brightly clean. - -To most people who are used to paved streets and plenty of dry land it -would not be pleasant to dwell among the watery streets with their -narrow sidewalks of Amsterdam; but to a Dutchman it is impossible to -have too much water about his house. Even with a canal in front and -another on each side he will add, if possible, an artificial pond in his -small garden. - -[Illustration: STREET SCENE, ROTTERDAM] - - - - -_HOLLAND_ - -_Rotterdam_ - -FOUR - - -Rotterdam, the famous commercial center of Holland, lies fourteen miles -from the North Sea at the union of two rivers, one of which is called -the Rotte, and with the great dam erected on its banks gives to the town -its name. To a visitor the most notable feature of this great Dutch city -is its multitude of bridges, most of which are drawbridges, continually -rising and falling like parts of a huge machine. - -Rotterdam received its first municipal privileges in 1340. Its modern -prosperity dates from the separation of Belgium from the kingdom of the -Netherlands. The largest seagoing ships can now be admitted to the quays -of the town. Great cargoes of oil, grain, coffee, tobacco, and coal pass -through it, and its cattle market is the most important in Holland. - -It is a remarkable fact that in Rotterdam almost every man one meets has -either a cigar or a pipe in his mouth. The Dutch are great smokers. It -is said that the boatmen measure distances not by miles, but by -pipefuls. Many of the natives are believed to sleep at night with their -pipes between their teeth, so that they may have their morning smoke -without any delay. The Hollanders call tobacco smoke their second -breath, and a cigar the sixth finger of their hands. - -In Rotterdam is situated the home of the greatest smoker that the world -has ever known, Meinheer Van Klaes. His average consumption was one -hundred and fifty grams of tobacco a day. Nevertheless he lived to be -ninety-eight years old. His directions as to how his funeral should be -conducted are interesting: "I wish that all my friends who are smokers -shall be specially invited to my funeral. Each of them shall receive a -package of tobacco and two pipes, and they are requested to smoke -uninterruptedly during the funeral ceremonies. My body shall be inclosed -in a coffin lined with wood of my old cigar boxes. Beside me in the -casket shall be laid my favorite meerschaum, a box of matches, and a -package of tobacco. When my body is lowered into the grave every person -present is requested to pass by and cast upon it the ashes from his -pipe." - -It is said that these requests were faithfully complied with. There is -also a report which says that at his funeral the smoke was so dense that -a horn had to be blown to enable the mourners to find the door. - -Rotterdam suffered from a great fire in 1563, and also underwent great -loss during the struggle with the Spaniards who occupied the city in -1572. Since 1573, however, its progress has been remarkable. - -[Illustration: SCENE IN HAARLEM] - - - - -_HOLLAND_ - -_Tulips and Windmills_ - -FIVE - - -Spring is the best time to visit Haarlem in Holland. The traveler to -this city passes through wonderful fields covered with broad sheets of -scarlet, white, and yellow tulips. It is a sight never to be forgotten. -But, beautiful as the tulips are, it is not for this that the Hollanders -grow them in such quantities. They grow the bulb not for the flower but -for the "onion," as it is called. - -The cultivation of tulips is a great business in Holland; but today only -a small percentage of the population commercialize the flower, compared -to the number that cultivated it in the seventeenth century. The -tulipomania of that time was really a form of gambling, in which -admiration of the flower and interest in its culture were secondary -matters. In those days thousands of florins were paid for a single bulb. - -Tulips grow wild along the northern shores of the Mediterranean, and in -Africa and the Far East. They were introduced into the Low Countries in -the sixteenth century from Constantinople and the Levant. Owing to their -great beauty the flowers became immediate favorites in European gardens. -It was in 1637 that the extraordinary tulipomania first took possession -of the Dutch. Not only were flower merchants seized with it, but almost -every citizen took up tulip growing. A single bulb called the "Semper -Augustus" was sold for thirteen thousand florins, and for another of the -same variety was traded "a new carriage, a pair of gray horses, and -forty-six hundred guilders." A prize of one hundred thousand florins -offered by the horticultural society at Haarlem was won by the black -tulip of Cornelius van Baerle. But when the government stepped in and -enforced a law against gambling the price of tulips fell to nothing. The -bubble burst, and thousands of dealers were beggared in a single