diff options
Diffstat (limited to '43607-h/43607-h.htm')
| -rw-r--r-- | 43607-h/43607-h.htm | 534 |
1 files changed, 57 insertions, 477 deletions
diff --git a/43607-h/43607-h.htm b/43607-h/43607-h.htm index 94ac01c..e232d0a 100644 --- a/43607-h/43607-h.htm +++ b/43607-h/43607-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 Builders of United Italy, by Rupert Sargent Holland. @@ -235,46 +235,7 @@ margin-top:0; </style> </head> <body> - - -<pre> - -Project Gutenberg's Builders of United Italy, by Rupert Sargent Holland - -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: Builders of United Italy - -Author: Rupert Sargent Holland - -Release Date: August 31, 2013 [EBook #43607] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK BUILDERS OF UNITED ITALY *** - - - - -Produced by Norbert Müller, Greg Bergquist and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/American Libraries.) - - - - - - -</pre> - - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 43607 ***</div> <div class="figcenter" style="width: 558px;"> <img src="images/illo_001.jpg" width="558" height="600" alt="Portrait Victor Emmanuel" title="" /> @@ -379,7 +340,7 @@ of Alfieri.</p> find a poet’s voice. There was no vigor, no resolution, no originality from Turin to Naples, people of all classes were sunk in apathy. No wonder -that foreign lovers of mediæval Italy turned +that foreign lovers of mediæval Italy turned their eyes away from the seats of so much former glory; there seemed little hope in a people given over to trivial personal enjoyment. There was no @@ -578,7 +539,7 @@ to me was the painted countenances of many very ugly women, far outweighed in my mind the beauty and elegance of the public walks and gardens, the infinite variety of the carriages, -the lofty façade of the Louvre, as well as the number +the lofty façade of the Louvre, as well as the number of spectacles and entertainments of every kind.” Verily the young Alfieri was either the hardest of all travelers to suit, or the older man, @@ -668,7 +629,7 @@ memoirs we find him writing, “The book of all others which gave me most delight and beguiled many of the tedious hours of winter, was Plutarch. I perused five or six times the lives of Timoleon, -Cæsar, Brutus, Pelopidas, and some others. I +Cæsar, Brutus, Pelopidas, and some others. I wept, raved, and fell into such a transport of fury, that if any one had been in the adjoining chamber they must have pronounced me out of my @@ -706,7 +667,7 @@ land.</p> eminent of then living Italian authors, a man much admired in his generation. The opportunity he declined. “I had seen Metastasio,” he says, “in the -gardens of Schönbrunn, perform the customary +gardens of Schönbrunn, perform the customary genuflection to Maria Theresa in such a servile and adulatory manner, that I, who had my head stuffed with Plutarch, and who embellished every<span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span> @@ -755,7 +716,7 @@ Alfieri was slightly wounded, and the husband declared himself satisfied. Shortly after the latter sued for divorce, bringing the Italian’s name into the case. The newspapers took up the -scandal, and the matter became a cause celèbre. +scandal, and the matter became a cause celèbre. Alfieri was on the point of proposing marriage, when the woman, by her own confessions, told him that such a result was impossible. With his ardor @@ -1213,7 +1174,7 @@ somewhat in doubt as to the success of a play<span class="pagenum"><a name="Page written on such a subject, but it was hailed as a triumph at its first presentation some years later, and made a remarkable impression on Byron and -on Madame de Staël, and was considered by most +on Madame de Staël, and was considered by most critics as Ristori’s finest impersonation.