diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-01-23 06:44:30 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-01-23 06:44:30 -0800 |
| commit | 037c3312a9c3c0caddcf79f96d971e143b491ba0 (patch) | |
| tree | 6c260c3510702aca498ec546f1696f97365ad967 | |
| parent | bab943d2f0fb4f94a5ed638043ef470c92491266 (diff) | |
| -rw-r--r-- | .gitattributes | 4 | ||||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 | ||||
| -rw-r--r-- | old/64833-0.txt | 657 | ||||
| -rw-r--r-- | old/64833-0.zip | bin | 12349 -> 0 bytes | |||
| -rw-r--r-- | old/64833-h.zip | bin | 2133395 -> 0 bytes | |||
| -rw-r--r-- | old/64833-h/64833-h.htm | 1026 | ||||
| -rw-r--r-- | old/64833-h/images/cover.jpg | bin | 70326 -> 0 bytes | |||
| -rw-r--r-- | old/64833-h/images/p01.jpg | bin | 7619 -> 0 bytes | |||
| -rw-r--r-- | old/64833-h/images/p02.jpg | bin | 400382 -> 0 bytes | |||
| -rw-r--r-- | old/64833-h/images/p04.jpg | bin | 397967 -> 0 bytes | |||
| -rw-r--r-- | old/64833-h/images/p06.jpg | bin | 446410 -> 0 bytes | |||
| -rw-r--r-- | old/64833-h/images/p08.jpg | bin | 379657 -> 0 bytes | |||
| -rw-r--r-- | old/64833-h/images/p10.jpg | bin | 412791 -> 0 bytes | |||
| -rw-r--r-- | old/64833-h/images/spine.jpg | bin | 10967 -> 0 bytes |
15 files changed, 17 insertions, 1683 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..f0ba2e8 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #64833 (https://www.gutenberg.org/ebooks/64833) diff --git a/old/64833-0.txt b/old/64833-0.txt deleted file mode 100644 index c7abd46..0000000 --- a/old/64833-0.txt +++ /dev/null @@ -1,657 +0,0 @@ -The Project Gutenberg eBook of The Mesa Verde Story, by Anonymous - -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 -will have to check the laws of the country where you are located before -using this eBook. - -Title: The Mesa Verde Story - Diorama Series, Mesa Verde National Park Museum - -Author: Anonymous - -Release Date: March 15, 2021 [eBook #64833] - -Language: English - -Character set encoding: UTF-8 - -Produced by: Stephen Hutcheson and the Online Distributed Proofreading - Team at https://www.pgdp.net - -*** START OF THE PROJECT GUTENBERG EBOOK THE MESA VERDE STORY *** - - - - - the Mesa Verde Story - - - FROM MESA VERDE NATIONAL PARK—SOUTHWEST COLORADO - - [Illustration: Petroglyphs] - - Diorama Series - Mesa Verde National Park Museum - - - - -DO NOT ENCLOSE HAND WRITTEN MATTER OR ADD TO ENCLOSURE. - -THIRD CLASS MAIL—Postmaster, this envelope may be opened for postal -inspection. - - RETURN POSTAGE GUARANTEED - - From ________________________ - ____________________________ - ____________________________ - - Send to ______________________ - ____________________________ - ____________________________ - - [Illustration: Diorama No. 1 - EARLY MAN IN NORTH AMERICA] - -This diorama pictures a hunt such as may have taken place 10 or 12 -thousand years ago in what is now northeastern New Mexico. In 1926, 1927 -and 1928, the bones of 30 bison of an extinct species were dug out of -the bed of an arroyo near the little town of Folsom, New Mexico. -Associated with the bison bones were 19 spear points of an unusual type. -The place where the bones and spear points were found had once been a -water hole or marsh and men probably killed the bison when they came to -drink or to wallow. They skinned the animals, cut off what flesh they -wanted and left the carcasses in the mud. Sometimes spear points were -lost or were left in the bodies and these points, preserved with the -bones, tell the story of the early hunts. - -The unusual spear points are now called Folsom Points and the men who -made and used them are often referred to as Folsom Men. Other spear -points of distinctive types have also been found with the bones of -extinct animals and it indicates that there were many different groups -of early men in America. - -Men began to drift into America at least 15,000 years ago. They came -from the north, crossing from Asia to Alaska, then moved to the south. -These early men were hunters and their spear points, knives, scrapers -and other stone tools have been found associated with the bones of -elephants, mammoths, camels, horses and certain types of bison which -have been extinct in America many thousands of years. - -Little is known about these early inhabitants of North America. They -lived by hunting and by gathering seeds, fruit and roots of wild plants. -They had no permanent dwellings and moved about, following the game on -which they lived. Pottery was unknown and their utensils and containers -were made of animal skins. Cooking must have been done over the open -fire although they may have been able to cook some foods by dropping hot -stones into skin containers. Many primitive people have cooked in this -manner. - -Few human bones have been found, so little is known about the appearance -or race of these early men. It can be presumed that they were ancestors -of some of our present-day Indians. - -The migrations of people from Asia to America which began thousands of -years ago continued until only a few centuries ago. When the white man -finally arrived, there were hundreds of tribes and many millions of -Indians in the New World. - - [Illustration: Diorama No. 2 - THE BASKETMAKERS—1 to 450 A. D.] - -Pictured here is a cave occupied by early farming Indians whom we call -the Basketmakers. Having no houses, they used the caves for shelter and -since the caves were dry the remains of the people are often found in a -remarkable state of preservation. These first farmers of the Mesa Verde -region came into the area almost 2,000 years ago, bringing corn and -squash with them. - -The corn and squash were raised in small mesa-top fields and the people -also hunted game animals and gathered wild plant foods. Corn was the -most important food. It could be stored for the winter and when ground -on the milling stones, the mano and metate, could be used in many ways. -The area is excellent for dry farming as the rainfall averages 19 inches -per year. - -Pottery was unknown and baskets served as all-purpose containers. It is -because of the beautifully woven baskets, bags, sandals and sashes that -the people are called Basketmakers. Dogs were present and their hair was -sometimes used in weaving. - -In most of the area around the Mesa Verde, houses were not in use but in -the Durango area the remains of crude, hogan-like structures have been -found. Since most of the people did not have houses, caves were used for -shelter and most of the remains of these people have been found in caves -where they have been protected from the elements. In the floors of the -caves, small slab-lined pits were constructed for the storage of food. -They were also used for burials. - -The bow and arrow were not used by the Basketmakers. Instead, they used -a weapon called the atlatl, a throwing stick with which they threw long -arrow-like darts. The atlatl served to lengthen the arm and a quick -overhand thrust imparted great force to the dart. - -The Basketmaker cradle was woven of reeds and withes and a soft pillow -was placed under the baby’s head. As a result, the head developed -normally and was not deformed. - -Clothing was scanty. Small string aprons were worn by the women and loin -cloths may have been used. Large blankets were woven from thin strips of -fur and these as well as animal skins served as robes during the colder -seasons. Jewelry made from stones, sea shells, bones and seeds was -common. Turquoise came into use at this time. - -The Basketmakers were highly intelligent, progressive people with great -ability to develop new ideas and to borrow things from other people. -Although they lived in a simple, rather primitive way, they laid the -foundation for the great developments which were to follow. - - [Illustration: Diorama No. 3 - THE MODIFIED BASKETMAKER PERIOD—450 to 750 A. D.] - -When Step House Cave, three miles west of the park museum, was excavated -in 1926, the ruins of three Modified Basketmaker pithouses were found. -They were built about 600 A. D. - -This diorama shows Step House Cave at the time of its occupation. Two of -the pithouses are shown, one complete, the other being constructed. The -men are doing the heavier construction work while a woman applies adobe -to the roof. Another woman is cooking, two are making pottery and still -another is threshing beans. A father is showing his two small sons how -to use the bow and arrow and coming through the trees are two men -carrying a mountain sheep. - -The people of this period were direct descendants of the Basketmakers -shown in Diorama No. 2. Several new developments such as pithouses, -pottery and the bow and arrow had appeared, and the way of life had -changed. This change is indicated by the new name, Modified Basketmaker -Period. - -Pithouses, the idea borrowed from other people, came into general use -early in the period. Some were built in the caves but now that they had -good houses the people began to move to the mesa tops. By 700 A. D., -most, perhaps all, were living in small pithouse villages near their -fields. The pithouses provided shelter and comfort during the colder -seasons. - -Pottery appeared early in the period and basketry became less important. -The secret of pottery making was learned from people to the south and -soon the women were making water jars, bowls, pitchers, ladles and -cooking pots of good quality. Beans came into use, now that there were -pots in which to cook them, and added an excellent protein food to the -diet. - -About 550 A. D., the bow and arrow, borrowed from other people, came -into use. The bow was superior to the atlatl and made hunting and -defense of the home easier. Stone axes and mauls and other tools of -stone and bone appeared during this period. Turkeys were domesticated -and they and the dogs were the only domesticated animals the Mesa Verde -people ever had. - -The Modified Basketmaker period saw development and progress. With -houses, pottery and the bow and arrow, and the addition of beans to -their diet, the people seemed to gain vigor and the population began to -grow. By the end of the period, there were hundreds of pithouse villages -in the Mesa Verde and a great area around it. - - [Illustration: Diorama No. 4 - THE DEVELOPMENTAL PUEBLO PERIOD—750 to 1100 A. D.] - -Pictured here is a typical Mesa Verde pueblo of about 850 A. D. The -houses are joined together in a long curving row, facing south. In front -are two underground ceremonial rooms, one complete, the other under -construction. Around the village are the fields and in the head of a -small draw at the left is a spring which provides water. The people are -engaged in the activities of a September day: gathering the crops, -drying food, building houses, carrying water, cooking, dressing hides, -making pottery and, in some cases, doing nothing at all. - -In the two preceding dioramas, the people were called Basketmakers. From -this time on, they will be called Pueblos. Pueblo is a Spanish word -meaning village. This period saw the beginning of true pueblo -architecture so the new name, Pueblo Indians, is used. - -During the preceding period, individual pithouses were built but near -the end, the builders began to join the houses together in compact -groups. Early in the Developmental Pueblo Period, individual pithouses, -used as dwellings, disappeared. The houses became rectangular with -vertical walls built of posts and adobe. The rooms were joined together, -end-to-end, in long, curving rows. In front were one or more deep -pitrooms which served as ceremonial rooms. - -Later in the period, stone masonry appeared and houses were built of -stones laid in adobe mortar. These villages usually contained from 4 to -15 rooms built in a single compact group. In front were one or more -ceremonial rooms, now completely underground. These rooms, now called -kivas, served as ceremonial rooms, clubrooms and workrooms and were used -chiefly by the men. - -About 750 A. D., the people began to use a wooden cradleboard and the -baby’s head rested on the hard board without a pillow. This caused the -back of the skull to flatten and the head appeared much broader. From -this time on, almost every head was noticeably deformed. - -During the Developmental Pueblo Period, there was general improvement in -everything except basketry which declined as pottery grew in favor. -Pottery improved in quality, designs became more common and corrugated -pottery appeared. Minor arts and crafts improved and cotton cloth -appeared about 900 A. D. Evidently the cotton was imported from warmer -regions to the south for it will not mature in the Mesa Verde. - -From all appearances, this was a peaceful period, for the population -grew rapidly and the people spread over a wide area. Hundreds of small -farming villages dotted the Mesa Verde area. - - [Illustration: Diorama No. 5 - THE GREAT PUEBLO PERIOD—1100 to 1300 A. D.] - -Spruce Tree House, shown in this diorama, is the best preserved large -cliff dwelling in the Mesa Verde. It contains 8 kivas and well over 100 -rooms and may have had as many as 200 inhabitants. The diorama shows it -as it was when occupied during the thirteenth century. - -The rooms, which were small, served as sleeping and storage rooms. Most -of the activities of the people were carried on in the open courts and -on the house roofs. Pictured here is a September afternoon and the -people are busy with their many activities. Corn, beans and squash are -being carried down from the mesa-top fields and spread on roofs to dry. -Women are grinding corn, cooking, carrying water and caring for the -babies. Some of the men are building a kiva roof and a new house is also -being built. In the center of the village, old men sit in the sun and -talk about bygone days when things were better. - -The Great Pueblo Period of 1100 to 1300 A. D. was the climax of Pueblo -development in the Mesa Verde. From 1100 to about 1200, the people lived -on the mesa tops in well-built masonry pueblos. The plan of the -villages, however, began to change. Kivas, which formerly had been -outside the village proper, were now placed inside and were surrounded -by houses. Tall, round towers, which may have been lookout towers, -became common. The villages also grew larger and were concentrated in -the most favorable areas. All of this indicates a need for defense and -it is probable that nomadic Indians were beginning to harass the Pueblo -farmers. - -About 1200 