diff options
Diffstat (limited to 'old/51001-8.txt')
| -rw-r--r-- | old/51001-8.txt | 1166 |
1 files changed, 0 insertions, 1166 deletions
diff --git a/old/51001-8.txt b/old/51001-8.txt deleted file mode 100644 index 41ab0c7..0000000 --- a/old/51001-8.txt +++ /dev/null @@ -1,1166 +0,0 @@ -The Project Gutenberg EBook of The Mentor: Beautiful Buildings of the -World, Serial no. 33, by Clarence Ward - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The Mentor: Beautiful Buildings of the World, Serial no. 33 - -Author: Clarence Ward - -Release Date: January 22, 2016 [EBook #51001] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK MENTOR: BEAUTIFUL BUILDINGS OF WORLD *** - - - - -Produced by Juliet Sutherland, Karin Spence and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - - - - - THE MENTOR - - "A Wise and Faithful Guide and Friend" - - Vol. I No. 33 - - - - - BEAUTIFUL BUILDINGS of the WORLD - - TAJ MAHAL SALISBURY CATHEDRAL - - THE ALHAMBRA [Illustration] CHÂTEAU de CHAMBORD - - AMIENS CATHEDRAL NEW YORK CITY HALL - - _By CLARENCE WARD_ - _Professor of Architecture, Rutgers College_ - - -Beauty in architecture is as difficult to define as beauty in nature. -No single factor renders a building beautiful. Size and proportion, -style and decoration, age and setting, all enter into account. And -moreover there is the power a building possesses to appeal to the -ideals of the beholder, to his mind as well as to his sight and touch. -Even when judged from this broad viewpoint, the number of beautiful -buildings in the world is legion. It would be impossible to point to -anyone as the finest, or even to select a dozen without leaving a dozen -more that were equally beautiful. Every age, and every nation, has left -to us some crowning achievements of the builder's art. The following -are therefore merely selections from this storehouse, illustrating to -some degree the wealth of architectural treasures that is our heritage. - -Few if any buildings in the world have been the subject of such praise -as that bestowed upon the Taj Mahal ("Gem of Buildings"). Travelers, -painters, authors, and poets have all sought to express in word or -color the indefinable charm of this gem of Indian art. Built at Agra, -in India, by the great mogul of Delhi, Shah Jahan, as a tomb for his -favorite wife, Mumtaz Mahal, the Taj is a veritable translation into -stone of human remembrance and affection. It was begun in 1632, and -was completed in twenty-two years. The material of which it is built -is pure white marble, and inlaid in its walls are jaspers, agates, and -other stones in marvelous designs. But it is perhaps the dome that -gives the greatest beauty to this tomb. Of typical Eastern shape, it -rises a mass of white against the deep blue of the Indian sky, or -shines like silver in the radiance of the Indian moon. - - [Illustration: THE TAJ MAHAL - -_The approach through the splendid gardens seen in the foreground is -bordered by dark cypress trees, which contrast admirably with the color -of the marble domes beyond._] - - - THE WORLD'S MOST BEAUTIFUL TOMB - -It cannot be denied that the Taj Mahal (tahzh mah-hahl´) owes much -of its beauty to its setting. Not merely has it the contrast of the -brilliant sky above, but also the deep green of the gardens at its -feet, and more than this the four tall, graceful minarets standing -like sentinels at the corners of the marble terrace on which the tomb -is placed. The interior is scarcely less impressive than this outside -view. Its subdued light serves only to show more clearly the beauty -of the garlands of red and blue and green inlaid along its walls as -never-withering memorials of the queen who sleeps beneath the lofty -dome. - -It is perhaps beside her tomb that the traveler sees a vision of the -proud and mighty Jahan, cruel in many ways, but steadfast in his love, -building this glorious resting place for his fair consort, whom he -called by the familiar name of Taj. One may see even farther still and -picture to himself this once proud ruler, bereft of all his power and -even of his throne, looking out from his chamber window toward this -same Taj Mahal. Perhaps its wondrous dome gleamed in the moonlight on -that last night before he came to rest beneath its shades as it gleams -today to the enraptured gaze of thousands who take the pilgrimage to -Agra to see this wonder of the Eastern world. - - - THE PALACE OF THE MOORISH KINGS - -It is not such a step as it may seem from the Taj Mahal to the Alhambra -(al-ham'-bra). Both are oriental. Both are the products of Mohammedan -art, and mark in a way its Eastern and its Western expressions. As -early as the eighth century of our era the Moors of northern Africa -crossed to Spain and made the Iberian peninsula a Moorish califate -or kingdom. Its capital and last stronghold was Granada. And here on -a lofty hill, overlooking the city, King or Calif Al Hamar began the -mighty fortress of the Alhambra in the early years of the thirteenth -century. - - [Illustration: COURT OF THE MYRTLES, ALHAMBRA - _The pool is bordered on both sides by beautiful old