The Project Gutenberg EBook of Renaissance in Italy, Volumes 1 and 2
by John Addington Symonds
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.net
Title: Renaissance in Italy, Volumes 1 and 2
The Catholic Reaction
Author: John Addington Symonds
Release Date: August 10, 2005 [EBook #16504]
Language: English
Character set encoding: ISO-8859-1
*** START OF THIS PROJECT GUTENBERG EBOOK RENAISSANCE IN ITALY ***
Produced by Ted Garvin, Chuck Greif and the Online
Distributed Proofreading Team at http://www.pgdp.net
At the end of the second volume of my 'Renaissance in Italy' I indulged the hope that I might live to describe the phase of culture which closed that brilliant epoch. It was in truth demanded that a work pretending to display the manifold activity of the Italian genius during the 15th century and the first quarter of the 16th, should also deal with the causes which interrupted its further development upon the same lines.
This study, forming a logically-necessitated supplement to the five former volumes of 'Renaissance in Italy,' I have been permitted to complete. The results are now offered to the public in these two parts.
So far as it was possible, I have conducted my treatment of the Catholic Revival on a method analogous to that adopted for the Renaissance. I found it, however, needful to enter more minutely into details regarding facts and institutions connected with the main theme of national culture.
The Catholic Revival was by its nature reactionary. In order to explain its influences, I have been compelled to analyze the position of Spain in the Italian peninsula, the conduct of the Tridentine Council, the specific organization of the Holy Office and the Company of Jesus, and the state of society upon which those forces were brought to bear.
In the list of books which follows these prefatory remarks, I have indicated the most important of the sources used by me. Special references will be made in their proper places to works of a subordinate value for the purposes of my inquiry.
DAVOS PLATZ: July 1886.
WORKS COMMONLY REFERRED TO IN THE TWO SUCCEEDING VOLUMES OF THIS BOOK
SISMONDI.—Histoire des Republiques Italiennes du Moyen Age.
RANKE.—History of the Popes. 3 vols. English edition: Bohn.
CREIGHTON.—History of the Papacy during the Reformation. 2
vols. Macmillan.
BOTTA.—Storia d'Italia. Continuata da quella del Guicciardini
sino al 1789.
FERRARI.—Rivoluzioni d'Italia. 3 vols.
QUINET.—Les Revolutions d'Italie.
GALLUZZI.—Storia del Granducato di Toscana.
PALLAVICINI.—Storia del Concilio Tridentino.
SARPI.—Storia del Concilio. Vols. 1 and 2 of Sarpi's Opere.
DENNISTOUN'S Dukes of Urbino. 3 vols.
ALBERI.—Relazioni degli Ambasciatori Veneti.
MUTINELLI.—Storia Arcana ed Aneddotica d'Italia. Raccontata
dai Veneti Ambasciatori. 4 vols. Venice.
1858.
MUTINELLI.—Annali Urbani di Venezia.
LITTA.—Famiglie Celebri Italiane.
PHIUPPSON.—La Contre-Révolution Religieuse au XVIme Siècle
Bruxelles. 1884.
DEJOB.—De l'Influence du Concile de Trente. Paris. 1884.
GIORDANI.—Delia Venuta e Dimora in Bologna del Sommo Pontefice
Clemente VII. per la Coronazione di Carlo V.,
Imperatore. Bologna. 1832.
BALBI.—Sommario della Storia d'Italia.
CANTÙ.—Gli Eretici d'Italia. 3 vols. Torino. 1866.
LLORENTE.—Histoire Critique de I'Inquisition d'Espagne. 4 vols.
Paris. 1818.
LAVALLÉE.—Histoire des Inquisitions Religieuses. 2 vols. Paris.
1808.
MCCRIE.—History of the Reformation in Italy. Edinburgh. 1827.
TIRABOSCHI.—Storia della Letteratura Italiana.
DE SANCTIS.—Storia della Letteratura Italiana. 2 vols.
SETTEMBRINI.—Storia della Letteratura Italiana. 3 vols.
CANTÙ.—Storia della Letteratura Italiana. Decreta, etc.,
Societatis Jesu. Avignon. 1827.
CANTÙ.—Storia della Diocesi di Como. 2 vols.
DANDOLO.—La Signora di Monza e le Streghe del Tirolo. Milano.
1855.
BONGHI.—Storia di Lucrezia Buonvisi. Lucca. 1864.