A. D., the Mesa Verde people began to move to the caves. Soon -most, if not all, were living in cliff dwellings which were simply -pueblos built in caves. This abrupt change evidently resulted from a -need for defense against increasing enemy pressure. - -During this last century, the people reached their highest level of -development. Houses, pottery and all other arts and crafts except -basketry were of the finest quality produced in the Mesa Verde. After -thirteen centuries of steady development, the culture reached its peak. - -In 1276 A. D., a drought began which lasted through 1299 A. D. Because -of the drought and probably, also, because of increasing enemy trouble, -the people moved to the south. Some of our modern Pueblo Indians living -in New Mexico and Arizona are their descendants. The Mesa Verde was -never again occupied by farming Indians. After many silent, empty -centuries, the cliff dwellings were discovered by the white man in 1874. - - - - - Transcriber’s Notes - - -—Silently corrected a few typos. - -—Retained publication information from the printed edition: this eBook - is public-domain in the country of publication. - -—In the text versions only, text in italics is delimited by - _underscores_. - - - -*** END OF THE PROJECT GUTENBERG EBOOK THE MESA VERDE STORY *** - -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 an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks 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 other than 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 will 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 website -(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 the Project Gutenberg Literary Archive Foundation, the manager 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 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 website -and official page at www.gutenberg.org/contact - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without -widespread 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 website which has the main PG search -facility: www.gutenberg.org - -This website includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. diff --git a/old/64833-0.zip b/old/64833-0.zip Binary files differdeleted file mode 100644 index d4991f5..0000000 --- a/old/64833-0.zip +++ /dev/null diff --git a/old/64833-h.zip b/old/64833-h.zip Binary files differdeleted file mode 100644 index 560e479..0000000 --- a/old/64833-h.zip +++ /dev/null diff --git a/old/64833-h/64833-h.htm b/old/64833-h/64833-h.htm deleted file mode 100644 index 9d97401..0000000 --- a/old/64833-h/64833-h.htm +++ /dev/null @@ -1,1026 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "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=utf-8" /> -<meta http-equiv="Content-Style-Type" content="text/css" /> -<meta name="viewport" content="width=device-width, initial-scale=1.0" /> -<title>The Mesa Verde Story: Diorama Series, by Mesa Verde National Park Museum—a Project Gutenberg eBook</title> -<meta name="author" content="Mesa Verde National Park Museum" /> -<meta name="pss.pubdate" content="n.d." /> -<link rel="coverpage" href="images/cover.jpg" /> -<link rel="spine" href="images/spine.jpg" /> -<link rel="schema.DC" href="http://dublincore.org/documents/1998/09/dces/" /> -<meta name="DC.Title" content="The Mesa Verde Story: Diorama Series" /> -<meta name="DC.Language" content="en" /> -<meta name="DC.Format" content="text/html" /> -<meta name="DC.Created" content="n.d." /> -<meta name="DC.Creator" content="Mesa Verde National Park Museum" /> -<style type="text/css"> -/* == GLOBAL MARKUP == */ -body, table.twocol tr td { margin-left:2em; margin-right:2em; } /* BODY */ -.box { border-style:double; margin-bottom:2em; max-width:30em; margin-right:auto; margin-left:auto; margin-top:2em; clear:both; } -.box div.box { border-style:solid; margin-right:auto; margin-left:auto; max-width:26em; } -.box p { margin-right:1em; margin-left:1em; } -.box dl { margin-right:1em; margin-left:1em; } -h1, h2, h5, h6, .titlepg p { text-align:center; clear:both; text-indent:0; } /* HEADINGS */ -h2 { margin-top:1.5em; margin-bottom:1em; font-size:110%; text-align:center; } -h2 .small { font-size:100%; } -h1 { margin-top:3em; } -h1 .likep { font-weight:normal; font-size:50%; } -div.box h1 { margin-top:1em; margin-left:.5em; margin-right:.5em; } -h3 { margin-top:2.5em; text-align:center; font-size: 120%; clear:both; } -h4, h5 { font-size:100%; text-align:right; clear:right; } -h6 { font-size:100%; } -h6.var { font-size:80%; font-style:normal; } -.titlepg { margin-left:auto; margin-right:auto; border-style:double; clear:both; } -span.chaptertitle { font-style:normal; display:block; text-align:center; font-size:150%; text-indent:0; } -.tblttl { text-align:center; text-indent:0;} -.tblsttl { text-align:center; font-variant:small-caps; text-indent:0; } - -pre sub.ms { width:4em; letter-spacing:1em; } -pre { margin-top:1em; margin-bottom:1em; } -table.fmla { text-align:center; margin-top:0em; margin-bottom:0em; margin-left:0em; margin-right:0em; } -table.inline, table.symbol { display: inline-table; vertical-align: middle; } -td.cola { text-align:left; vertical-align:100%; } -td.colb { text-align:justify; } - -p, blockquote, div.p, div.bq { text-align:justify; } /* PARAGRAPHS */ -div.p, div.bq { margin-top:1em; margin-bottom:1em; } -blockquote, .bq { margin-left:1em; margin-right:0em; } -.verse { font-size:100%; } -p.indent {text-indent:2em; text-align:left; } -p.tb, p.tbcenter, verse.tb, blockquote.tb { margin-top:2em; } - -span.pb, div.pb, dt.pb, p.pb /* PAGE BREAKS */ -{ text-align:right; float:right; margin-right:0em; clear:right; } -div.pb { display:inline; } -.pb, dt.pb, dl.toc dt.pb, dl.tocl dt.pb, dl.undent dt.pb, dl.index dt.pb { text-align:right; float:right; margin-left: 1.5em; - margin-top:.5em; margin-bottom:.5em; display:inline; text-indent:0; - font-size:80%; font-style:normal; font-weight:bold; - color:gray; border:1px solid gray;padding:1px 3px; } -div.index .pb { display:block; } -.bq div.pb, .bq span.pb { font-size:90%; margin-right:2em; } - -div.img, body a img {text-align:center; margin-left:auto; margin-right:auto; margin-top:2em; margin-bottom:2em; clear:right; } -img { max-width:100%; height:auto; } - -sup, a.fn { font-size:75%; vertical-align:100%; line-height:50%; font-weight:normal; } -h3 a.fn { font-size:65%; } -a.fn { font-style:normal; } -sub { font-size:75%; } -.center, .tbcenter { text-align:center; clear:both; text-indent:0; } /* TEXTUAL MARKUP */ -span.center { display:block; } -table.center { clear:both; margin-right:auto; margin-left:auto; } -table.center tr td.l, table.center tr th.l {text-align:left; margin-left:0em; } -table.center tr td.j {text-align:justify; } -table.center tr td.ltab { text-align:left; width:1.5em; } -table.center tr td.t {text-align:left; text-indent:1em; } -table.center tr td.t2 {text-align:left; text-indent:2em; } -table.center tr td.r, table.center tr th.r {text-align:right; } -table.center tr th.rx { width:4.5em; text-align:right; } -table.center tr th {vertical-align:bottom; } -table.center tr td {vertical-align:top; } -table.inline, table.symbol { display: inline-table; vertical-align: middle; } - -p { clear:left; } -.small, .lsmall { font-size:90%; } -.smaller { font-size:80%; } -.smallest { font-size:67%; } -.larger { font-size:150%; } -.large { font-size:125%; } -.xlarge { font-size:150%; } -.xxlarge { font-size:200%; } -.gs { letter-spacing:1em; } -.gs3 { letter-spacing:2em; } -.gslarge { letter-spacing:.3em; font-size:110%; } -.sc { font-variant:small-caps; font-style:normal; } -.cur { font-family:cursive; } -.unbold { font-weight:normal; } -.xo { position:relative; left:-.3em; } -.over { text-decoration: overline; display:inline; } -hr { width:20%; margin-left:40%; } -hr.dwide { margin-top:0; margin-bottom:0; width:90%; margin-left:5%; clear:right; } -hr.double { margin-top:0; margin-bottom:0; width:100%; margin-left:0; margin-right:0; } -hr.f { margin-top:0; margin-bottom:0; width:100%; margin-left:0; } -.jl { text-align:left; } -.jr, .jri { text-align:right; min-width:2em; display:inline-block; float:right; } -.pcap .jri { font-size:80%; } -.jr1 { text-align:right; margin-right:2em; } -h1 .jr { margin-right:.5em; } -.ind1 { text-align:left; margin-left:2em; } -.u { text-decoration:underline; } -.hst { margin-left:2em; } -.hst2 { margin-left:4em; } -.rubric { color:red; } -.blue { color:blue; background-color:white; } -.green { color:green; background-color:white; } -.yellow { color:yellow; background-color:white; } -.orange { color:#ffa500; background-color:white; } -.white { color:white; background-color:black; margin-left:1em; margin-right:1em; max-width:28em; } -.cnwhite { color:white; background-color:black; min-width:2em; display:inline-block; - text-align:center; font-weight:bold; font-family:sans-serif; } -.cwhite { color:white; background-color:black; text-align:center; font-weight:bold; - font-family:sans-serif; } -ul li { text-align:justify; } -u.dbl { text-decoration:underline; } -.ss { font-family:sans-serif; font-weight:bold; } -.ssn { font-family:sans-serif; font-weight:normal; } -p.revint { margin-left:2em; text-indent:-2em; } -.box p.revint { margin-left:3em; } -p.revint2 { margin-left:5em; text-indent:-3em; } -p.revint2 .cn { min-width:2.5em; text-indent:0; text-align:left; display:inline-block; margin-right:.5em; } -i .f { font-style:normal; } -.b { font-weight:bold; } -.i { font-style:italic; } -.f { font-style:italic; font-weight:bold; } - -dd.t { text-align:left; margin-left: 5.5em; } -dl.toc { clear:both; margin-top:1em; } /* CONTENTS (.TOC) */ -dl.toc dt.center { text-align:center; clear:both; margin-top:3em; margin-bottom:1em; text-indent:0;} -.toc dt { text-align:right; clear:both; } -.toc dt.just { text-align:justify; margin-left:2em; margin-right:2em; } -.toc dd { text-align:right; clear:both; } -.toc dd.ddt { text-align:right; clear:both; margin-left:4em; } -.toc dd.ddt2 { text-align:right; clear:both; margin-left:5em; } -.toc dd.ddt3 { text-align:right; clear:both; margin-left:6em; } -.toc dd.ddt4 { text-align:right; clear:both; margin-left:7em; } -.toc dd.ddt5 { text-align:right; clear:both; margin-left:8em; } -.toc dd.note { text-align:justify; clear:both; margin-left:5em; text-indent:-1em; margin-right:3em; } -.toc dt .xxxtest {width:17em; display:block; position:relative; left:4em; } -.toc dt a, -.toc dd a, -.toc dt span.left, -.toc dt span.lsmall, -.toc dd span.left { text-align:left; clear:right; float:left; } -.toc dt a span.cn { width:4em; text-align:right; margin-right:.7em; float:left; } -.toc dt.sc { text-align:right; clear:both; } -.toc dt.scl { text-align:left; clear:both; font-variant:small-caps; } -.toc dt.sct { text-align:right; clear:both; font-variant:small-caps; margin-left:1em; } -.toc dt.jl, .toc dd.jl { text-align:left; clear:both; font-variant:normal; } -.toc dt.scc { text-align:center; clear:both; font-variant:small-caps; text-indent:0; } -.toc dt span.lj, span.lj { text-align:left; display:block; float:left; } -.toc dd.center { text-align:center; text-indent:0; } -dd.tocsummary {text-align:justify; margin-right:2em; margin-left:2em; } -dd.center .sc {display:block; text-align:center; text-indent:0; } -/* BOX CELL */ -td.top { border-top:1px solid; width:.5em; height:.8em; } -td.bot { border-bottom:1px solid; width:.5em; height:.8em; } -td.rb { border:1px solid; border-left:none; width:.5em; height:.8em; } -td.lb { border:1px solid; border-right:none; width:.5em; height:.8em; } -td span.cellt { text-indent:1em; } -td span.cellt2 { text-indent:2em; } -td span.cellt3 { text-indent:3em; } -td span.cellt4 { text-indent:4em; } - -/* INDEX (.INDEX) */ -dl.index { clear:both; } -.index dt { margin-left:2em; text-indent:-2em; text-align:left; } -.index dd { margin-left:4em; text-indent:-2em; text-align:left; } -.index dd.t { margin-left:6em; text-indent:-2em; text-align:left; } -.index dt.center {text-align:center; text-indent:0; } - dl.indexlr { clear:both; margin-left:auto; margin-right:auto; max-width:20em; } - dl.indexlr dt { clear:both; text-align:right; } - dl.indexlr dt span { text-align:left; display:block; float:left; } - dl.indexlr dt.center {text-align:center; text-indent:0; } -.ab, .ab1, .ab2 { -font-weight:bold; text-decoration:none; -border-style:solid; border-color:gray; border-width:1px; -margin-right:0px; margin-top:5px; display:inline-block; text-align:center; text-indent:0; } -.ab { width:1em; } -.ab2 { width:1.5em; } -a.gloss { background-color:#f2f2f2; border-bottom-style:dotted; text-decoration:none; border-color:#c0c0c0; color:inherit; } - /* FOOTNOTE BLOCKS */ -div.notes p { margin-left:1em; text-indent:-1em; text-align:justify; } - -dl.undent dd { margin-left:3em; text-indent:-2em; text-align:justify; } -dl.undent dt { margin-left:2em; text-indent:-2em; text-align:justify; clear:both; } -dl.undent dd.t { margin-left:4em; text-indent:-2em; text-align:justify; } - /* POETRY LINE NUMBER */ -.lnum { text-align:right; float:right; margin-left:.5em; display:inline; } - -.hymn { text-align:left; } /* HYMN AND VERSE: HTML */ -.verse { text-align:left; margin-top:1em; margin-bottom:1em; margin-left:0em; } -.versetb { text-align:left; margin-top:2em; margin-bottom:1em; margin-left:0em; } -.originc { text-align:center; text-indent:0; } -.subttl { text-align:center; font-size:80%; text-indent:0; } -.srcttl { text-align:center; font-size:80%; text-indent:0; font-weight:bold; } -p.lc { text-indent:0; text-align:center; margin-top:0; margin-bottom:0; } -p.t0, p.l { margin-left:4em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.lb { margin-left:4em; text-indent:-3em; margin-top:2em; margin-bottom:0; text-align:left; } -p.tw, div.tw, .tw { margin-left:1em; text-indent:-1em; margin-top:0; margin-bottom:0; text-align:left; } -p.t, div.t, .t { margin-left:5em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t2, div.t2, .t2 { margin-left:6em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t3, div.t3, .t3 { margin-left:7em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t4, div.t4, .t4 { margin-left:8em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t5, div.t5, .t5 { margin-left:9em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t6, div.t6, .t6 { margin-left:10em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t7, div.t7, .t7 { margin-left:11em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t8, div.t8, .t8 { margin-left:12em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t9, div.t9, .t9 { margin-left:13em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t10, div.t10,.t10 { margin-left:14em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t11, div.t11,.t11 { margin-left:15em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t12, div.t12,.t12 { margin-left:16em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t13, div.t13,.t13 { margin-left:17em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t14, div.t14,.t14 { margin-left:18em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t15, div.t15,.t15 { margin-left:19em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.lr, div.lr, span.lr { display:block; margin-left:0em; margin-right:1em; margin-top:0; margin-bottom:0; text-align:right; } -dt.lr { width:100%; margin-left:0em; margin-right:0em; margin-top:0; margin-bottom:0; margin-top:1em; text-align:right; } -dl dt.lr a { text-align:left; clear:left; float:left; } - -.fnblock { margin-top:2em; margin-bottom:2em; } -.fndef, p.fn { text-align:justify; margin-top:1.5em; margin-left:1.5em; text-indent:-1.5em; } -.fndef p.fncont, .fndef dl { margin-left:0em; text-indent:0em; } -.fnblock div.fncont { margin-left:1.5em; text-indent:0em; margin-top:1em; text-align:justify; } -.fnblock dl { margin-top:0; margin-left:4em; text-indent:-2em; } -.fnblock dt { text-align:justify; } -dl.catalog dd { font-style:italic; } -dl.catalog dt { margin-top:1em; } -.author { text-align:right; margin-top:0em; margin-bottom:0em; display:block; } - -dl.biblio dt { margin-top:.6em; margin-left:2em; text-indent:-2em; text-align:justify; clear:both; } -dl.biblio dt div { display:block; float:left; margin-left:-6em; width:6em; clear:both; } -dl.biblio dt.center { margin-left:0em; text-align:center; text-indent:0; } -dl.biblio dd { margin-top:.3em; margin-left:3em; text-align:justify; font-size:90%; } -p.biblio { margin-left:2em; text-indent:-2em; } -.clear { clear:both; } -p.book { margin-left:2em; text-indent:-2em; } -p.review { margin-left:2em; text-indent:-2em; font-size:80%; } -p.pcap { margin-left:0em; text-indent:0; text-align:center; margin-top:0; } -p.pcap b { font-size:110%; } -p.pcapc { margin-left:4.7em; text-indent:0em; text-align:justify; } -span.attr { font-size:80%; font-family:sans-serif; } -span.pn { display:inline-block; width:4.7em; text-align:left; margin-left:0; text-indent:0; } -</style> -</head> -<body> - -<div style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of The Mesa Verde Story, by Anonymous</div> - -<div style='display:block; margin:1em 0'> -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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<table style='min-width:0; padding:0; margin-left:0; border-collapse:collapse'> - <tr><td>Title:</td><td>The Mesa Verde Story</td></tr> - <tr><td></td><td>Diorama Series, Mesa Verde National Park Museum</td></tr> -</table> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Anonymous</div> - -<div style='display:block; margin:1em 0'>Release Date: March 15, 2021 [eBook #64833]</div> - -<div style='display:block; margin:1em 0'>Language: English</div> - -<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div> - -<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Stephen Hutcheson and the Online Distributed Proofreading Team at https://www.pgdp.net</div> - -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK THE MESA VERDE STORY ***</div> -<div id="cover" class="img"> -<img id="coverpage" src="images/cover.jpg" alt="The Mesa Verde Story: Diorama Series" width="1000" height="680" /> -</div> -<div class="box"> -<h1>the Mesa Verde Story</h1> -<p class="center"><span class="smaller"><span class="ss">FROM MESA VERDE NATIONAL PARK—SOUTHWEST COLORADO</span></span></p> -<div class="img"> -<img src="images/p01.jpg" alt="Petroglyphs" width="500" height="107" /> -</div> -<p class="jr1"><span class="sc">Diorama Series -<br />Mesa Verde National Park Museum</span></p> -</div> -<div class="box"> -<p><span class="smallest"><span class="ssn">DO NOT ENCLOSE HAND WRITTEN MATTER OR ADD TO ENCLOSURE.</span></span></p> -<p><span class="smallest"><span class="ssn">THIRD CLASS MAIL—Postmaster, this envelope -may be opened for postal inspection.</span></span></p> -<p class="center"><span class="smaller"><span class="ss">RETURN POSTAGE GUARANTEED</span></span></p> -<div class="verse"> -<p class="t0"><span class="smallest"><span class="ssn">From</span></span> ________________________</p> -<p class="t0">____________________________</p> -<p class="t0">____________________________</p> -</div> -<div class="verse"> -<p class="t0"><span class="smallest"><span class="ssn">Send to</span></span> ______________________</p> -<p class="t0">____________________________</p> -<p class="t0">____________________________</p> -</div> -</div> -<div class="pb" id="Page_1">1</div> -<div class="img" id="fig1"> -<img src="images/p02.jpg" alt="" width="1600" height="1010" /> -<p class="pcap"><span class="sc">Diorama No. 1</span> -<br /><b>EARLY MAN IN NORTH AMERICA</b></p> -</div> -<p>This diorama pictures a hunt such as may have taken -place 10 or 12 thousand years ago in what is now northeastern -New Mexico. In 1926, 1927 and 1928, the bones of -30 bison of an extinct species were dug out of the bed of -an arroyo near the little town of Folsom, New Mexico. -Associated with the bison bones were 19 spear points of -an unusual type. The place where the bones and spear -points were found had once been a water hole or marsh -and men probably killed the bison when they came to -drink or to wallow. They skinned the animals, cut off what -flesh they wanted and left the carcasses in the mud. Sometimes -spear points were lost or were left in the bodies and -these points, preserved with the bones, tell the story of -the early hunts.</p> -<p>The unusual spear points are now called Folsom Points -and the men who made and used them are often referred -to as Folsom Men. Other spear points of distinctive types -have also been found with the bones of extinct animals -and it indicates that there were many different groups of -early men in America.</p> -<p>Men began to drift into America at least 15,000 years -ago. They came from the north, crossing from Asia to -Alaska, then moved to the south. These early men were -hunters and their spear points, knives, scrapers and other -stone tools have been found associated with the bones of -elephants, mammoths, camels, horses and certain types -of bison which have been extinct in America many thousands -of years.</p> -<p>Little is known about these early inhabitants of North -America. They lived by hunting and by gathering seeds, -fruit and roots of wild plants. They had no permanent -dwellings and moved about, following the game on which -they lived. Pottery was unknown and their utensils and -containers were made of animal skins. Cooking must have -been done over the open fire although they may have been -able to cook some foods by dropping hot stones into skin -containers. Many primitive people have cooked in this -manner.</p> -<p>Few human bones have been found, so little is known -about the appearance or race of these early men. It can -be presumed that they were ancestors of some of our -present-day Indians.