The Project Gutenberg eBook of A Pictorial Guide to Mesa Verde National
Park, by Ansel F. Hall
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: A Pictorial Guide to Mesa Verde National Park
Author: Ansel F. Hall
Release Date: May 11, 2021 [eBook #65321]
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 A PICTORIAL GUIDE TO MESA VERDE
NATIONAL PARK ***
[Illustration: Cliff Palace]
MESA VERDE NATIONAL PARK
A PICTORIAL GUIDE
PHOTOGRAPHY AND TEXT BY—ANSEL F. HALL
MAPS—SKETCHES BY DELLA TAYLOR HOSS & MERRIE HALL WINKLER
DESIGNED AND COPYRIGHTED BY ANSEL F. HALL
PUBLISHED BY MESA VERDE CO., MESA VERDE NATIONAL PARK, COLORADO
A MIRRO-KROME ® PRODUCT LITHOGRAPHED BY H. S. CROCKER CO., INC., SAN
FRANCISCO, CALIF.
[Illustration: PICTURE MAP OF MESA VERDE AND THE “FOUR-CORNERS
COUNTRY” OF THE SOUTHERN ROCKIES
(Get detailed road map from any service station.)]
[Illustration: CLIFF PALACE]
[Illustration: MESA VERDE—the “green tableland” rises 1,500 feet
above the Mancos Valley, here seen in its colorful October foliage.
In the foreground, Highway 160 bears westward to the pioneer town of
Mancos, 1 mile distant, and to the Park Entrance, 8 miles farther,
just below the distant bulk of Ute Mountain. Beneath the bold
promontory of Point Lookout the Park Entrance Highway can be seen
climbing to the top of Mesa Verde.]
[Illustration: THE PARK ENTRANCE HIGHWAY, paved and engineered for
high-gear travel, begins its tortuous climb beneath Point Lookout
shortly after branching south from Highway 160.]
[Illustration: MESA VERDE—NORTH ESCARPMENT Air view of the “Green
Table” not possible when named by Escalante in 1776.]
[Illustration: AERIAL VIEW OF MESA VERDE
ENTERING THE PARK: Entering Mesa Verde is a breathtaking experience.
Spectacular views confront the visitor as the road ascends for 5
miles to a high valley. This valley is an important activity
center—the MORFIELD CAMPGROUND-VILLAGE complex. Just off the
entrance road are 500 individual and group campsites, a 1500 seat
amphitheatre, horseback riding and a shopping center. Approximately
10 miles past Morfield the road reaches another important point of
activity. The National Park Service has located there the NAVAJO
HILL VISITOR CENTER. On the gentle summit above the visitor center
is the FAR VIEW MOTOR LODGE. On the road one mile south is Far View
Ruin, a large surface pueblo important to the interpretation of Mesa
Verde. The final four miles of the road descend gently through the
forest to SPRUCE TREE, the Park Headquarters Area. The principal
interpretative activity is here overlooking Spruce Tree Ruin, the
third largest and, perhaps, the best preserved of the classical
pueblo cliff dwellings.]
PLAN YOUR SIGHTSEEING
In the Museum, at Park Headquarters, ranger-archaeologists are on duty
to provide maps and guide leaflets, and to advise how to make the best
use of your available time. You could spend a week in Mesa Verde’s
spectacular environment, seeing something new every day and absorbing
the fascinating story of 2,000 years of pre-history of the Stone Age
people who built these cliff cities. But if your time is budgeted to
only one day or less, the Museum Staff will help you plan your
sightseeing so as to see the more important ruins as a prelude to your
next—and longer—visit.
[Illustration: Get your first view of SPRUCE TREE RUIN from the
balcony in the Museum area—then ...]
[Illustration: Carefully plan your sightseeing to Cliff Palace and
the other big ruins.]
THE RUINS ROAD DRIVES
The main sightseeing drives are normally open from 7:00 a. m. to
sundown. There are two 6-mile loops starting from the Spruce Tree Museum
Area. Use your own car or join the tour-guided sightseeing bus trips.
When following the Ruins Road Drives, park your car and walk to
overlooks, viewpoints, and down trails to the major ruins where
ranger-archaeologists are stationed to explain all details.
[Illustration: PERSPECTIVE MAP OF “RUINS ROAD” DRIVE]
[Illustration: At CLIFF PALACE, archaeologist-guides conduct
visitors through the ruin.]