</p> <p>After two months the Countess had to return to @@ -1240,7 +1201,7 @@ elysium.” There are many glimpses to be had of this new life in the French capital. Montanari recounts how the Marquis Pindemonte, himself a<span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span> dramatist, used each evening to take an omelette -soufflé in the Countess’s room, while Alfieri sat in +soufflé in the Countess’s room, while Alfieri sat in the chimney corner sipping his chocolate. Under such peaceful auspices the poet spent many months in a critical preparation of all his works for new @@ -1338,7 +1299,7 @@ for the most part devoted himself to a study of the classics. In 1795, when he was forty-six years of age, he started to learn Greek, and was so fired with the desire that in a short time he had added an -intimate knowledge of Homer, Æschylus, Sophocles, +intimate knowledge of Homer, Æschylus, Sophocles, and Euripides to that he already had of the Latin authors. He was so much interested in the “Alcestis” of Euripides that he wrote an original @@ -1547,7 +1508,7 @@ at this period two great philosophic principles, materialism and skepticism, and that in opposition to them there rose a spirituality which was carried to the heights of idealism. This spirituality approached -the mysticism of mediæval days. “To +the mysticism of mediæval days. “To the right of nature,” he says, “was opposed the divine right, to popular sovereignty legitimacy, to individual rights the State, to liberty authority @@ -1563,7 +1524,7 @@ indefinite, in a beyond which was called the ideal, in an inspiration towards the infinite, incapable of fruition and therefore melancholy.... To Voltaire and Rousseau succeeded Chateaubriand, -De Staël, Lamartine, Victor Hugo, Lamennais. +De Staël, Lamartine, Victor Hugo, Lamennais. And in 1815 appeared the Sacred Hymns of the young Manzoni.”</p> @@ -1595,7 +1556,7 @@ impossible, even in the half-veiled militant form used earlier by Alfieri. The Romantic School therefore, confined in its modern scope, turned backward, became retrospective, and sought its -outlet in the glories of that mediæval world which +outlet in the glories of that mediæval world which had been so nearly akin in spirit to the modern<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span> sentiment. It turned from recent atheistic tendencies to a mood of great devotion, from lax @@ -1617,7 +1578,7 @@ of the Napoleonic occupation, and secondly, it was Romantic in contradistinction to the Classicism of the earlier times. Greek and Roman themes for artistic expression were abandoned for the stories -of national mediævalism, the Papacy became the +of national mediævalism, the Papacy became the center of its poetic aspiration, and its spirit, though highly ardent, was far more truly modern than that of Classicism had been. Our former @@ -1657,7 +1618,7 @@ name, its ties, its studies, its impressions, was allied to German traditions and French fashions, it<span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span> was at bottom Italian in accent, aspiration, form, and motive.... Every one felt our hopes palpitating -under the mediæval robe; the least allusion, +under the mediæval robe; the least allusion, the remotest meanings, were caught by the public, which was in the closest accord with the writers. The middle ages were no longer treated @@ -2873,7 +2834,7 @@ Church could exercise a wise temporal authority. He looked back to the Middle Ages, and spoke with some of Savonarola’s words. He appealed to his people’s ancient love of art and letters, to the -glories of the mediæval cities, to the world-wide +glories of the mediæval cities, to the world-wide authority of Rome and St. Peter’s. The appeal stirred the imagination of the intellectual classes, and drew the attention of other countries to the @@ -3042,7 +3003,7 @@ discordant sound.”</p> <p>His advocacy of the Italian bankers brought Manin before the Venetian public, he was recognized as an able speaker with a deep knowledge of -law. He spoke before the Venetian Athenæum +law. He spoke before the Venetian Athenæum on the obligation of thinkers to inspire and stimulate men of action. The subject gave him a chance to draw attention to the present lethargy of @@ -3381,7 +3342,7 @@ happened the Venetians were distributing the military stores among the people. At the moment of taking the arsenal Manin had sent word to call the whole people into St. Mark’s Square. He -found the ancient banner, the wingéd lion, and raising +found the ancient banner, the wingéd lion, and raising it from the dust where it had lain for fifty years he unfurled it before his company and led them back across the Piazzetta into the great<span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span> @@ -3619,7 +3580,7 @@ stoic calm.