</p> -<p>The migrations of people from Asia to America which -began thousands of years ago continued until only a few -centuries ago. When the white man finally arrived, there -were hundreds of tribes and many millions of Indians in -the New World.</p> -<div class="pb" id="Page_2">2</div> -<div class="img" id="fig2"> -<img src="images/p04.jpg" alt="" width="1600" height="1010" /> -<p class="pcap"><span class="sc">Diorama No. 2</span> -<br /><b>THE BASKETMAKERS—1 to 450 A. D.</b></p> -</div> -<p>Pictured here is a cave occupied by early farming Indians -whom we call the Basketmakers. Having no houses, -they used the caves for shelter and since the caves were -dry the remains of the people are often found in a remarkable -state of preservation. These first farmers of the Mesa -Verde region came into the area almost 2,000 years ago, -bringing corn and squash with them.</p> -<p>The corn and squash were raised in small mesa-top -fields and the people also hunted game animals and gathered -wild plant foods. Corn was the most important food. -It could be stored for the winter and when ground on the -milling stones, the mano and metate, could be used in -many ways. The area is excellent for dry farming as the -rainfall averages 19 inches per year.</p> -<p>Pottery was unknown and baskets served as all-purpose -containers. It is because of the beautifully woven -baskets, bags, sandals and sashes that the people are called -Basketmakers. Dogs were present and their hair was sometimes -used in weaving.</p> -<p>In most of the area around the Mesa Verde, houses -were not in use but in the Durango area the remains of -crude, hogan-like structures have been found. Since most -of the people did not have houses, caves were used for -shelter and most of the remains of these people have been -found in caves where they have been protected from the -elements. In the floors of the caves, small slab-lined pits -were constructed for the storage of food. They were also -used for burials.</p> -<p>The bow and arrow were not used by the Basketmakers. -Instead, they used a weapon called the atlatl, a -throwing stick with which they threw long arrow-like -darts. The atlatl served to lengthen the arm and a quick -overhand thrust imparted great force to the dart.</p> -<p>The Basketmaker cradle was woven of reeds and withes -and a soft pillow was placed under the baby’s head. As a -result, the head developed normally and was not deformed.</p> -<p>Clothing was scanty. Small string aprons were worn by -the women and loin cloths may have been used. Large -blankets were woven from thin strips of fur and these as -well as animal skins served as robes during the colder seasons. -Jewelry made from stones, sea shells, bones and -seeds was common. Turquoise came into use at this time.</p> -<p>The Basketmakers were highly intelligent, progressive -people with great ability to develop new ideas and to borrow -things from other people. Although they lived in a -simple, rather primitive way, they laid the foundation for -the great developments which were to follow.</p> -<div class="pb" id="Page_3">3</div> -<div class="img" id="fig3"> -<img src="images/p06.jpg" alt="" width="1600" height="1004" /> -<p class="pcap"><span class="sc">Diorama No. 3</span> -<br /><b>THE MODIFIED BASKETMAKER PERIOD—450 to 750 A. D.</b></p> -</div> -<p>When Step House Cave, three miles west of the park -museum, was excavated in 1926, the ruins of three Modified -Basketmaker pithouses were found. They were built -about 600 A. D.</p> -<p>This diorama shows Step House Cave at the time of its -occupation. Two of the pithouses are shown, one complete, -the other being constructed. The men are doing the heavier -construction work while a woman applies adobe to the roof. -Another woman is cooking, two are making pottery and -still another is threshing beans. A father is showing his two -small sons how to use the bow and arrow and coming -through the trees are two men carrying a mountain sheep.</p> -<p>The people of this period were direct descendants of -the Basketmakers shown in <a href="#Page_2">Diorama No. 2</a>. Several new -developments such as pithouses, pottery and the bow and -arrow had appeared, and the way of life had changed. -This change is indicated by the new name, Modified Basketmaker -Period.</p> -<p>Pithouses, the idea borrowed from other people, came -into general use early in the period. Some were built in -the caves but now that they had good houses the people -began to move to the mesa tops. By 700 A. D., most, perhaps -all, were living in small pithouse villages near their -fields. The pithouses provided shelter and comfort during -the colder seasons.</p> -<p>Pottery appeared early in the period and basketry became -less important. The secret of pottery making was -learned from people to the south and soon the women -were making water jars, bowls, pitchers, ladles and cooking -pots of good quality. Beans came into use, now that -there were pots in which to cook them, and added an -excellent protein food to the diet.</p> -<p>About 550 A. D., the bow and arrow, borrowed from -other people, came into use. The bow was superior to the -atlatl and made hunting and defense of the home easier. -Stone axes and mauls and other tools of stone and bone -appeared during this period. Turkeys were domesticated -and they and the dogs were the only domesticated animals -the Mesa Verde people ever had.</p> -<p>The Modified Basketmaker period saw development -and progress. With houses, pottery and the bow and arrow, -and the addition of beans to their diet, the people -seemed to gain vigor and the population began to grow. -By the end of the period, there were hundreds of pithouse -villages in the Mesa Verde and a great area around it.</p> -<div class="pb" id="Page_4">4</div> -<div class="img" id="fig4"> -<img src="images/p08.jpg" alt="" width="1600" height="1010" /> -<p class="pcap"><span class="sc">Diorama No. 4</span> -<br /><b>THE DEVELOPMENTAL PUEBLO PERIOD—750 to 1100 A. D.</b></p> -</div> -<p>Pictured here is a typical Mesa Verde pueblo of about -850 A. D. The houses are joined together in a long curving -row, facing south. In front are two underground ceremonial -rooms, one complete, the other under construction. -Around the village are the fields and in the head of a -small draw at the left is a spring which provides water. -The people are engaged in the activities of a September -day: gathering the crops, drying food, building houses, -carrying water, cooking, dressing hides, making pottery -and, in some cases, doing nothing at all.</p> -<p>In the two preceding dioramas, the people were called -Basketmakers. From this time on, they will be called -Pueblos. Pueblo is a Spanish word meaning village. This -period saw the beginning of true pueblo architecture so -the new name, Pueblo Indians, is used.</p> -<p>During the preceding period, individual pithouses -were built but near the end, the builders began to join the -houses together in compact groups. Early in the Developmental -Pueblo Period, individual pithouses, used as dwellings, -disappeared. The houses became rectangular with -vertical walls built of posts and adobe. The rooms were -joined together, end-to-end, in long, curving rows. In front -were one or more deep pitrooms which served as ceremonial -rooms.