Archivio Storico Italiano.
BANDI LUCCHESI.—Bologna: Romagnoli. 1863.
BERTOLOTTI.—Francesco Cenci e la sua Famiglia. Firenze. 1877.
GNOLI.—Vittoria Accoramboni. Firenze: Le Monnier. 1870.
DAELLI.—Lorenzino de'Medici. Milano. 1862.
DE STENDHAL.—Chroniques et Nouvelles. Paris. 1855.
GIORDANO BRUNO.—Opere Italiane (Wagner). 2 vols. Leipzig. 1830.
JORDANUS BRUNUS.—Opera Latina. 2 vols. Neapoli. 1879.
BRUNO.—Scripta Latina (Gförer). Stuttgart. 1836.
BERTI.—Vita di Giordano Bruno. Firenze, Torino, Milano. 1868.
BRUNNHOFER.—Giordano Bruno's Weltanschauung und Verhangniss.
Leipzig. 1882.
PAOLO SARPI.—Opere. 6 vols. Helmstat. 1765.
FRA FULGENZIO MICANZI—Vita del Sarpi.
BIANCHI GIOVINI.—Biografia di Fra Paolo Sarpi. 2 vols. Bruxelles. 1836.
Lettere di Fra Paolo Sarpi. 2 vols. Firenze.
1863.
CAMPBELL.—Life of Fra Paolo Sarpi. London: Molini and Green. 1869
DEJOB.—Marc-Antoine Muret. Paris: Thorin. 1881.
CHRISTIE.—Etienne Dolet. London: Macmillan. 1880.
RENOUARD.—Imprimerie des Aides.
TORQUATO TASSO.—Opere. Ed. Rosini. 33 vols. Pisa. 1822
and on.
WORKS REFERRED TO IN THIS BOOK
TASSO.—Le Lettere. Ed. Guasti. 5 vols. Firenze. 1855.
CECCHI.—T. Tasso e la Vita Italiana. Firenze. 1877.
CECCHI.—T. Tasso. Il Pensiero e le Belle Lettere, etc. Firenze. 1877.
D'OVIDIO.—Saggi Critici. Napoli. 1878.
MANSO.—Vita di T. Tasso, in Rosini's edition, vol. 33.
ROSINI.—Saggio sugli Amori di T. Tasso, in edition cited
above, vol. 33.
GUARINI.—Il Pastor Fido. Ed. Casella. Firenze: Barbèra. 1866.
MARINO.—Adone, etc. Napoli. 1861.
CHIABRERA.—Ed. Polidori. Firenze: Barbèra. 1865.
TASSONI.—La Secchia Rapita. Ed. Carducci. Firenze: Barbèra 1861.
Il Parnaso Italiano.
BAINI.—Vita di G. P. L. Palestrina.
FELSINA PITTRICE.—2 vols. Bologna. 1841.
LANZI.—History of Painting in Italy. English Edition.
London. Bohn. Vol. 3.
Italy in the Renaissance—The Five Great Powers—The Kingdom of Naples—The Papacy—The Duchy of Milan—Venice—The Florentine Republic—Wars of Invasion closed by the Sack of Rome in 1527—Concordat between Clement VII. and Charles V.—Treaty of Barcelona and Paix des Dames—Charles lands at Genoa—His Journey to Bologna—Entrance into Bologna and Reception by Clement—Mustering of Italian Princes—Franceso Sforza replaced in the Duchy of Milan—Venetian Embassy—Italian League signed on Christmas Eve 1529—Florence alone excluded—The Siege of Florence pressed by the Prince of Orange—Charles's Coronation as King of Italy and Holy Roman Emperor—The Significance of this Ceremony at Bologna—Ceremony in S. Petronio—Settlement of the Duchy of Ferrara—Men of Letters and Arts at Bologna—The Emperor's Use of the Spanish Habit—Charles and Clement leave Bologna in March 1530—Review of the Settlement of Italy affected by Emperor and Pope—Extinction of Republics—Subsequent Absorption of Ferrara and Urbino into the Papal States—Savoy becomes an Italian Power—Period between Charles's Coronation and the Peace of Cateau Cambresis in 1559—Economical and Social Condition of the Italians under Spanish Hegemony—The Nation still exists in Separate Communities—Intellectual Conditions—Predominance of Spain and Rome—Both Cosmopolitan Powers—Leveling down of the Component Portions of the Nation in a Common Servitude—The Evils of Spanish Rule