night. - -There is an old Dutch proverb which says, "God made the sea; but we make -the shore." For hundreds of years the Hollanders have proved this true -by literally making the land upon which they live. They must continually -fight against the encroachment of the sea, and a big factor in the work -of keeping the ocean out is done by great windmills, which pump the -water from the fields into the rivers and canals, and thus drain the -land. - -Everywhere in Holland windmills can be seen. Besides pumping and -draining, they also saw wood and grind corn. Although nowadays steam and -gasolene engines can do most of the work formerly performed by -windmills, they still form a picturesque part of the Dutch landscape. By -draining whole marshes they have transformed this waste land into -beautiful green and fertile fields. In passing from The Hague to Haarlem -on the train one can see the largest of these "polders," as the drained -marshes are called. - -Windmills were used as early as the twelfth century. In all the older -windmills a shaft called the wind shaft carried four to six arms or -whips, on which long, narrow sails were spread. The tips of the sails -made a circle of sixty to eighty feet in diameter. It is this type of -windmill, with its long arms waving above the landscape, that is -associated so closely with Holland. - -[Illustration: RYKS MUSEUM, AMSTERDAM] - - - - -_HOLLAND_ - -_Art in Holland_ - -SIX - - -Many people consider Dutch art the most interesting in the world. The -artists of Holland did not portray classic gods and prayerful madonnas. -They were too practical and matter-of-fact for that. Their minds were -serious, and scenes of everyday life attracted them more than they did -the artists of Italy or Spain. Portrait painting began very early among -the Dutch. This was because the Dutch spirit was essentially commercial. -The prosperous burghers liked to have great artists paint them, and they -were usually willing to pay pretty well for the privilege. Also the -nobility, due to their love of splendor, gave abundant employment to the -artists. - -Some of the earlier Dutch artists who achieved fame are the brothers Van -Eyck, Hugo van der Goes, Roger van der Weyden, and Quentin Massys. But -greater than any of these is Frans Hals, who was born in 1580. He was a -great portrait painter. His marvelous capacity for catching an -impression on the instant brought him many patrons. He loved to paint -people as they were, and jolly topers and rich burghers were his -favorite subjects; but, great artist though he was, he died almost in -poverty. - -Rembrandt Harmanzoon van Rijn, who was born in 1607, the son of a miller -of Leyden, has been called the greatest painter of northern Europe. -Today his pictures are beyond price. His influence on the Dutch artists -that followed him was very great. But he died at the age of sixty-two, -alone and neglected. - -Paul Potter, called the "Raphael of animal painters," was born in 1625, -and died from overwork at the age of twenty-nine. It is said that he -painted portraits of animals, and tried to know the character of every -beast that he drew. - -Jan Steen painted all sorts of subjects,--chemists in their -laboratories, card parties, marriage feasts, religious subjects, and -especially children. Besides being a successful artist, he was a brewer -at Delft. He failed in this business and opened a tavern. Hence he has -often been called "the jolly landlord of Leyden." - -Pieter de Hooch was the most neglected of all Dutch painters; yet in -1876 the Berlin Museum paid $26,000 for one of his paintings. He was -born in Rotterdam about 1630, and became one of the most charming -painters of homely subjects that Holland has produced. He died at -Haarlem about 1681. - -Meyndert Hobbema was born in Amsterdam about 1638, and was buried there -in a pauper's grave in 1709. Although today he is considered one of the -great landscape painters of Holland, his work was not appreciated during -his lifetime. Hobbema liked to paint only landscapes. It is said that -when it was necessary for him to get a figure in a picture he had -another artist do it. - -All these men were great artists of Holland. And it is a peculiar thing -that most of them lived in the sixteenth and seventeenth centuries. -Since then Holland has done comparatively little in art. - -[Illustration: The Mint Tower, Amsterdam] - - - - - HOLLAND - - - By DWIGHT L. ELMENDORF - - _Lecturer and Traveler_ - - - THE MENTOR . DEPARTMENT OF TRAVEL . MAY 1, 1914 - - - MENTOR GRAVURES - - THE RYKS MUSEUM, AMSTERDAM - VEEN KADE, THE HAGUE - STREET SCENE, ROTTERDAM - STREET SCENE, AMSTERDAM - MONTALBANS TOWER, AMSTERDAM - SCENE IN HAARLEM - - -Holland has been described as a "country of unpainted pictures." That is -the artist's point of view; for his eye takes in the picturesque -possibilities of the subject. To us it seems as if Holland is of all -countries the one most often seen in pictures. While, no doubt, there -are many "untouched pictures" in the miles of level Dutch landscape, art -has surely shown a generous recognition of Holland's attractive scenery, -and has celebrated its picturesqueness to all the rest of the world. -Holland is a country of dikes and level meadow lands, of windmills and -canals. From the point of view of an aeronaut the Dutch cities look like -a map of Mars. This is especially true of Amsterdam, which, viewed from -above, appears to be a network of canals. These canals are an attractive -feature of the cities. In some cases the whole street is canal; in other -cases the street is both "wet and dry"--a canal flanked by a street. - -[Illustration: Copyright, American Press Association - -"THE HOUSE IN THE WOOD," THE HAGUE - -This is Queen Wilhelmina's favorite place of residence. It is located in -the forest park about one and a half miles from The Hague, and was the -meeting place of the first International Peace Conference, held in 1899] - -Imagine a country, in some spots lower than the sea, maintaining its -existence only by constant vigilance and industry, fighting for its very -life through the changing seasons against the one great enemy, water. -The dunes or sand hills which line the coast serve as a barrier against -the sea. These are reinforced by coarse grass, which holds the sand -together. In some places the dikes are made of earth, sand, and clay, -held together by willows, which are carefully planted so as to form a -binder. In other places dikes are built of stone. The dikes are the -fortifications against the inroads of the ocean, and also the floods in -the rivers that flow through Holland to the sea. - -[Illustration: Copyright, American Press Association - -HOUSES OF PARLIAMENT, THE HAGUE - -With the Queen's Fish Pond in the foreground] - -When there are heavy rains in Germany the Rhine brings down a great -additional volume of water, which has to be checked by the dikes and led -away by the canals. Holland's fight against water has been a warfare of -varying fortunes. At times in the past dikes have been broken, great -tracts of land have been inundated, and thousands of people drowned. - -The Dutch are a careful, plodding, and industrious people, and they have -profited by experience. As a result they are now not only holding their -water enemy in check, but they have actually advanced upon the sea, and -have taken from it sufficient territory to add materially to their -cultivated lands. But the contest with the rivers and the sea has to be -constant. A special body of engineers is appointed to look after the -work, and the Dutch government spends annually several million dollars -to keep the dikes in order and hold the ground. Water is confined in -canals and in large basins; and the ever-faithful windmill, when not -otherwise engaged, is employed to pump the water from the lowlands. - - -DIKES AND WINDMILLS - -The dikes and the windmills are the two great factors of physical and -commercial life in Holland. The dike safeguards the land; the windmill -fans the currents of trade. Whether corn is to be ground, timber sawed, -tobacco cut, paper manufactured, or water pumped, the long arms of the -mill perform a willing and efficient service while the wind blows. The -importance of the dike is reflected in the names of many Dutch towns. -The word _dam_ or _dike_ is to be found almost everywhere. Amsterdam is -the "dike" of the River Amstel (ahm'-stel); Rotterdam, the "dike" of the -River Rotte; Zaandam (zahn-dahm'), the "dike" of the River Zaan--and so -on. The thought of the protecting dike was generally in mind when a town -was founded. The windmill is not only an untiring servant of industry, -but is a sign of Dutch prosperity as well. You may hear it said of a -Hollander, "He is worth ten millions." You are quite as likely to hear -it said, "He is worth ten windmills." - -[Illustration: THE ROYAL PALACE, AMSTERDAM - -The palace, formerly the town hall, was begun in 1648, finished in 1655, -and cost 8,000,000 florins. It rests on a foundation of 13,659 piles, -and its tower is 167 feet high. The weather vane on the tower represents -a merchant vessel, formerly the crest of the city] - -It required dogged determination and persevering energy to make the -history of Holland. The Dutch people successfully resisted Spanish -domination at a time when Spain was a supreme world power, and then they -built up a government of their own in a country where they had to fight -for the very existence of the land. In government administration, in -thrift and commercial enterprise, in exploration and colonization, in -literature, and in arts, Holland has proved herself to be a wonderful -little country. She has had much to say in the Congress of Nations. One -of her chief cities, The Hague, is identified in everyone's mind with -one of the most important