[Illustration: SQUARE TOWER RUIN]
ANCIENT HOUSES—SQUARE TOWER—SUN TEMPLE CIRCUIT
Principal features of this very informative trip are: five groups of
mesa-top excavations showing the development sequence of prehistoric
dwellings; a spectacular close-up rim view of Square Tower, the tallest
cliff dwelling structure; rim views of many ruins; and opportunity to
climb to the top of Sun Temple. Three to four hours should be allowed to
absorb fully the facts interpreted by means of viewfinders, labels,
models and maps at various stopping points.
To enter this loop road you will bear right at the first junction beyond
the Spruce Tree Museum Park lot. Stops at the sign, “Pit Houses,” and at
four additional surface-ruin sites in the next two miles, enable you to
look into homes of the pueblo farmers dating from 600 to approximately
1200 A.D. These exhibits warrant more than superficial study.
You must not miss looking down on Square Tower Ruin. To reach the
viewpoint from which the photograph on page 7 was taken, leave your car
at designated parking space and follow a 200-yard mesa-top trail.
Allow ample time at Sun Point to enjoy the wide panorama and a view of
the greatest concentration of big ruins. From this point be sure to note
Mummy House clinging to the cliff below Sun Temple, across Fewkes
Canyon.
Just west of Sun Point the road parallels the south rim of Fewkes
Canyon, named for the famous archaeologist of the Smithsonian
Institution who directed the excavation and stabilization of these big
ruins between the years 1908 and 1922. Stop at nearby rim viewpoints to
look down on Oak Tree House, New Fire House Ruin, and Fire Temple.
Climax of your trip will be the stop at Sun Temple where you may climb
to the top of the walls of this great structure that was left
uncompleted, at the time of the great drought of 1276-1298.
[Illustration: FIRE TEMPLE AND NEW FIRE HOUSE RUIN as seen from rim
of Fewkes Canyon. ]
[Illustration: OAK TREE HOUSE RUIN as seen from south rim of Fewkes
Canyon.]
[Illustration: SQUARE TOWER RUIN as seen from rim viewpoint
(200-yard walk from road).]
CLIFF PALACE-BALCONY HOUSE CIRCUIT
Outstanding features of this 6-mile loop are: the opportunity to be
guided through Cliff Palace and Balcony House ruins by well-informed
ranger-archaeologists; and stops at many overlooks, from which smaller
and inaccessible cliff dwellings are pointed out by viewfinders. Before
starting, go to the Museum for a time schedule of guided tours. The
turn-off to the Cliff Palace loop is the second junction after turning
east at the Spruce Tree Crossroads. Rim viewpoints are all marked by
rustic signs and provided with viewfinders and other informational
material. Allow three to four hours for this spectacular sightseeing
trip.
[Illustration: View into Cliff Canyon from SUN TEMPLE.]
[Illustration: SUN TEMPLE as seen from Sun Point, across Fewkes
Canyon. Note Mummy House Ruin under overhanging cliff.]
CLIFF PALACE
[Illustration: TELEPHOTO VIEW OF CLIFF PALACE RUIN, AS SEEN FROM A
POINT NEAR SUN TEMPLE, ACROSS CLIFF CANYON.]
This majestic ruin, the greatest of all cliff dwellings, is not only an
architectural masterpiece, but also a remarkable historical record.
Preserved within its walls is a fascinating story of a primitive people
who learned to work, and build, and live together in harmony and mutual
interdependence while our own European ancestors were struggling under
the harsh yoke of feudalism. It is this inspiring story that should be
carried away as your principal memory of Mesa Verde, rather than an
impression of crumbling walls.
To carry you back through the ages, the National Park Service stations
knowledgeable archaeologists here to tell you how the ancient people
lived, to point out many significant details of their environment, and
to lead you as intimately as possible into the life of this Stone Age
community.
The telephoto view of Cliff Palace on the two following pages endeavors
to picture the sweep and grandeur of this largest known cliff dwelling.
[Illustration: Cliff Palace]
CLIFF PALACE
[Illustration: CLIFF PALACE occupies a large cave in the precipitous
wall of one of Mesa Verde’s 28 canyons. At the right in this photo
is the back of the so-called “Speaker Chief Tower” which is pictured
on page 5.]
[Illustration: There are 23 kivas, circular underground ceremonial
chambers, each of which was used by the men of an individual clan.
When visiting ruins, note these features: fire pit, ventilator
shaft, deflector, 6 pilasters, and the Sipapu (spiritous entrance to
the underworld).]