hedges._] - -As is the case with almost every Mohammedan building, its exterior -is extremely plain. But once the door is passed one seems to have -stepped from Europe to the Orient. Courtyards and porticos, halls and -passages, open before the visitor in a truly oriental maze of color and -decoration. The first important court is known as that of the Myrtles. -In its center is a marble basin a hundred and thirty feet long, -bordered with trees of myrtle and orange, and flanked at both ends by -two-storied pavilions with slender marble shafts and graceful Moorish -arches. From one of these pavilions opens the Hall of the Ambassadors, -the throne room of the califs, and the largest chamber in the palace. - - - THE ALHAMBRA'S BEAUTY - -But it is not its size that makes this room imposing. Here, as -elsewhere in the palace, it is the decoration. Rising for three or -four feet from the floor is a band of colored Moorish tiles. All the -wall above is of stucco, molded in lacelike patterns and painted -in blues and reds and brilliant golden yellows. The designs are -largely geometrical or floral, frequently interspersed with Arabic -inscriptions. Some of these when translated read, "God is our refuge," -"Praise be to God," familiar phrases in Mohammedan faith, or "There is -no conqueror but God." Add to this decoration of the walls imposing -stalactite domes, and ceilings often of cedarwood inlaid with mother of -pearl, and imagine the floors and windows again adorned with oriental -rugs and hangings, and the beauty of the Alhambra will be easily -understood. - - [Illustration: HALL OF REPOSE OF THE BATHS, ALHAMBRA] - - [Illustration: THE GATE OF JUSTICE - _A part of the Alhambra palace not well preserved._] - -But neither the Court of the Myrtles nor the Hall of the Ambassadors -is the crowning glory of the palace. This honor belongs to the Court -of the Lions. One hundred and sixteen by sixty-six feet in size, this -court compares with any apartment in the world for pure, exquisite -beauty of design. An open portico, its ceiling borne on a hundred -and twenty-four slender and beautiful marble columns and delicately -ornamented arches, incloses the central space, in the middle of which -rises a magnificent fountain, its basin cut from a single giant block -of alabaster, and supported on the backs of twelve lions of white -marble, emblems of courage and strength. - - [Illustration: INTERIOR OF THE ALHAMBRA - _Arched window in the "Tower of the Captivity of Isabel."_] - -It is small wonder that the last of the Moorish kings, Boabdil -(bo-ahb-deel´), looked back with many tears at this glorious palace as -he surrendered it in 1492 to his Christian conqueror Ferdinand. Sadly -indeed he and his followers must have crossed again to the dreary -deserts of Africa, since they left behind them the whole fair land of -Spain, which they had adorned not merely with the Alhambra, but with -the Alcázar at Seville, the mosque at Cordova, and other monuments of -their civil and religious greatness. - - - THE GREAT CATHEDRALS - -At the very period when the Mohammedan conquerors of Spain were -building their palace of the Alhambra, the Christians of northern -France were erecting those vast cathedrals which stand today as -the crowning achievements of the builder's art. Paris, Chartres -(shahrtr), Bourges (boorzh), Rheims (reemz), Rouen (roo-ong´), Le Mans -(lee-mong´), Beauvais (bo-vay´) and Amiens (ah-mee-ong´) are but a -few of the long list of French Gothic cathedrals of the twelfth and -thirteenth centuries. From such a list it is most difficult to choose. -Each one has its distinctive claim to recognition, and its distinctive -features which are not surpassed in any of the others. This fact, -indeed, has caused it to be said that the ideal cathedral should have -the façade of Rheims, the spires of Chartres, the nave of Amiens, and -the choir of Beauvais. But even such an ideal cathedral would not -be perfect without the addition of features from each of the other -churches in our list. - -Since, however, it is necessary to choose, let us choose Amiens; for -perhaps this church is most widely acknowledged as the finest example -of the Gothic style. Its façade is a masterpiece of decoration. Three -deeply recessed portals in the lower story are covered with a wealth -of sculptured figures in the round and in relief. Bible lessons and -the events of human life and history, carved here in stone, taught the -terrors of sin and hell and the joys of a godly life as preached in -the church beyond these lofty doors. Nor is the decoration confined to -sculpture; for the whole façade, and in fact the entire church, is a -tracery of stone. - - - THE GOTHIC GLORY OF AMIENS - - [Illustration: SOUTH PORTAL OF AMIENS CATHEDRAL - -_The statue of the Virgin which stands in the portal replaces that of -St. Honoré, which was moved to the north transept. The carvings about -the south portal are taken from the life of St. Honoré._] - - [Illustration: NAVE OF AMIENS CATHEDRAL] - -It is from a side view, however, that Amiens shows at its best the true -glory of Gothic architecture. Nearly five