world movements of modern times,--the -International Peace Conference. - -The population of Holland does not exceed 6,000,000, and there are only -four towns having a population exceeding 100,000,--Amsterdam, The -Hague, Rotterdam (rot'-er-dam; Dutch, rot-ter-dahm'), and Utrecht -(u'-trekt; Dutch, oo'-trekt). - - -AMSTERDAM - -This most interesting city is situated where the River Amstel enters the -Zuyder Zee (zy'-der zee; Danish, zoi'-der zay). Just where the city lies -there is an arm of the sea which goes by the odd name of Y or Ij -(pronounced _eye_). Amsterdam is the chief commercial city of Holland; -though in some branches of business Rotterdam disputes its supremacy. -The city is of odd, semicircular shape, and is intersected by canals, -which run in curves like the rows of seats in an amphitheater. Each of -these semicircular canals marks the line of the city walls and moat at -different times. Other canals cross these in such a manner as to cut the -city up into a number of islands. The old part of the city lies in the -very center, inclosed by the inner semicircular canal. At one end of -this canal is the "Weepers' Tower," which takes its name from the fact -that it stands at the head of what was the old harbor, and was the -scene, therefore, in ancient times, of many sad leavetakings. There -wives and sweethearts said goodby to the men who went "down to the sea -in ships." - -[Illustration: THE GATE OF THE STADTHOLDER, THE HAGUE] - -[Illustration: THE NEW THEATER, AMSTERDAM] - -Amsterdam is supposed to have originated about 1204, when Gysbrecht II, -Lord of Amstel, built a castle there. It came to be really important -about the end of the sixteenth century, when the wars with Spain had -ruined Antwerp, and many merchants, manufacturers, and artists left -there and settled in Amsterdam. The population of the city today is -close to 600,000, and it is one of the busiest markets in Europe, doing -a large business in imports, especially in the products of the Dutch -colonies. - -[Illustration: Copyright, American Press Association - -PALACE OF PEACE, THE HAGUE] - -The city, moreover, is very beautiful. The main canals are lined with -avenues of elms, and they offer a picturesque appearance and a pleasant -shade. The streets are full of life, and their interest is enhanced by -the varied activities of those who walk and ride on the paved roads and -others who ply oddly constructed boats through the waterways. - - -A CITY BUILT ON PILES - -The costumes, while not so picturesque as those to be found in the -country districts, are interesting to the traveler from other lands. The -houses are built on piles driven into the soft soil--a fact that the -witty old Erasmus of Rotterdam turned to jest by saying that he knew a -city whose inhabitants dwelt in the tops of trees like rooks. - -There are so many things in Amsterdam of historic, literary, and art -interest that no one can expect to "do the city" and do it thoroughly in -the brief time usually allotted by the ordinary tourist. For the student -of art there is enough to fill a month's time. The home city of -Rembrandt naturally holds the interest of an artist, and the Ryks Museum -contains a wonderful collection of Dutch art and Historic relics. - -[Illustration: Copyright, American Press Association - -THE RIDDERZAAL, THE HAGUE - -The old Ridderzaal on the Brennenhof is the ancient castle of the counts -of Holland. The most modern improvements, such as electricity and -telephones, have been installed in this ancient structure. The grand -assembly hall seats two hundred and eighty, and is lighted by eight -immense chandeliers of antique style, containing fifty-four lights -each] - - -RYKS MUSEUM - -This museum is an impressive stone and brick building, constructed in -1877-1885, and filling nearly three acres of ground. It holds a place -among the greatest museums of the world, and in its devotion to its own -particular subject--Dutch art and history--it is unique. It is not the -lover of art alone who will find the place fascinating: the historian -will be held by the military, naval, and colonial collection; the -antiquarian will linger over the old works in gold and silver, the -models of ships of different periods, antique books and furniture, -textiles and stained glass; while the artist will regard the picture -galleries as a treasure house. - -For the artist, if interested in the Dutch masters of art, the museum is -the one particular place in Europe. There about him he will find some of -the most celebrated works of Rembrandt, Franz Hals, Paul Potter, Jan -Steen (stane), Hobbema (hob'-be-mah), and other Dutch painters. - -The picturesque old buildings of Amsterdam, especially those in the -inner city, will delight the visitor. Many of these have great historic -interest--notable among them Admiral de Ruyter's (ry'-ter; Dutch, -roi'-ter) house, bearing his portrait in relief