THE TRAIL TO CLIFF PALACE
The trail trip through Cliff Palace ruin requires approximately
three-quarters of an hour. Leave your car at the designated parking
space. Walk first to the railed rock promontory about 100 feet from the
road, from which point a splendid panorama view is obtained; then make
the 5-minute descent down the foot trail to the Ruin where you will be
met by the ranger-archaeologist.
[Illustration: View of the south section of the CLIFF PALACE from
the point where visitors are met by the ranger-archaeologist, who
here outlines what is known about the life and culture of the
ancient inhabitants.]
[Illustration: THE ROUND TOWER is one of the most perfectly built of
all the architectural features of Cliff Palace. Individual blocks
were curved by chipping with stone axes.]
THE TRAIL TO BALCONY HOUSE
Of all Mesa Verde’s cliff dwellings, Balcony House Ruin is the most
dramatically situated and offers the most exciting personal exploration
experience. National Park Service archaeologist-guides meet visitors at
the designated parking space to lead the 1¼-to-1½-hour trip over a
half-mile ledge trail, up the famous approach ladder, and through the
ruin. Time schedule of trips may be obtained at the Museum.
[Illustration: Interior, BALCONY HOUSE RUIN, looking north. Note the
approach ladder at the lower right.]
[Illustration: Climbing the ladder to Balcony House Ruin provides
one of the most remembered thrills of the Mesa Verde experience.]
[Illustration: View into Soda Canyon from the parapet of BALCONY
HOUSE RUIN. The balcony in the foreground is more than 700 years
old.]
YOUR TRIP TO THE TOP OF THE “GREEN MESA”
[Illustration: LUNACHUKAI MTS. FROM PARK POINT (EL. 8,572) A VAST
PANORAMA OPENS UP TO THE SOUTH AND WEST. THE LOVELY UNBROKEN
FOREST-GREEN MESA-TOP, IN THE FOREGROUND, SUPPORTED AND PROTECTED
THE CIVILIZED PEOPLE WHO ONCE LIVED HERE.]
No trip to Mesa Verde National Park is complete without a visit to Park
Point Lookout, 8,572-foot summit on the north rim. You must not miss the
thrilling and inspiring full-circle panorama of mountains, mesas, and
wide reaches of desert.
In many ways, the section of the panorama pictured in the above sketch
is most significant: it looks southward and westward into the vast
distances of the Navajo and Ute Indian Reservation—the “Four-Corners
Country,” where sixty thousand Navajos herd their sheep and live their
primitive nomadic life.
The fire guard will point out to you the volcanic spire of Shiprock, 50
miles distant as the buzzard flies. He may also call your attention to
the notch just north of the huge bulk of The Sleeping Ute, where the
McElmo Canyon Road leads to Hovenweep Ruins—and beyond, to the vast
colorful Monument Valley. You will certainly want him to identify the
spectacular 14,000-foot peaks of the northern and eastern skyline.
Overshadowed or concealed in all this vastness are many features that
determined the very lives of the people who once lived here—factors that
literally created their hospitable environment. Earth movements in
long-past geologic ages had raised the Mesa’s rocks from beneath the
seas; other more violent displacements had thrust up the high peaks of
the San Juans and the La Platas to the northeast and, in so doing,
elevated and tilted our Mesa. The resulting elevation—8,500 feet at the
north, sloping down to 7,000 feet at the south—encouraged the slight
margin of rainfall that invited trees and all manner of plants and
animals to form a natural community that welcomed the first hunters and
Stone Age settlers when they arrived.
There is deep meaning in the lovely unbroken green mesa-top forest you
see spread out before you. Stop for a moment and picture how nature has
reclaimed the fields of corn and beans and squash that lay hidden
between piñon groves a thousand years ago—and how the stream of human
life is not lost, but persists through the ages: in this case, in the
pueblo dwellers who live today beyond the mesas and distant mountains of
the southern horizon.
“May the public interest in America’s remaining wilderness areas
continue to grow in the years ahead, and may the National Parks
forever be able to provide an outlet for those who would adventure in
the wilds far beyond a road’s end.”
CONRAD L. WIRTH, _Director, National Park Service_
Reprinted from “THE NATIONAL PARK WILDERNESS.”
[Illustration: The green top of MESA VERDE as seen from Park Point
Lookout. In the middle ground is the Knife Edge; at the far right,
Point Lookout. On the northeast skyline are the 13,000-foot peaks of
the La Plata Range of the southern Rockies.]
ACTIVITIES IN THE PARK HEADQUARTERS AREA
In this area you will see your first Cliff Dwelling.
You will walk; everything is conveniently near.
You will visit the Museum—probably several times—to plan trips and to
better understand what you see here.