hundred feet long and over -two hundred feet to the ridge line of the roof, it rises high above the -buildings of the city in which it stands, a symbol of the supremacy -of spiritual over earthly things. To be sure it has its faults. The -towers are too low and the central spire is of awkward shape; but the -huge windows, with their tracery in geometric patterns, occupying the -entire space between the buttresses, and these buttresses themselves -with their soaring arches spanning the aisle roofs below, afford an -unsurpassed example of beauty of design combined with the utmost -structural daring. Moreover, the interior is even more imposing. Lofty -piers and pointed arches separate the nave from the aisles. Slender -shafts carry the ribs of the huge vaults of stone forty-three feet in -span, which seem suspended in air one hundred and forty feet from the -pavement below. In the support of these vaults lies the keynote of -Gothic architecture. Though they seem hung as if by magic over walls -of glass, with very little masonry for their support, their weight and -thrust are borne by the sweeping arcs of the exterior flying buttresses -and the huge piers of masonry from which they rise beyond the side -aisle walls. Viewed from a central point, the majestic sweep of the -nave, the soaring height of the eastern apse, the wondrous window of -the northern transept, and the maze of piers and arches and chapels, -all unite to produce a glorious whole which cannot be surpassed in any -monument of any age. - - - SALISBURY'S SIMPLE BEAUTY - - [Illustration: SALISBURY CATHEDRAL - _A view from the northeast, showing plainly the double-cross shape of - the foundation._] - - [Illustration: NAVE OF SALISBURY CATHEDRAL - _A number of interesting monuments were placed between the columns by - James Wyatt._] - -If the interior of Amiens personifies in the highest degree the majesty -and glory of Christian faith, the spire of Salisbury may be said to -embody its hope and aspiration. Rising four hundred and four feet from -the ground, this spire has few to rival it in all the world. Other -cathedrals might dispute its claim to first place among spires; but -none is set upon a church so fine. That Salisbury is the most beautiful -cathedral in England is not claimed. As was the case in France, so -here, there are too many churches, each with its own distinctive -points of beauty, for anyone to be the finest of them all. - -But Salisbury at least must find a place among the first, and is -especially interesting because it is exactly contemporary as to date -with Amiens in France. Architecturally both are Gothic; yet the -difference in design is as great as the distance in miles between -them. Low instead of lofty, with little decoration, and set in the -midst of nature's grass and trees instead of in a crowded city, -Salisbury's appeal is through the quiet beauty of its line, and the -simplicity of its construction in contrast to the complex structure -of the French cathedral. The Gothic of England was rarely the Gothic -of carefully balanced thrust and pressures, of flying buttresses and -huge window spaces. Here at Salisbury the walls are still quite heavy -and the windows only moderately large. They have no tracery of stone; -but are simple, narrow openings in the walls, with pointed heads so -like a lance in shape that they have given the name of Lancet to this -period of English Gothic architecture. Slow to throw off their earlier -traditions, the English builders clung, even in Gothic days, to many -of the characteristics of the Norman era, which had produced such -masterpieces as Durham and Peterborough, Ely and Norwich, cathedrals. -The result of this is especially evident in the interior of Salisbury; -for here, in spite of the shafts of Purbeck marble, one for each hour -in the year, and in spite of the rich moldings of the piers and arches, -the lack of structural unity, and the comparative smallness of the -windows and lowness of the vaulting cause Salisbury's nave to fall far -short of that of Amiens in beauty of construction. Viewed from the -west, the cathedral is also disappointing; for the façade is an ugly -screen wall, badly decorated, and deserving of little praise. But when -seen from north or south or east, with its spire rising from the very -heart of the church, Salisbury is truly inspiring. In its quiet close -it seems the very expression of the church at peace. - - - CHÂTEAU de CHAMBORD - - [Illustration: CHÂTEAU de CHAMBORD - _Showing the Mansard roof put on by the celebrated architect, Mansart, - at the order of Louis XIV, to accommodate a large court._] - - [Illustration: HALL IN THE CHÂTEAU de CHAMBORD - _The two stairways seen in the back wind around the same central shaft - and never join._] - -Between the construction of Amiens and Salisbury and the building of -the Château of Chambord (shong-bore´) lie two centuries of history. -In them the spiritual power of the church, and the temporal power of -the pope and clergy, which had been supreme throughout the Middle -Ages, gave way to a large extent to a spirit of individualism and a -rising