</p> <p>In spite of the fact that the city was besieged and money scarce, Venice was characteristically buoyant. The theater, the Fenice, was crowded; -fêtes and carnivals, always patriotically fervent, +fêtes and carnivals, always patriotically fervent, were of daily occurrence; processions, music, all that appealed to the eye and the ear and the imagination fed the Venetian love of glory. Their @@ -4980,7 +4941,7 @@ great end, but with widely different means, and with avowed enmity between them.</p> <p>It was not long until Cavour and Napoleon met -at Plombières and made their famous compact, +at Plombières and made their famous compact, after that events hastened forward. By the spring of 1859 Cavour had prepared both royalists and republicans for war. With his ally he @@ -5272,7 +5233,7 @@ known, and the coldness of contemporaries to the burden of relations with them which might tend to shackle his own independence. He read his time and countrymen with extraordinary accuracy, and -foresaw that what was left of the old régime was +foresaw that what was left of the old régime was tottering and that to attempt to bolster it up was absurd. He preferred to let the old conventions of a departed feudalism go their way in peace while @@ -5282,7 +5243,7 @@ should be recognized.</p> <p><span class="pagenum"><a name="Page_166" id="Page_166">[166]</a></span></p> <p>The Piedmont of 1810, the year of Cavour’s -birth, was singularly mediæval. The militant +birth, was singularly mediæval. The militant strength and daring of the small states of the Middle Ages had departed, but the point of view remained. The aristocracy was narrow, bigoted, @@ -5311,7 +5272,7 @@ services was made Marquis of Cavour by Charles Emmanuel III., and the eldest son of Marquis Benso di Cavour married Philippine,<span class="pagenum"><a name="Page_167" id="Page_167">[167]</a></span> daughter of the Marquis de Sales, a girl brought -up in a château on the Lake of Annecy. The Marquise +up in a château on the Lake of Annecy. The Marquise Philippine immediately became the controlling factor in the Cavour household; she strove to lighten the heavy somberness of her husband’s @@ -5332,7 +5293,7 @@ Princess became one of her staunchest friends, and with the Prince acted as sponsor at the christening of the Marquise’s second grandchild, Camille di Cavour. The Marquise’s son, Michele Benso, had -married Adèle, daughter of the Count de Sellon of +married Adèle, daughter of the Count de Sellon of Geneva, and had two sons, Gustave and Camille. Michele Benso had profited greatly by his mother’s tact, but he was still the unbending reactionary in @@ -5372,7 +5333,7 @@ At the age of twenty-one, he wrote to the Count de Sellon, “The Italians need regeneration; their morale, which was completely corrupted under the ignoble dominion of Spaniards and Austrians, regained -a little energy under the French régime, +a little energy under the French régime, and the ardent youth of the country sighs for a nationality, but to break entirely with the past, to be born anew to a better state, great efforts are @@ -5393,7 +5354,7 @@ with new steam machinery, canal irrigation, artificial fertilizers, studying books on government and agriculture, seeing something of his country neighbors, waiting for the gradual breakdown of -the old régime. His family were quite content to +the old régime. His family were quite content to let him vegetate on his far-off estate, he had no<span class="pagenum"><a name="Page_170" id="Page_170">[170]</a></span> position in the family household in Turin, his father and brother were busy with details of court @@ -5813,7 +5774,7 @@ Italian conditions, he was an enthusiastic admirer of Mr. Gladstone, he studied Louis Napoleon’s giant strides to power, not for their effect upon liberty, but in search of indications that the new -French régime would listen to the voice of Victor +French régime would listen to the voice of Victor Emmanuel. He had come to realize that foreign aid was essential to ultimate victory, and looked to France as the most probable ally. That this ally @@ -6151,7 +6112,7 @@ far different from those the various plenipotentiaries intended. Austria came to Paris in the enviable position of the great European peace-maker, she left as tyrannical upholder of the old -régime. Cavour came as the representative of a +régime. Cavour came as the representative of a small state with interests far inferior to those of the other nations, he left as the moral champion