You may hike on the Mesa Top, ledge and canyon trails—but be sure to get
maps and a permit at the Museum.
You will enjoy the variety of several evening campfires at the canyon
rim amphitheatre.
You may worship at the inter-denominational services Sundays.
You will find food and refreshment at the SPRUCE TREE TERRACE.
You may want to relax in the sightseeing bus with the guide driving
while you look at the Ruins.
ACTIVITIES AT NAVAJO HILL
An important area is Navajo Hill, 15 miles from the Park Entrance (refer
to perspective map on page 4). The Park Visitor Center is located here.
This is the junction of the Wetherill and Chapin Roads.
You will find food and refreshment in the Lodge.
You may want to relax in the sightseeing bus with the guide driving
while you look at the Ruins.
You may hike to Far View Ruin ¾ mile south.
You will watch a breathtaking sunset over 4 states.
★ ★ ★
[Illustration: THE EVENING CAMPFIRE. Nightly, at the Campfire
Circle, informal talks are given by members of the archaeological
staff. The subjects: modern Indians, food plants, archaeology, etc.,
vary each night during the week. Frequently the Navajo Indians, who
work in the Park, present tribal dances and chants (their beliefs
prohibit photographs).]
[Illustration: HIKING along the rim rocks and into the canyons leads
to spectacular views and ruins that cannot be seen from the roads.
Most trail trips require strenuous exertion, and because of the
danger of getting lost, hikers must obtain maps and a permit before
leaving the Headquarters Area.]
[Illustration: SPRUCE TREE RUIN, one of the best preserved of the
larger cliff dwellings, is a 5-minute walk from the Museum. For full
enjoyment of this one-hour experience, get a guide leaflet before
you start. Archaeologists are stationed here to show and explain
some of the 114 living rooms and 12 kivas.]
GLIMPSES OF THE MESA VERDE STORY
The Mesa Verde story has all the elements of the most thrilling
“Western:”
Scene 1. Father Escalante and his cavalcade of Spanish explorers camped
at the northeast edge of the Mesa on August 11, 1776—without even
suspecting that its deep canyons hid ancient stone cities.
Scene 2. Antonio Armijo, with his caballeros at nearby Mancos Creek, on
November 19, 1824, searching for a route from Santa Fe to California.
Scene 3. Secret inroads of the Mountain Men—beaver trappers who may have
poached in this remote section of the southern Rockies in the 1830’s and
1840’s.
Scene 4. The hectic rush of the gold and silver prospectors of the 50’s
and 60’s into the nearby La Plata Diggings.
Scene 5. Arrival of the pioneer photographer, William Henry Jackson, at
the mines; his search for vaguely reported ruins—and his discovery and
first photograph of a Mesa Verde cliff dwelling, Two Story House, on
September 9, 1874.
Scene 6. The government survey party led by H. H. Holmes, surveying the
new West, the next year, and finding a large cliff dwelling which he
called Sixteen-Window House.
Scene 7. Pioneer ranchers settling in the Mancos Valley in the 1870’s
and 1880’s, especially the Wetherills who made friends with the Utes,
and were permitted to run their cattle on the forbidden Mesa Verde.
Scene 8. In 1885, the coming of the first, and possibly the most
willful, young lady tourist, Virginia Donahoe, who was given protection
by the officers of the Indian fighting cavalry and advised to “go home”;
but, instead, stayed at the Wetherill ranch and went hunting arrowheads
and prehistoric pottery with the five Wetherill boys—and returned the
next summer to equip her own expedition that penetrated Cliff Canyon and
“discovered Balcony House Ruin on October 6, 1886.”
Scene 9. The friendly old Ute chief, Acowitz, enjoying the Wetherills’
hospitality and telling them of “Big Cities” in Mesa Verde’s canyons.
Scene 10. Richard Wetherill and his cousin, Charley Mason, searching for
lost cattle on the Mesa—and their dramatic “discovery” of Cliff Palace
and Spruce Tree Ruins on December 18, 1888—and Square Tower Ruin the
following day.
Scene 11. The local cowboys “treasure hunting” in cliff dwellings during
the next few years—permissible digging for relics which were beautiful
curiosities and sometimes saleable.
Scene 12. Systematic field investigations by Dr. F. H. Chapin, W. R.
Birdsall and Baron Gustaf Nordenskiold, whose scientific reports of
1890-93 resulted in the dawning recognition of the scientific importance
of these ruins and buried artifacts.
Scene 13. The women of Colorado rallying to the standard of their Cliff
Dwellings Association, through the 1890’s and early 1900’s, for the
establishment of a national park.