power on the part of the king and nobles. This change had its -effect upon the arts. The palace took precedence over the church in -architecture as the secular took precedence over the religious in -painting and the other arts. The Château of Chambord dates from the -earlier stages of this new architectural era. Built by King Francis -I in the early years of the sixteenth century, it is but one of the -hundreds of châteaux erected by the kings and nobles of France, from -Francis to the fall of the monarchy. Its architectural style is what is -known as early Renaissance. The claim of Chambord to beauty is due, -not so much to its decoration as to its imposing size, to the sense of -spaciousness it conveys, and to the manner in which it reflects the -spirit of its age. - -Four hundred feet square along its outer walls, this vast château was -designed by Francis I merely as a hunting seat. The chief exterior -attraction of the building lies in its roof. This is a very maze of -gables, dormers, chimneys, and cupolas, dominated by the lantern that -crowns the center stair, and in which lights were hung to guide belated -hunters from the forest. - - - THE STAIRWAY OF CHAMBORD - - [Illustration: TOWER OF THE GRAND STAIRCASE - _Château de Chambord._] - -This stairway is the chief attraction of the interior. Sweeping round -a central newel which forms an open well, it rises the full height of -the building. Moreover, it is not a single flight of steps, but two, -so placed that one person may go up and one come down, yet never meet. -From this stairway four large halls open at every floor, and four -hundred and forty rooms and fifty other stairs fill up the wings of -this great palace. The interior, when richly furnished, must have been -magnificent. - -In spite of its size, Chambord has little history of which to boast. -Nothing of importance or even of special interest took place there. - - - NEW YORK CITY HALL - - [Illustration: STAIRWAY IN THE NEW YORK CITY HALL.] - -We are fortunate indeed as a nation to have had in our earlier days an -architecture that could boast of such pleasing monuments as the New -York City Hall. Our ancestors in both the North and South were strongly -influenced from the point of view of art by that English Renaissance -which reached its culmination in the hands of Sir Christopher -Wren. Many a New England church and many a Southern home boasts -an architectural beauty of rare charm and in rare accord with the -natural setting of this new land. Nor were we less fortunate in public -works. The old and new statehouses in Boston, Independence Hall in -Philadelphia, and the Capitol in Washington are but a few of the early -buildings in America that, like the New York City Hall, are worthy to -rank among the best in beauty of design. The latter was the work of -John McComb, Jr., and was built between 1803 and 1812 in a style based -largely upon the Italian Renaissance. Though not of very great size, -its proportions are remarkably fine, and its architecture beautiful. -For good taste and for excellence of workmanship it is as worthy of the -city of millions today as of the city of thousands for which it was -first built. - - [Illustration: OLD COLONIAL CHAMBER - _The office of the Borough President of Manhattan in New York City - Hall._] - -That the source of beauty in architecture is indefinable, this brief -account of six of the world's finest buildings has clearly shown. -No two are alike; yet all are beautiful. And this quality lies not -merely in size and proportions, in design and decoration, but in the -appeal that each one makes to the mind as well as to the eye. Thus -the Taj Mahal fairly speaks of human remembrance, the Alhambra is the -embodiment of oriental luxury, Amiens affords a majestic picture of -religious power, and Salisbury of quiet Christian worship, Chambord -conjures up visions of gay kings and courtiers, while New York in its -City Hall possesses a worthy monument of civic interest and pride. Many -another building could be added to such a list as ours, and in the case -of each it would be found that added to its visible and tangible beauty -was an invisible character that marked it above its fellows. It is from -this broad standpoint that all architecture should be judged. - - [Footnote: SUPPLEMENTARY READING:--"History of Architecture," Hamlin; - "Indian and Eastern Architecture," Fergusson; "Medieval Architecture," - Porter; "Handbook of English Cathedrals," Van Rensselaer; "Renaissance - Architecture in France," Blomfield.] - - - - - THE MENTOR - - ISSUED SEMI-MONTHLY BY - - The Mentor Association, Inc. - - 381 Fourth Ave., New York, N. Y. - - Volume I Number 33 - - ANNUAL SUBSCRIPTION, FOUR DOLLARS. SINGLE COPIES TWENTY CENTS. - FOREIGN POSTAGE, SEVENTY-FIVE CENTS EXTRA. CANADIAN POSTAGE, FIFTY - CENTS EXTRA. ENTERED AT THE POST OFFICE AT NEW YORK, N. Y., AS - SECOND-CLASS MATTER. COPYRIGHT, 1913, BY THE MENTOR ASSOCIATION, - INC. 