</p> -<p>Later in the period, stone masonry appeared and -houses were built of stones laid in adobe mortar. These -villages usually contained from 4 to 15 rooms built in a -single compact group. In front were one or more ceremonial -rooms, now completely underground. These rooms, -now called kivas, served as ceremonial rooms, clubrooms -and workrooms and were used chiefly by the men.</p> -<p>About 750 A. D., the people began to use a wooden -cradleboard and the baby’s head rested on the hard board -without a pillow. This caused the back of the skull to -flatten and the head appeared much broader. From this -time on, almost every head was noticeably deformed.</p> -<p>During the Developmental Pueblo Period, there was -general improvement in everything except basketry which -declined as pottery grew in favor. Pottery improved in -quality, designs became more common and corrugated -pottery appeared. Minor arts and crafts improved and -cotton cloth appeared about 900 A. D. Evidently the cotton -was imported from warmer regions to the south for it -will not mature in the Mesa Verde.</p> -<p>From all appearances, this was a peaceful period, for -the population grew rapidly and the people spread over a -wide area. Hundreds of small farming villages dotted the -Mesa Verde area.</p> -<div class="pb" id="Page_5">5</div> -<div class="img" id="fig5"> -<img src="images/p10.jpg" alt="" width="1600" height="1009" /> -<p class="pcap"><span class="sc">Diorama No. 5</span> -<br /><b>THE GREAT PUEBLO PERIOD—1100 to 1300 A. D.</b></p> -</div> -<p>Spruce Tree House, shown in this diorama, is the best -preserved large cliff dwelling in the Mesa Verde. It contains -8 kivas and well over 100 rooms and may have had -as many as 200 inhabitants. The diorama shows it as it -was when occupied during the thirteenth century.</p> -<p>The rooms, which were small, served as sleeping and -storage rooms. Most of the activities of the people were -carried on in the open courts and on the house roofs. Pictured -here is a September afternoon and the people are -busy with their many activities. Corn, beans and squash -are being carried down from the mesa-top fields and -spread on roofs to dry. Women are grinding corn, cooking, -carrying water and caring for the babies. Some of the men -are building a kiva roof and a new house is also being -built. In the center of the village, old men sit in the sun -and talk about bygone days when things were better.</p> -<p>The Great Pueblo Period of 1100 to 1300 A. D. was the -climax of Pueblo development in the Mesa Verde. From -1100 to about 1200, the people lived on the mesa tops in -well-built masonry pueblos. The plan of the villages, however, -began to change. Kivas, which formerly had been -outside the village proper, were now placed inside and -were surrounded by houses. Tall, round towers, which -may have been lookout towers, became common. The villages -also grew larger and were concentrated in the most -favorable areas. All of this indicates a need for defense -and it is probable that nomadic Indians were beginning -to harass the Pueblo farmers.</p> -<p>About 1200 A. D., the Mesa Verde people began to -move to the caves. Soon most, if not all, were living in cliff -dwellings which were simply pueblos built in caves. This -abrupt change evidently resulted from a need for defense -against increasing enemy pressure.</p> -<p>During this last century, the people reached their highest -level of development. Houses, pottery and all other -arts and crafts except basketry were of the finest quality -produced in the Mesa Verde. After thirteen centuries of -steady development, the culture reached its peak.</p> -<p>In 1276 A. D., a drought began which lasted through -1299 A. D. Because of the drought and probably, also, because -of increasing enemy trouble, the people moved to -the south. Some of our modern Pueblo Indians living in -New Mexico and Arizona are their descendants. The Mesa -Verde was never again occupied by farming Indians. After -many silent, empty centuries, the cliff dwellings were discovered -by the white man in 1874.</p> -<h2>Transcriber’s Notes</h2> -<ul> -<li>Silently corrected a few typos.</li> -<li>Retained publication information from the printed edition: this eBook is public-domain in the country of publication.</li> -<li>In the text versions only, text in italics is delimited by _underscores_.</li> -</ul> -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK THE MESA VERDE STORY ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -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™ electronic works to protect the PROJECT GUTENBERG™ -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks 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. -</div> - -<div style='margin:0.83em 0; font-size:1.1em; text-align:center'>START: FULL LICENSE<br /> -<span style='font-size:smaller'>THE FULL PROJECT GUTENBERG LICENSE<br /> -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK</span> -</div> - -<div style='display:block; margin:1em 0'> -To protect the Project Gutenberg™ 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™ License available with this file or online at -www.gutenberg.org/license. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -1.A. By reading or using any part of this Project Gutenberg™ -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™ electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg™ 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. -</div> - -<div style='display:block; margin:1em 0'> -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™ 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™ electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg™ -electronic works. See paragraph 1.E below. -</div> - -<div style='display:block; margin:1em 0'> -1.C. The Project Gutenberg Literary Archive Foundation (“the -Foundation” or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg™ 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™ mission of promoting -free access to electronic works by freely sharing Project Gutenberg™ -works in compliance with the terms of this agreement for keeping the -Project Gutenberg™ 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™ License when -you share it without charge with others. -</div> - -<div style='display:block; margin:1em 0'> -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™ work. The Foundation makes no -representations concerning the copyright status of any work in any -country other than the United States. -</div> - -<div style='display:block; margin:1em 0'> -1.E. Unless you have removed all references to Project Gutenberg: -</div> - -<div style='display:block; margin:1em 0'> -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg™ License must appear -prominently whenever any copy of a Project Gutenberg™ 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: -</div> - -<blockquote> - <div style='display:block; margin:1em 0'> - 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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you - are not located in the United States, you will have to check the laws - of the country where you are located before using this eBook. - </div> -</blockquote> - -<div