on its front, and a -little beyond that the old Montalbans Tower. - -[Illustration: Copyright, Underwood & Underwood - -A STREET IN AMSTERDAM] - -The Royal Palace is a solid building which was begun in 1648, just after -the Peace of Westphalia, and was finished in the course of seven years -at a cost of 8,000,000 florins ($3,216,000). It is not a beautiful -building; but in its structure and its inner equipments it is -interesting as showing the character of Dutch life and government. You -bring from a visit to the palace an impression of the solidity, power, -and the enduring virtues that are the ancestral inheritance of the -Hollander. - -No visit to Amsterdam is complete without a sight of the Zoological -Garden, which is one of the best in Europe, and a trip out to the unique -little Island of Marken. There in that odd spot you will find all the -picturesqueness of Holland in solid deposit. Gaily colored costumes are -everywhere; houses are queer in structure and in furnishing; and manners -and habits of life are peculiar and interesting. But let the visitor be -cautious in Marken. It has of recent years come to be a show place, -stocked with all sorts of Dutch articles of no special value, most of -which are manufactured solely to catch the fancy of the unwary tourist. - - -HAARLEM - -On returning from Marken the traveler will find it worth his while to -run west to the quaint old town of Haarlem (hahr'-lem). This is the city -of the governor of the province of North Holland, and is one of the -cleanest and neatest towns in the Netherlands. Its population is -something over 70,000, and it has the appearance of prosperity and -welfare. During the Middle Ages, Haarlem was the residence of the counts -of Holland, and was the scene of several important military engagements -between the Dutch and the Spaniards. It is famous for its horticulture, -and furnishes bulbs to every country in Europe and North America. Along -about the middle of spring a wonderful sight may be seen in the lands -surrounding Haarlem. Whole fields of hyacinths, crocuses, anemones, -tulips, lilies, etc., offer a brilliant variety of color and fill the -air with delicious perfume. It is a feast for the senses indeed! - -[Illustration: Copyright, American Press Association - -SAINT NICHOLAS CHURCH, AMSTERDAM] - - -ROTTERDAM - -Situated about thirty miles south of Amsterdam and Haarlem is Rotterdam, -the second largest town in the Netherlands, which has a population of -about 370,000. To some it is known chiefly as the home of the -illustrious Erasmus, who was born there in 1465. In the great -marketplace of Rotterdam there stands a fine bronze statue of Erasmus. - -To merchants Rotterdam is known as one of the busiest import cities on -the Continent; as in its import trade it is exceeded only by Hamburg and -Antwerp, while its cattle market is the most important in Holland. There -is much life in Rotterdam, and plenty of entertainment to enliven the -visitor who goes there for other purposes than those of trade. - -[Illustration: THE POSTOFFICE, ROTTERDAM] - -Boyman's Museum contains a most valuable collection of Dutch art, and -the churches, parks, and public ways are attractive and interesting. -Down at the large docks you will find busy scenes; at the Wilhelmina -Kade especially, where the great passenger steamers lie. You will meet -that name _Kade_ wherever you go in the towns of Holland. It means quay, -and the different thoroughfares distinguished by the name are either -quays or else have been quays in times past, and in the course of the -city's growth have become streets with waterways in them. - -You will be impressed with the vast multitude of bridges in Rotterdam. I -do not know that they actually exceed in number the bridges of -Amsterdam; but they appear to, for many can be seen from almost every -point of view. The service of the canal to Holland is manifold, and this -is true in winter as well as in summer. Over the frozen surface of the -canal children skate to school, women skate to their shopping, and those -who have time for recreation skim the icy surfaces from town to town in -skating trips. - - -THE HAGUE - -There are many towns in Holland to invite the traveler, and most of them -will delight him as well. This is especially true of Utrecht, Dordrecht, -and Delft, the last famous the world over for its pottery. It is well, -however, when making a visit to Holland, to save The Hague until the -last. - -The Hague is the political capital of Holland, and in some ways the most -beautiful and interesting of all Dutch cities. It is a most cosmopolitan -town, and its population includes many distinguished people. Among the -cities of Holland, The Hague leads in culture and refinement, as -Amsterdam and Rotterdam do in commerce. It is, moreover, the most -attractive city. In neatness and in cleanliness it is claimed that The -Hague cannot be excelled by