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. - - - _Editorial_ - -A man much occupied in his business was asked how he came to know so -much on so many different subjects. His answer was: "Not by study--I -have had no time for that--I have got my knowledge from the men who -could give it to me, and from the reading that they have suggested to -me. When several of my friends who know a subject have told me about -it, I have got it in a way that I could not get in study. I have got it -from different points of view." - - *** - -These words were said in the course of a conversation about The -Mentor. Someone had referred to the variety of subjects offered in -the schedule of The Mentor Association, and had asked whether certain -regular courses of reading could not be included with advantage. With -the thought of that business man and others like him, we are aiming -for something larger and more beneficial than a fixed set of reading -courses. We have planned to give in The Mentor the broad, liberal -knowledge that comes not from a strict course of study closely adhered -to, but from contact with writers of authority in varied fields. The -readers of The Mentor get the rich benefits afforded by many minds, and -the year's reading is wide in its reach and well balanced. - -So much for the general plan of The Mentor Association. But there is -something to be said for the reader who wants to have a logical course -of reading through the seasons. So while we offer variety from week to -week, we plan to cover the larger subjects in groups of articles that -are definitely related to each other. - - *** - -If one wants to follow out a certain subject, whether it be travel, -history, or art, he can take up the reading of his Mentors in groups. -Look at the schedule of 1913. In the varied program of the year's -reading you will detect numbers that naturally belong together. You can -select a set of Mentors that will take you on a trip to interesting -places, with Mr. Dwight L. Elmendorf as a companion. If literature is a -subject of interest to you, you can select Mentors on literary matters -prepared under the advice of, and some of them written by, Mr. Hamilton -W. Mabie. Suppose that history is what you are after; Professor Albert -Bushnell Hart gives you the "Story of America" in several numbers. -It is hardly necessary to point out what Professor John C. Van Dyke -has done for fine art in the numbers of The Mentor prepared under his -direction. And so groups of Mentors on other subjects may be brought -together out of the schedule. - - *** - -In preparing the schedule for 1914 we have taken thought not only for -the wide scope of the whole year's plan, but for the treatment of -special subjects in a way that will form natural groups. We have found -this condition has met with favor, and it seems worth while to assure -ourselves that all the readers of The Mentor appreciate it. We are -told that some are gathering the numbers relating to a single subject -together so as to have a small library on each subject available for -reference. Not a bad idea. Imagine what an attractive set of volumes -could be made out of twenty or thirty Mentors on travel by Mr. -Elmendorf! Think what a beautiful and valuable set of books could be -had by binding up the art numbers! Keep your back numbers. They are -just as valuable as the ones to come. - - - - - [Illustration: THE TAJ MAHAL] - - _Taj Mahal_ - - ONE - -At the top of a precipice overhanging the River Jumna in India stands -the most poetic mausoleum in the world. The Taj Mahal, "a dream in -marble, designed by Titans and finished by jewelers," is the tomb built -by Shah Jahan, the Mogul emperor, for his wife Mumtaz Mahal, whom he -called Taj-Bibi. She was the loveliest beauty of the Indies, and Shah -Jahan loved her so passionately that he thought of no other woman while -she lived and was lost in grief after her death. He vowed that her tomb -should be the most beautiful building in the world. - -The Taj is of snow-white marble outside and jeweled mosaic within. It -was planned by a Persian, Ustad Isa, who designed in the Persian rather -than the Indian style of architecture. Twenty thousand men worked -twenty-two years to finish it. In the center of a great square, paved -with white marble and having a slender tower of the same stone at each -corner, rises the memorial of Taj-Bibi--not merely a masterpiece of -architecture, but also a perfect interpretation of womanly nature. The -spirit of Mumtaz Mahal seems to have been carved into the marble. - -The mosaic work of the interior is the finest to be found in any -eastern country. Precious stones are used unsparingly--jasper and -agate, carnelian and chalcedony. Marble lacework of wonderful lightness -screens the windows and doorways. In the center are the tombs of Mumtaz -Mahal and Shah Jahan; but their bodies, according to the Indian custom, -lie in a vault beneath the building. Shah Jahan had begun a tomb for -himself on the opposite side of the river, which he never finished -because Aurantzeb, his son, rebelled against him and took away the -empire. He was therefore buried by the side of his beloved wife. - -Shah Jahan was a cold and haughty man; but he ruled India well, and -his pride was softened in later life by