of the much abused peninsula of Italy. Austria @@ -6318,15 +6279,15 @@ between influential persons at Paris and Turin; in June Dr. Conneau, an intimate of the Emperor, happened to visit Turin, and saw Victor Emmanuel and Cavour. It was stated that Napoleon -intended to make a private visit to Plombières. +intended to make a private visit to Plombières. Shortly after Cavour announced that his health required a change of scene and that he should go away into the mountains. By a strange -coincidence he also went to Plombières. Napoleon +coincidence he also went to Plombières. Napoleon saw him, they spent two days closeted together; when Cavour left the two men understood each other. The details of what was known as the Pact -of Plombières are not positive, the understanding +of Plombières are not positive, the understanding appears to have been that a rising in Massa and Carrara should give a pretext for a war to expel the Austrians. After such expulsion the country @@ -6339,7 +6300,7 @@ Clotilde, was to be given in marriage to Prince Napoleon.</p> <p>Napoleon had shown his interest in Italy, but -Cavour left Plombières fully alive to the fact that +Cavour left Plombières fully alive to the fact that actual help was still far distant. Austria would be hard to defeat, and Cavour did not wish France to provide all the forces for war. He already @@ -6589,7 +6550,7 @@ one with the revolutionaries.</p> went to stay for a short period of rest with his relatives in Switzerland. He expected to see Napoleon seize Savoy and Nice, although he had -not performed his part in the Pact of Plombières. +not performed his part in the Pact of Plombières. Again Napoleon surprised him, he returned to Paris without pressing any claim to new territory. Meanwhile the people of central Italy were asking @@ -6644,7 +6605,7 @@ turned again to see what Napoleon would do. What he would do was gradually becoming plainer. He would only sell his assent to the annexation of the states in return for Savoy and Nice. They -were the old stakes of the Pact of Plombières, and +were the old stakes of the Pact of Plombières, and Cavour had to decide whether they should go.</p> <p>His decision to sacrifice Savoy and Nice for the @@ -6656,7 +6617,7 @@ not have been united without that step. In that day the judgment of the best-informed was that Napoleon would have sent his army into Tuscany unless his desire was met. Cavour had only agreed -to consider the sacrifice at Plombières because he +to consider the sacrifice at Plombières because he was willing to go to any length to secure Italy<span class="pagenum"><a name="Page_213" id="Page_213">[213]</a></span> from foreign domination. He was willing to pay the same price now although he realized what the @@ -7567,7 +7528,7 @@ that of a national army.</p> mark the decade between the siege of Rome and 1859. In that time Cavour, by the successive steps of the Crimean War, the Congress of -Paris, and the secret Pact of Plombières, had succeeded +Paris, and the secret Pact of Plombières, had succeeded in isolating Austria from the other Powers, and in allying Louis Napoleon with Piedmont. His next step was to prepare actively for war, @@ -8268,7 +8229,7 @@ general went from Caprera to Southampton, and thence to London, acclaimed by thousands, who rivaled the warm-spirited Neapolitans in their heights of enthusiasm. The modest, benign-faced -warrior was fêted as a national deliverer, the +warrior was fêted as a national deliverer, the streets of London rang with his hymn, women adopted the famous red Garibaldi shirt as the latest fashion, aristocrats and working people @@ -8293,7 +8254,7 @@ affectionate farewell and returned to Caprera.</p> the kingdom of Victor Emmanuel, is not a glorious page in Italian history. Venice was freed from Austria’s rule because the Prussians won the battles -of Sadowa and Königgratz. What victories +of Sadowa and Königgratz. What victories Italy won fell to the score of the volunteers fighting with Garibaldi in the Lakes rather than to the regular army of the new nation. From the @@ -8357,7 +8318,7 @@ the beautiful Lake of Como to Lecco accompanied by a fleet of private boats filled with admiring friends. From Lecco they went to Bergamo and thence to Brescia, and then for a time their headquarters -were at Salò, on the Lake of Garda. An +were at Salò, on the Lake of Garda. An eye-witness contrasts their informal style of marching with that of the regulars: “Some of them were lying at full length on bullock wagons, @@ -8369,7 +8330,7 @@ rugs rolled across their bodies.”