any city in the world. You are willing to -believe that when you are there. - - -THE HOUSE IN THE WOOD - -The full Dutch name of this city of royalty is 's Graven Hage ('s -grah'-fen hah'-ge), which means "the count's inclosure." The name was -given to it originally when it was a richly wooded plain and a hunting -resort of the counts of Holland. It is now the residence of the queen of -Holland and the seat of government, where most of the important national -transactions of the last three hundred years have taken place. There is -no great amount of business at The Hague. It is a place of important -political affairs and of social life and enjoyment. The life there is -distinguished for its gaiety, and the society for its distinction. Great -interest naturally centers in "The House in the Wood," a most -picturesque chateau erected in 1645 for Princess Amalia, consort of -Prince Frederick Henry, son of Henry the Silent. This is the favorite -home of royalty. The most interesting apartment in the palace is the -Orange Room, which was prepared by the princess as a memorial to her -husband, and has been the scene of many important diplomatic and social -events. The first International Peace Conference, at which twenty-six -powers were represented, met in this room in the summer of 1899. The -House in the Wood is beautifully furnished and decorated, and, more than -the usual royal residence, it realizes the meaning of the word "home." - -[Illustration: GROOTE KERK, DORDRECHT - -This church dates from the fourteenth century. Its tower is two hundred -and thirty feet high] - - -ATTRACTIONS OF THE HAGUE - -The population of The Hague is more than 240,000, and it has, besides -The House in the Wood, a number of notable features. There is the -celebrated picture gallery called the Mauritshuis, the Municipal Museum -which, next to the Ryks, is the finest in Holland, the Mesdag Museum, -which contains among other art treasures a fine collection of pictures -by the Barbizon painters, and the Steengracht Gallery, which is rich in -modern French and Dutch paintings. The quaint old Hall of the Knights -will attract attention for its historic interest, and so will the -beautiful and imposing national monument, which was set up in 1869 to -commemorate the restoration of Dutch independence and to honor Prince -William Frederick of Orange. - -Altogether The Hague is a delight to the traveler. Thackeray exclaimed -over it, "The brightest little brick city, with the pleasantest park to -ride in, the neatest, comfortable people walking about, the canals not -unsweet, and busy and picturesque with life!" - -[Illustration: THE CATHEDRAL, UTRECHT - -The cathedral was erected in 1254-67. At the time it was one of the -finest and largest churches in Holland] - - -SCHEVENINGEN - -[Illustration: ON THE BEACH, SCHEVENINGEN] - -It might be Brighton or Margate, and, except for the swarm of hooded -beach chairs, it might be Coney Island, this popular seaside resort of -Holland. Most of the features familiar to those who frequent the sea -coast resorts of other lands are to be found at Scheveningen. There is -the wide, gradually shelving beach, ceaselessly washed by the rolling -surf, crowded with people of all ages and stations, bobbing in the -water, frolicking on the beach, or sedately seated in the shaded chairs. -Back on the beach runs the long line of hotels and cottages that we find -at all great ocean resorts. The pleasure of playing on the seashore is -much the same wherever humanity is found, and no matter what the -locality may be the pleasure in all places finds pretty much the same -forms of expression. - -Scheveningen (shay'-ven-ing-en) began its life as a fishing village away -back in 1400. It is situated about three miles from The Hague, and has -been a bathing resort since 1815, growing in popularity and population -until now the annual number of visitors is about 40,000, chiefly Dutch -and German, but including also many Britons and Americans. The season -runs from the first of June to the end of September, and, just as in the -case of other summer resorts, its activities are at their height about -the first of August. - -Aside from its many attractions as a summer resort, Scheveningen has -some historic interest. It was from there that Charles II set sail when -he returned to England to assume the crown at the time of the -Restoration. This was in 1660. Thirteen years later that sturdy naval -hero Admiral de Ruyter engaged in a sea battle off Scheveningen, and -there defeated the combined forces of France and England. - - -DUTCH COUNTRY LIFE AND PEOPLE - -For those who would know Holland and the people, no trip would be -complete that merely included a few of the prominent cities. Take your -pack if you care for tramping, or engage a car if you prefer to ride: -you will find the roads good. Then go through the country and meet the -people in their simplest