the death of his wife. It is -said that during his reign he brought India peace and prosperity by -putting all his rivals to death. Besides the Taj Mahal, two other -famous buildings, the Pearl Mosque at Agra and the great mosque of -Delhi, which were built by Shah Jahan, have made his reign one of the -most memorable in Indian history. The emperor's treasury must have been -practically unlimited; for the peacock throne, made during his reign, -was estimated by Tavernier to be worth sixty million dollars. The -festival at his coronation alone cost eight millions. - -There is a legend that when he had finished the Taj Mahal, Shah Jahan -ordered the architect to be thrown over the cliff into the River Jumna, -for fear he might plan another building as beautiful as the Taj. - - [Footnote: PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR. VOL. I, No. 33. SERIAL No. 33 COPYRIGHT. - 1913. BY THE MENTOR ASSOCIATION. INC.] - - - - - [Illustration: THE ALHAMBRA--COURT OF THE LIONS] - - _The Alhambra_ - - TWO - -The people about Granada have always held that the Palace of the -Alhambra was built under a magic spell. To their minds human -workmanship and the power of wealth are too feeble for the erection of -a structure so enduring and magnificent. Indeed, great architects can -hardly conceive the skill that balanced those halls and gardens and -towers one against the other with perfect symmetry, or the patience -that worked out each interlaced design without error in either the art -or the chiseling. - -Pains and expense were not spared in the construction, and it is no -wonder that the Spaniards should have thought the work supernatural. -Slim pillars of the rarest white marble give grace to every court -of the palace. The carvings and designs are everywhere gilded, and -where these are painted between the gilding, blue, red, and yellow, -the purest colors only are used. The blue is ultramarine, made from a -precious stone, the lapis lazuli of the Egyptians, which never fades. - -Besides warmth of color and grace of form, the Moorish architects -worked for durability. The aqueducts they built still bring an abundant -supply of water from the mountains to fill those baths, fountains and -marble-bordered ponds for which the courts and gardens of the Alhambra -are famous. In spite of earth-quakes the columns and arches have nearly -all held their place and their perfect form. The palace that Charles -V built there in a vain effort to rival the Moorish masterpiece, and -for which he made room by removing part of the Alhambra palace, stands -today an uncompleted and roofless ruin; while the much older Alhambra -is still clothed in a glory of bright, fresh color. - -The Alhambra is not one building, but a collection of buildings on -a high plateau. Long before the erection of the great palace the -hilltop was surrounded by a wall with many towers for defense, and the -Alcazaba, the first palace built on the Alhambra hill, was used as a -residence by the early kings of Granada. Older than all, the "Vermilion -Towers" stand on a neighboring hill, some distance outside the now -ruined Alhambra wall. - -The Palace of the Alhambra is said to have been started by Mohammed: -but the foundations were probably laid by Calif Al Hamar, who is also -distinguished for having begun to pay a yearly tribute to the kings -of Castile. The construction went on during several reigns, and was -completed by Yusuf with the building of the Gate of Justice in 1348. -All the later kings of Granada lived in it until 1492, when the Moorish -power fell before Ferdinand and Isabella, and Boabdil was banished -forever from the home of his fathers. - - - - - [Illustration: AMIENS CATHEDRAL] - - _Amiens Cathedral_ - - THREE - -It was at Amiens that the renowned Saint Martin gave half of his cloak -to a beggar who stood shivering by the roadside. Other saints in that -city, though we know less of their life histories, must have exercised -even more generosity during the Middle Ages to build and rebuild the -old cathedral in the face of repeated misfortune. The patience and zeal -with which those men of Amiens raised up their cathedral four times -from its ashes, remain forever in the fame of this most perfect of -French Gothic churches. - -When the Norsemen plundered the coast of France in 881 they sent -a great fleet up the River Somme. Amiens, taken by surprise, fell -before the attack of those reckless and powerful old Vikings, and the -cathedral, then a flimsy wooden structure, was burned to the ground. -A new building which the people of Amiens put up in the same place -when they had sufficiently recovered from the losses of the invasion, -was destroyed by lightning in 1019. The next structure was burned in -1107, and the one that replaced it was struck by lightning in 1218 and -completely ruined. Then in 1220 the present cathedral was begun. Even -that has not escaped entirely from the lightning and conflagration that -had wrecked so many structures on the same spot. In 1258, before the -work was completed, the woodwork caught fire, and was so badly charred -that part of it had to