Scene 14. Many congressional postponements and final action establishing
Mesa Verde National Park on June 29, 1906.
Scene 15. Subsequent palaver and a treaty with the Utes to rectify the
boundaries and to get the big ruins into the Park—and controversy with
these recalcitrant neighbors that persists to this day.
Scene 16. Dr. J. Walter Fewkes of the Smithsonian Institution and a
digging crew repairing Spruce Tree Ruin and stabilizing its walls in
1908, and Cliff Palace during the following year, and most of the other
big ruins during the next thirteen years—stabilization and research that
continues today under the National Park Service, assisted by the
National Geographic Society.
Scene 17. George Mills surveying the “carriage road” to the Mesa top
which was painfully pioneered from 1907 to 1914.
Scene 18. Announcement: “On May 23, 1921, Mr. Jesse Nusbaum of Colorado,
a young archaeologist of great experience and reputation for successful
work in the Southwest, was appointed” as Superintendent of Mesa Verde
National Park.
★ ★ ★
The new Superintendent’s wide and practical experience enabled him to
lead the way in coordinating and directing many important activities:
overall plans for the general functional layout; architectural plans;
road construction; establishment of public campgrounds; development of
water supply and other facilities needed by the vastly increased number
of visitors who were beginning to discover this fascinating, unique, and
hitherto almost unknown National Park.
Outstanding among the permanent achievements of this constructive decade
were the development of the Ranger Guide Service made up for the most
part of trained young archaeologists, under the direction of a permanent
naturalist-archaeologist; the building and equipment of a museum from
funds contributed by public subscription; the establishment of evening
campfire lectures, and demonstrations by the Navajos of their tribal
chants and dances—activities that today form the pattern of the
inspiring interpretive program conducted here by the National Park
Service.
THE MUSEUM
[Illustration: Sketch of museum]
An ancient medicine man’s pouch with its magic treasures—mummy of a
Basketmaker maiden who lived 1,500 years ago—the primitive hunter’s
atlatl—might pique your curiosity and lure you to visit the Mesa Verde
Museum. Soon you would discover, however, that this is not just a
storehouse for dry-as-dust dead things, but rather a living center of
knowledge and its interpretation—the key to your understanding and
enjoyment of the real museum which is the Park itself.
[Illustration: Decorative border]
[Illustration: CLIFF PALACE IN 1270 A.D.
From a Painting by PAUL COZE]
Collaborating with the staff of the Mesa Verde Museum, the artist has
shown typical activities at 3:00 P.M. on a sunny autumn afternoon in
1270 A.D.
In the left foreground an unmarried girl with butterfly hair-do is
husking corn of several colors and gossiping with a married lady who has
the matron’s two rolls of hair behind her ears. Three women in the
painting wear the pueblo dress, while the others have string aprons;
both would have been used in the summer. Nearby is a ladle and a
corrugated pot—on the wall top a Classic Mesa Verde mug and a decorated
jar.
Between the girl and the wife fixing her husband’s hair lies a snare.
Close to the couple are a bowl, a squash, a stone axe, and a peculiar
submarine-shaped jar.
Above the couple a dog barks at a youngster who has broken a big jar.
Two women are making pottery; behind them two women replaster the lower
room of a two-story house, on top of which a man is pointing out to some
children that the town crier is making an announcement, and they should
keep quiet. Two priests, one with ceremonial kilt and evergreens, climb
a one-pole ladder.
Beneath the crier a woman closes the doorway of her house with a stone
slab, and below her on the near roof an old lady keeps warm with a
rabbit-skin blanket, while her daughter grinds corn. In front of the
house a woman, whose baby snoozes in a wooden cradle, bakes blue corn
meal “pancakes” on a hot stone slab. The kiva door is closed with a mat,
turkeys wander about, and the woman in the right-hand corner, sitting on
the beautiful brown textile (to be seen in the Park Museum), strings
turquoise beads.
To the right, two bow-and-arrow-makers ridicule a returning unsuccessful
hunter, women bring water in jars from the spring, and turkeys pick over
the trash pile.
Visible in the painting are a round and a square tower, ten of 23
exceptionally small kivas which occur in the ruin, and rectangular and
T-doors. Beyond the square tower with its balcony, people are finishing
a third-story room.
Cliff Palace had 200 living rooms and sheltered perhaps 400 persons.
[Illustration: MORFIELD VILLAGE AND CAMPGROUND]
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 A PICTORIAL GUIDE TO MESA VERDE
NATIONAL PARK ***
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.