condition. The Dutch farmer has not changed in -several hundred years. He is a thrifty, contented individual, and his -life will interest you. You will find the country families hospitable, -and you will learn much from them that the city Hollanders have not told -you. As you go through the farm districts you will be impressed with the -varied color and the picturesque qualities of everything. And though you -may not be an artist you must, in the course of a sojourn in Holland, -feel the stir of art consciousness. - -Aptly indeed has Holland been called "a land of untouched pictures." - - - - -SUPPLEMENTARY READING - - - THE RISE OF THE DUTCH REPUBLIC - - _J. L. Motley._ - - - HISTORY OF THE UNITED NETHERLANDS - - _J. L. Motley._ - - Two justly famous and comprehensive historical works. - - - MOTLEY'S DUTCH NATION - - _W. E. Griffis._ - - A condensation of Motley's works brought down to 1908. - - - DUTCH LIFE IN TOWN AND COUNTRY - - _P. M. Hough._ - - A well written and authoritative book. - - - THE AMERICAN IN HOLLAND - - _W. E. Griffis._ - - A book that cannot fail to interest. - - - HOLLAND - - _George Wharton Edwards._ - - A book delightfully written, and artistically illustrated by a well - known painter. - - - - -_THE OPEN LETTER_ - - -The travel impressions of an artist are always interesting. Mr. George -Wharton Edwards in his book, "Holland of Today," presents with brush and -pencil a vivid and attractive picture of life and natural conditions in -the Netherlands: - - * * * * * - -"The first impression that the traveler in Holland gets is in one -respect similar to that given by the far western prairie regions, and -the broad, wind-swept flat country with comparatively few trees, and -lying open to the gales of the North Sea, has a little of the same bare -aspect. But with this is mingled a most decided aspect of novelty. Here -the fields are cultivated with the care of suburban market gardens, and -are separated by long V-shaped ditches, through which the water runs -sluggishly some feet below the surface of the ground. Looking across -them, one sees broad, brown, velvety-hued sails moving in various -directions among the growing crops; the roadway is on an embankment, -running high above the land, frequently crossing canals lying far enough -below for the brightly painted barges with lowered masts to pass freely, -generally without the need of drawbridges. - - * * * * * - -"The passenger boats, once so common in the canals, are fast -disappearing; like the diligences, they have been replaced by the system -of tram-cars which now cross the country, but here and there this -old-fashioned means of communication between the towns and villages -still survives, and it is certainly a delightful experience to make a -journey on market day in one of these arks. It is generally a long and -rather narrow boat, low in the water, and usually painted green and -white, with a low-roofed deck cabin divided into two compartments -running the entire length, with clean board seats, and tiny -lace-curtained windows, the floor scrubbed with sand until it is almost -as white as snow. The roof is covered with a mixture of sand and -pulverized shells, on a foundation of bitumen to hold it. It is most -delightful to sail or be pulled along by 'boy power' through the country -between the 'pollarded green banks' and look upon the changing landscape -and the brown-armed mills in legions engaged in battle against the water -enemy. - - * * * * * - -"The very laws of nature have here been reversed, for disregarding the -injunction, every house is builded upon the sand, and the whole coast is -held together practically by straws. There being little or no wood in -the country whole forests have been brought hither in ships and buried -as pile foundations for the cities. Save in the Island of Urk in the -Zueyder Zee there is not a stone to be found anywhere. Yet artificial -mountains (almost) have been brought in vessels from Sweden and Norway -and in masterful and ingenious manner erected as barriers against the -sea." - - * * * * * - -Concerning the people of Holland, Mr. Edwards has this to say: "The -superficial observer will perhaps find that the people move more slowly -and deliberately than his standard demands; that there are not enough of -the quaint costumes, of which he has read so much, to be seen in the -large centers, to satisfy his sense of the picturesque; but for him -whose eyes are open to the glory of attainment and the greatness of art, -whose mind is attuned to effects of environment upon the development of -character, who can appreciate the brave and successful attempts of a -people grown out of the very soil to ameliorate sorrow, poverty, and -suffering, and who have succeeded in spite of adverse conditions and -climate in establishing an almost ideal form of civilization and -government, I say no land has so much to offer as little Holland. As