be taken down and rebuilt. Traces of fire may -still be seen on some of the arches. Later the slim central spire, -which is one of the striking features of Amiens Cathedral, was so badly -damaged by lightning that it had to be made over. - -The chief treasure of Amiens is part of the head of John the Baptist, -naturally a religious relic of extraordinary interest. It is kept in -the chapel of Saint John Baptist, and shown only at the most important -ceremonies. All that remains is the front part of the skull, including -the face, and this is inclosed in a hood of silver-gilt. The relic is -said to have been kept for a long time in one of the churches in Asia, -from which it was removed to Constantinople, and later taken from that -city to Amiens, where it has rested ever since. - - - - - [Illustration: SALISBURY CATHEDRAL] - - _Salisbury Cathedral_ - - FOUR - -The Cathedral of Saint Mary at Salisbury is not filled with gilding -and warm color as the churches of southern Europe are. Its builders -aimed rather at simplicity such as their forefathers used--plain gray -walls, unornamented columns and arches, and few paintings. The edifice -seems to reflect the antique dignity of those upright pillars of the -Druids at Stonehenge, which is not far from Salisbury. Here we have the -outcome of British race feeling in splendidly finished architecture -placed almost side by side with that early crude expression of it. - -The cathedral was begun in 1220 by Richard Poore, the bishop at Old -Sarum, who was so much annoyed by the officers of the king that he -decided to move the church to a site on his own land which has since -been named Salisbury. Old Sarum Cathedral, built on a bleak hill, had -suffered for lack of water. In his choice of a foundation Bishop Poore -went to the other extreme; for the swampy fields by the Avon, on which -this new cathedral was erected, were so often flooded that services -sometimes had to be suspended for days. - -The beautiful Lady Chapel was built in five years. The entire building, -except the spire, which was not in the original plan, took only -forty-six years to complete. It was consecrated in 1266. But when the -spire was erected the architect in charge failed to strengthen the -foundations sufficiently. The pillars and arches bulged; for they had -never been intended to support such weight. In spite of arches walled -up and buttresses built, the tower sagged nearly two feet toward the -south, and has remained in that position ever since. - -Though simplicity and calmness are characteristic of the original -Salisbury Cathedral, they have been emphasized to the point of bareness -by the restoration of James Wyatt, who destroyed nearly all the stained -glass windows, two chapels, and a belfry, and moved many of the tombs. -There are niches in the cathedral for over a hundred statues, which for -some reason were nearly empty at the middle of the last century. The -statues now in place are almost all modern: sculptured, however, with a -view to holding the original significance of the architecture. They are -arranged to represent the Te Deum. - - - - - [Illustration: CHATEAU DE CHAMBORD] - - _Château de Chambord_ - - FIVE - -In the park of the château, near the banks of the Loire, great ragged -trees reach out across the sky, cutting off the faint light of the -stars. It is midnight. Indistinctly from the direction of the château -comes a baying of deerhounds. It passes overhead through the middle -air, with trampling and the sound of horns, then dies away into the -distance. The ghost of Tibault de Champagne, first hereditary Count -Blois, a black hunter followed by black dogs, is chasing the stag. Each -midnight, so the people of that country say, the grim old baron rides -by with a full pack. - -Count Tibault had a castle there by the Loire, and for centuries his -descendants used it as a hunting resort. In 1397 it passed into the -hands of Louis d'Orléans. Francis I, a king of the house of Orléans, -who knew the abandoned structure in his boyhood, developed in the -country round this castle his well known passion for the chase, and -that is why he chose the ruined feudal stronghold in the heart of a -great forest for the site of his royal palace, when he might have built -on any one of a hundred lovely spots not far away along the Loire. - -The king's taste did not please his courtiers, who were less found -of hunting and solitude. They would have preferred a large city, or -at least some fertile valley nearby. Chambord was a palace in the -wilderness. It could not be seen from a distance, and the view from its -windows was only a dreary wood. The building has been described as a -dream from the Arabian Nights come true. - -Louis XIV made many alterations in the château. He ordered Mansart to -construct rooms enough for the accommodation of a large court, and the -architect, after racking his brains over the problem, cut up the roof -for projecting windows in that style which has since become known as -the Mansard roof. The principal door of the court is also Mansart's -work. - -In 1793 the revolutionists sold everything