</p> <p>When Garibaldi had completed his plans for marching north he received word from General La Marmora to take Lonato, and turned there from -Salò. The Austrians withdrew before the Italian +Salò. The Austrians withdrew before the Italian advance, and the latter army was free to enter the Trentino. Their first step in this direction was to take the rocky fort of Rocca d’Anfo, and after @@ -8396,7 +8357,7 @@ him leave the Trentino.</p> <p>The Italian army had met with a reverse at the battle of Custozza, but fortunately their Prussian allies had already won the two great victories of -Königgratz and Sadowa and were in a position to +Königgratz and Sadowa and were in a position to dictate terms to Austria. The oft-fought-over Venetian provinces became at last part of the kingdom of Italy. Venice was added to her sister cities, @@ -8781,7 +8742,7 @@ Savoy became King of Sardinia.</p> <p>Victor Emmanuel I. of Sardinia, who succeeded his brother Charles Emmanuel IV., was a brave, thoroughly good-hearted man, whose nature was, -however, absolutely mediæval. He was much under +however, absolutely mediæval. He was much under the influence of Austria, to whose Emperor he had given a promise that he would never grant his people a free constitution. He finally abdicated @@ -8900,7 +8861,7 @@ be freely spent in the Italian cause.”</p> <p>Then came the election of Pius IX. to the throne of Saint Peter, and a great wave of enthusiasm swept through the liberal party throughout Italy. -Pius was a great advance on the narrow, mediæval-minded +Pius was a great advance on the narrow, mediæval-minded Leo XII. and Gregory XVI., who had preceded him. The Romans felt new hope, and with each month the great enthusiasm spread until it @@ -9170,9 +9131,9 @@ that.”</p> <p>“That,” replied the King, “seems easy to me.”</p> <p>“Behold then,” said D’Azeglio, “we have the -Rè galantuomo!”</p> +Rè galantuomo!”</p> -<p>And “Rè galantuomo” was the name Victor +<p>And “Rè galantuomo” was the name Victor Emmanuel wrote in the register of the Turin census, and the title his people were most glad to give him.</p> @@ -9391,7 +9352,7 @@ passionately fond of military glory, and would<span class="pagenum"><a name="Pag have preferred the opportunity to lead his soldiers to any gift fortune could have bestowed. The soldiers knew this, the people were growing more -and more attached to their “Rè galantuomo,” and +and more attached to their “Rè galantuomo,” and the King, always quickly touched by the affection of his people, grew stronger in his resolve never to dim their hopes of him. He said of his uncle, the @@ -9474,7 +9435,7 @@ to a close, Victor Emmanuel found reason to believe that the day was not far distant when he should have his chance to redeem Novara. Napoleon and Cavour had reached a tacit agreement in -July, 1858, at Plombières. When Parliament +July, 1858, at Plombières. When Parliament opened in 1859 the King made his memorable<span class="pagenum"><a name="Page_308" id="Page_308">[308]</a></span> speech from the throne, including in it the words long and carefully considered by Cavour, “While @@ -9485,7 +9446,7 @@ cry of anguish, became famous forthwith. An eye-witness of the scene, the Neapolitan Massari, thus describes it: “At every period the speech was interrupted by clamorous applause, and cries -of ‘Viva il Rè!’ But when he came to the words +of ‘Viva il Rè!’ But when he came to the words <i>grido di dolore</i>, there was an enthusiasm quite indescribable. Senators, deputies, spectators, all sprang to their feet with a bound, and broke into @@ -10004,7 +9965,7 @@ appeared, and Parliament was opened on February 18, 1861. The King, in his speech from the throne, reviewed the great events of the past year, and declared that the valor of the great -mediæval cities of Italy had been shown to survive +mediæval cities of Italy had been shown to survive in the sons of the modern kingdom. He was proclaimed the sovereign by the title of Victor Emmanuel II., by the Grace of God and by the will of @@ -10041,7 +10002,7 @@ close that spring. He died June 6, 1861, having worked so hard in Parliament that he had brought<span