the -poet says: - - "'What land is this that seems to be - A mingling of the land and sea? - This land of sluices, dykes, and dunes? - This water-net that tesselates - The landscape? This unending maze - Of gardens, through whose latticed gates - The imprisoned pinks and tulips gaze; - Where in long summer afternoons - The sunshine, softened by the haze, - Comes streaming down as through a screen - Where over fields and pastures green - The painted ships float high in air, - And over all and everywhere - The sails of windmills sink and soar, - Like wings of sea-gulls on the shore?'" - - - - -Let Your Friends Share the Privilege of Membership in The Mentor -Association - - -The Course for One Year Provides: - - 1--A growing library of the world's knowledge--twenty-four numbers a - year. - - 2--A beautiful art collection for the home--one hundred and - forty-four art prints in sepia gravure and color. - - 3--One hundred and forty-four crisp monographs--one to accompany - each Mentor Gravure. - - 4--A reading course throughout the year. - - 5--An education for all the family, under the direction of the - foremost educators in this country--in art, literature, science, - history, nature, and travel. - - -Send the names of three friends whom you wish to nominate for -membership, and to whom you would like to have us send presentation -copies of The Mentor. - - - - -THE MENTOR - - -The Mentor Service - -THIS SERVICE COVERS THE needs of those who want to gain knowledge by an -easy and agreeable method. - -Send for our booklet descriptive of The Mentor Club Service. It presents -many varied Mentor courses specially planned for the use of -reading-clubs. - -The Mentor Association will supply to its members supplementary reading -courses dealing with any or all of the subjects in The Mentor Courses. -These courses of reading are prepared under the direction of the -Advisory Board of The Mentor--all of them prominent educators. - -The Mentor Association will also secure books for members, supplying -them postpaid at publishers' prices. - -The Mentor Inquiry Department gives to its members a full and -intelligent service in answering inquiries concerning books, reading, -and all matters of general information having a bearing on The Mentor -Courses. - -MANY READERS HAVE COME TO KNOW THE VALUE OF THE MENTOR SERVICE. IN THE -FULLEST SENSE IT SUPPLEMENTS AND ROUNDS OUT THE PLAN OF THE MENTOR. ALL -MEMBERS OF THE ASSOCIATION ARE INVITED TO TAKE ADVANTAGE OF THIS SERVICE - - -THE MENTOR BINDER - - Every page of The Mentor, cover included, contains matter that - readers want to keep. The Mentor Association is now supplying to its - members a binder which holds twelve or thirteen Mentors and has - proved satisfactory in every way. This binder has been arranged so - as to hold The Mentor complete and it has tapes to which the - pictures are attached, so that they swing freely in their place and - the pictures can be enjoyed as well as the text on the back. - - The price of these binders is One Dollar each. - - - MAKE THE SPARE - MOMENT COUNT - - - - - TRANSCRIBER'S NOTES: - - The spelling of the original work has been retained. - - Section Amsterdam, pronunciation of Zuyder Zee: Danish should - probably be Dutch. - - The poem at the end of the Open Letter is part of Longfellow's - Keramos. - - Following are the correct spellings of the Dutch names given by the - authors: - Brennenhof: Binnenhof - Ryks Museum: Rijksmuseum - Ryks: Rijks - Harmanzoon: Harmenszoon - Veen Kade: Veenkade - Montalbans Tower: Montelbaans - Zuyder Zee, Zueyder Zee: Zuiderzee - Meinheer: Mijnheer - Zealand: Zeeland - Franz Hals: Frans Hals - Y, Ij: IJ (occasioanlly Y) - 's Graven Hage: 's Gravenhage. - - - - - -End of the Project Gutenberg EBook of The Mentor: Holland, v. 2, Num. 6, -Serial No. 58, by Dwight Elmendorf - -*** END OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: HOLLAND, V. 2 *** - -***** This file should be named 43257.txt or 43257.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/2/5/43257/ - -Produced by Juliet Sutherland, Harry Lame and the Online -Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from 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.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is 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.org/license - -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.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and 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 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need, are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation 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 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.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. diff --git a/43257.zip b/43257.zip Binary files differdeleted file mode 100644 index 5601546..0000000 --- a/43257.zip +++ /dev/null |