of value that could be moved -from the château, and Chambord was stripped of its glory in a few days. -It has never been completely restored. Though by no means a ruin today, -the château suffers for lack of the magnificent furnishings for which -it was originally designed. - - - - - [Illustration: CITY HALL, NEW YORK] - - _City Hall, New York_ - - SIX - -With the highest buildings in the world rising in rivalry nearby, -attracting every eye because of their novelty, the New York City Hall -often escapes notice, or is given shorter consideration than its -excellent architecture and historical significance deserve. Though -it is neither large nor expensive, it is better designed and more -carefully executed than any of the older public buildings in the -country. - -John McComb is generally accepted as the architect; but it would be -safer to speak of him as the builder, since most of the designing -seems to have been done by a French surveyor, Joseph Mangin. To Mangin -are probably due that shapely and dignified architecture which gives -it a place among beautiful buildings, and the skilful design of its -decorations. McComb carried out the work of building with great care, -receiving six dollars a day for his time. The construction was begun -in 1803. The first intention was to use brownstone. McComb, however, -saw that no meaner material than marble could do justice to the purpose -or the workmanship of the proposed City Hall. Accordingly he persuaded -the committee in charge to let him use marble on three sides. The -stone was hauled over from the Berkshire Hilts by horses and oxen; for -locomotives had not yet been invented. - -One room of the City Hall was set aside for the State governor's -use; and it has lately been restored to the original condition. Many -excellent portraits hang on the walls. The furniture of the Governor's -Room was largely taken from Federal Hall, where Washington was -inaugurated and the city government was located before the building of -the City Hall. Federal Hall has unfortunately been destroyed. It stood -at the corner of Wall and Nassau Streets, and was built with stone from -the wall that gave Wall Street its name. - -A number of years ago there was a proposal to remove the City Hall from -its present position because it was no longer large enough for the city -government and was too far from the center of Greater New York. Then, -because of its architectural merit as well as its history, such protest -was aroused that both building and park have been kept intact. - -In May, 1917, a fire burned the tower and destroyed the clock of the -City Hall. - - -Transcriber's Notes: - - 'inclose' is an older form of 'enclose', probably still in use when - this book was written. - - Italic writing is shown like this: _italic_ - - - - - - - -End of the Project Gutenberg EBook of The Mentor: Beautiful Buildings of the -World, Serial no. 33, by Clarence Ward - -*** END OF THIS PROJECT GUTENBERG EBOOK MENTOR: BEAUTIFUL BUILDINGS OF WORLD *** - -***** This file should be named 51001-8.txt or 51001-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/1/0/0/51001/ - -Produced by Juliet Sutherland, Karin Spence 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 print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-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 in the United States with eBooks -not protected by U.S. copyright law. Redistribution is subject to the -trademark license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-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 -www.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 unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-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 in the United States and - most other parts of the world at no cost and with almost no - restrictions whatsoever. You may copy it, give it away or re-use it - under the terms of the Project Gutenberg License included with this - eBook or online at www.gutenberg.org. If you are not located in the - United States, you'll have to check the laws of the country where you - are located before using this ebook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-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 The -Project Gutenberg Trademark LLC, 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 -works not protected by U.S. copyright law 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 information page at -www.gutenberg.org - - - -Section 3. Information about the Project Gutenberg Literary Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's principal office is in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, 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 contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -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 www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty 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 not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our Web site which has the main PG search -facility: 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. - |