class="pagenum"><a name="Page_327" id="Page_327">[327]</a></span> upon himself a violent fever. The King had visited him on June 5, and the sick man had roused -sufficiently to speak to him. “Ah, Maestà!” +sufficiently to speak to him. “Ah, Maestà !” murmured the man, to whom Victor Emmanuel represented the central figure of his career. At Cavour’s death Victor Emmanuel was prostrated. @@ -10142,7 +10103,7 @@ Italians were not used to a sovereign who was glad to meet all classes of his people, and not afraid to hear their views of his government. His fearlessness, his devotion, his bonhomie all endeared -him to the people, and the Rè Galantuomo became +him to the people, and the Rè Galantuomo became indeed a very honest king to all men who had only known Austrian and clerical governors.</p> @@ -10243,7 +10204,7 @@ volunteers in the Lakes were not meeting with their former successes, and the campaign would have been disastrous to Italian hopes had not their ally, Prussia, forced Austria to immediate -terms by the two great victories of Königgratz +terms by the two great victories of Königgratz and Sadowa. An armistice followed, and Napoleon, to whom Austria ceded Venetia, gave that province to Italy with the approval of Prus<span class="pagenum"><a name="Page_334" id="Page_334">[334]</a></span>sia. @@ -10486,7 +10447,7 @@ for bettering the material welfare of his people, draining the Campagna, tunneling Mont Cenis and the St. Gothard, and building up commerce with the East. He was always the idol of his -people, the Rè Galantuomo, in whatever part of +people, the Rè Galantuomo, in whatever part of the country he visited. On January 9, 1878, he<span class="pagenum"><a name="Page_342" id="Page_342">[342]</a></span> died, being fifty-eight years of age, and having reigned twenty-nine years.</p> @@ -10653,7 +10614,7 @@ people’s affection with each step he took.</p> <li>alliance with England and France, <a href="#Page_190">190</a>, <a href="#Page_191">191</a>;</li> <li>resignation as Premier and recall, <a href="#Page_193">193</a>, <a href="#Page_194">194</a>;<span class="pagenum"><a name="Page_346" id="Page_346">[346]</a></span></li> <li>Congress of Paris of 1856, <a href="#Page_195">195</a>-<a href="#Page_198">198</a>;</li> - <li>Pact of Plombières, <a href="#Page_201">201</a>;</li> + <li>Pact of Plombières, <a href="#Page_201">201</a>;</li> <li>crisis of 1859, <a href="#Page_204">204</a>-<a href="#Page_208">208</a>;</li> <li>war of 1859, <a href="#Page_208">208</a>;</li> <li>treaty of Villafranca, <a href="#Page_208">208</a>, <a href="#Page_209">209</a>;</li> @@ -10886,13 +10847,13 @@ people’s affection with each step he took.</p> <li>Palmerston, Lord, views on Italy, <a href="#Page_186">186</a>, <a href="#Page_210">210</a>, <a href="#Page_211">211</a></li> <li>Paravia, quoted (of Alfieri), <a href="#Page_18">18</a>, <a href="#Page_19">19</a></li> <li>Paris, Congress of, in 1856, <a href="#Page_195">195</a>-<a href="#Page_198">198</a></li> -<li>Piedmont, its mediævalism, <a href="#Page_166">166</a></li> +<li>Piedmont, its mediævalism, <a href="#Page_166">166</a></li> <li>Pius IX., accession of, <a href="#Page_73">73</a>, <a href="#Page_145">145</a>; <ul class="IX"> <li>Garibaldi’s letter to, <a href="#Page_226">226</a>, <a href="#Page_227">227</a>;</li> <li>flight from Rome of, <a href="#Page_77">77</a></li> </ul></li> -<li>Plombières, Pact of, <a href="#Page_201">201</a></li> +<li>Plombières, Pact of, <a href="#Page_201">201</a></li> <li>"Primato d’Italia, II," <a href="#Page_70">70</a>-<a href="#Page_73">73</a>, <a href="#Page_83">83</a>, <a href="#Page_84">84</a>; <ul class="IX"> <li>quoted from, <a href="#Page_71">71</a>-<a href="#Page_73">73</a>, <a href="#Page_83">83</a>, <a href="#Page_84">84</a></li> @@ -11122,387 +11083,6 @@ examples of incosistencies are noted below. </ul> </div> - - - - - - - -<pre> - - - - - -End of Project Gutenberg's Builders of United Italy, by Rupert Sargent Holland - -*** END OF THIS PROJECT GUTENBERG EBOOK BUILDERS OF UNITED ITALY *** - -***** This file should be named 43607-h.htm or 43607-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/6/0/43607/ - -Produced by Norbert Müller, Greg Bergquist and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/American Libraries.) - - -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 43607 ***</div> </body> </html> |