style='display:block; margin:1em 0'> -1.E.2. If an individual Project Gutenberg™ 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™ -trademark as set forth in paragraphs 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.3. If an individual Project Gutenberg™ 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™ License for all works -posted with the permission of the copyright holder found at the -beginning of this work. -</div> - -<div style='display:block; margin:1em 0'> -1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg™. -</div> - -<div style='display:block; margin:1em 0'> -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™ License. -</div> - -<div style='display:block; margin:1em 0'> -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™ work in a format -other than “Plain Vanilla ASCII” or other format used in the official -version posted on the official Project Gutenberg™ website -(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™ License as specified in paragraph 1.E.1. -</div> - -<div style='display:block; margin:1em 0'> -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg™ works -unless you comply with paragraph 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg™ electronic works -provided that: -</div> - -<div style='margin-left:0.7em;'> - <div style='text-indent:-0.7em'> - • You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg™ works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg™ 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.” - </div> - - <div style='text-indent:-0.7em'> - • 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™ - 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™ - works. - </div> - - <div style='text-indent:-0.7em'> - • 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. - </div> - - <div style='text-indent:-0.7em'> - • You comply with all other terms of this agreement for free - distribution of Project Gutenberg™ works. - </div> -</div> - -<div style='display:block; margin:1em 0'> -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg™ electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from the Project Gutenberg Literary Archive Foundation, the manager of -the Project Gutenberg™ trademark. Contact the Foundation as set -forth in Section 3 below. -</div> - -<div style='display:block; margin:1em 0'> -1.F. -</div> - -<div style='display:block; margin:1em 0'> -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™ collection. Despite these efforts, Project Gutenberg™ -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. -</div> - -<div style='display:block; margin:1em 0'> -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™ trademark, and any other party distributing a Project -Gutenberg™ 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. -</div> - -<div style='display:block; margin:1em 0'> -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. -</div> - -<div style='display:block; margin:1em 0'> -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. -</div> - -<div style='display:block; margin:1em 0'> -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. -</div> - -<div style='display:block; margin:1em 0'> -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™ electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg™ -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™ work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg™ work, and (c) any -Defect you cause. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 2. Information about the Mission of Project Gutenberg™ -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ 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. -</div> - -<div style='display:block; margin:1em 0'> -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg™’s -goals and ensuring that the Project Gutenberg™ 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™ 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. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 3. Information about the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -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. -</div> - -<div style='display:block; margin:1em 0'> -The Foundation’s 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 website -and official page at www.gutenberg.org/contact -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ depends upon and cannot survive without widespread -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. -</div> - -<div style='display:block; margin:1em 0'> -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 <a href="https://www.gutenberg.org/donate/">www.gutenberg.org/donate</a>. -</div> - -<div style='display:block; margin:1em 0'> -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. -</div> - -<div style='display:block; margin:1em 0'> -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. -</div> - -<div style='display:block; margin:1em 0'> -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 -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 5. General Information About Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -Professor Michael S. Hart was the originator of the Project -Gutenberg™ concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg™ eBooks with only a loose network of -volunteer support. -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ 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. -</div> - -<div style='display:block; margin:1em 0'> -Most people start at our website which has the main PG search -facility: <a href="https://www.gutenberg.org">www.gutenberg.org</a>. -</div> - -<div style='display:block; margin:1em 0'> -This website includes information about Project Gutenberg™, -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. -</div> - -</div> - -</body> -</html> diff --git a/old/64833-h/images/cover.jpg b/old/64833-h/images/cover.jpg Binary files differdeleted file mode 100644 index e20a4d2..0000000 --- a/old/64833-h/images/cover.jpg +++ /dev/null diff --git a/old/64833-h/images/p01.jpg b/old/64833-h/images/p01.jpg Binary files differdeleted file mode 100644 index 924b077..0000000 --- a/old/64833-h/images/p01.jpg +++ /dev/null diff --git a/old/64833-h/images/p02.jpg b/old/64833-h/images/p02.jpg Binary files differdeleted file mode 100644 index 00b1730..0000000 --- a/old/64833-h/images/p02.jpg +++ /dev/null diff --git a/old/64833-h/images/p04.jpg b/old/64833-h/images/p04.jpg Binary files differdeleted file mode 100644 index e52b199..0000000 --- a/old/64833-h/images/p04.jpg +++ /dev/null diff --git a/old/64833-h/images/p06.jpg b/old/64833-h/images/p06.jpg Binary files differdeleted file mode 100644 index afc55b0..0000000 --- a/old/64833-h/images/p06.jpg +++ /dev/null diff --git a/old/64833-h/images/p08.jpg b/old/64833-h/images/p08.jpg Binary files differdeleted file mode 100644 index ec89a93..0000000 --- a/old/64833-h/images/p08.jpg +++ /dev/null diff --git a/old/64833-h/images/p10.jpg b/old/64833-h/images/p10.jpg Binary files differdeleted file mode 100644 index 2269379..0000000 --- a/old/64833-h/images/p10.jpg +++ /dev/null diff --git a/old/64833-h/images/spine.jpg b/old/64833-h/images/spine.jpg Binary files differdeleted file mode 100644 index f55f026..0000000 --- a/old/64833-h/images/spine.jpg +++ /dev/null |