The Counter-Reformation—Its Intellectual and Moral Character—Causes of the Gradual Extinction of Renaissance Energy—Transition from the Renaissance to the Catholic Revival—New Religious Spirit in Italy—Attitude of Italians toward German Reformation—Oratory of Divine Love—Gasparo Contarini and the Moderate Reformers—New Religious Orders—Paul III.—His early History and Education—Political Attitude between France and Spain—Creation of the Duchy of Parma—Imminence of a General Council—Review of previous Councils—Paul's Uneasiness—Opens a Council at Trent in 1542—Protestants virtually excluded, and Catholic Dogmas confirmed in the first Sessions—Death of Paul in 1549—Julius III.—Paul IV.—Character and Ruling Passions of G. P. Caraffa—His Futile Opposition to Spain—Tyranny of His Nephews—Their Downfall—Paul devotes himself to Church Reform and the Inquisition—Pius IV.—His Minister Morone—Diplomatic Temper of this Pope—His Management of the Council—Assistance rendered by his Nephew Carlo Borromeo—Alarming State of Northern Europe—The Council reopened at Trent in 1562—Subsequent History of the Council—It closes with a complete Papal Triumph in 1563—Place of Pius IV. in History—Pius V.—The Inquisitor Pope—Population of Rome—Social Corruption—Sale of Offices and Justice—Tridentine Reforms depress Wealth—Ascetic Purity of Manners becomes fashionable—Catholic Reaction generates the Counter-Reformation—Battle of Lepanto—Gregory XIII.—His Relatives—Policy of enriching the Church at Expense of the Barons—Brigandage in States of the Church—Sixtus V.—His Stern Justice—Rigid Economy—Great Public Works—Taxation—The City of Rome assumes its present form—Nepotism in the Counter-Reformation Period—Various Estimates of the Wealth accumulated by Papal Nephews—Rise of Princely Roman Families
Different Spirit in the Holy Office and the Company of Jesus—Both needed by the Counter-Reformation—Heresy in the Early Church—First Origins of the Inquisition in 1203—S. Dominic—The Holy Office becomes a Dominican Institution—Recognized by the Empire—Its early Organization—The Spanish Inquisition—Founded in 1484—How it differed from the earlier Apostolical Inquisition—Jews, Moors, New Christians—Organization and History of the Holy Office in Spain—Torquemada and his Successors—The Spanish Inquisition never introduced into Italy—How the Roman Inquisition organized by Caraffa differed from it—Autos da fé in Rome—Proscription of suspected Lutherans—The Calabrian Waldenses—Protestants at Locarno and Venice—Digression on the Venetian Holy Office—Persecution of Free Thought in Literature—Growth of the Index Librorum Prohibitorum—Sanction given to it by the Council of Trent—The Roman Congregation of the Index—Final Form of the Censorship of Books under Clement VIII.—Analysis of its Regulations—Proscription of Heretical Books—Correction of Texts—Purgation and Castration—Inquisitorial and Episcopal Licenses—Working of the System of this Censorship in Italy—Its long Delays—Hostility to Sound Learning—Ignorance of the Censors—Interference with Scholars in their Work—Terrorism of Booksellers—Vatican Scheme for the Restoration of Christian Erudition—Frustrated by the Tyranny of the Index—Dishonesty of the Vatican Scholars—Biblical Studies rendered nugatory by the Tridentine Decree on the Vulgate—Decline of Learning in Universities—Miserable Servitude of Professors—Greek dies out—Muretus and Manutius in Rome—The Index and its Treatment of Political Works—Machiavelli—Ratio Status—Encouragement of Literature on Papal Absolutism—Sarpi's Attitude—Comparative Indifference of Rome to Books of Obscene or Immoral Tendency—Bandello and Boccaccio—Papal Attempts to control Intercourse of Italians with Heretics
Vast Importance of the Jesuits in the Counter-Reformation—Ignatius Loyola—His Youth—Retreat at Manresa—Journey to Jerusalem—Studies in Spain and Paris—First Formation of his Order at Sainte Barbe—Sojourn at Venice—Settlement at Rome—Papal Recognition of the Order—Its Military Character—Absolutism of the General—Devotion to the Roman Church—Choice of Members—Practical and Positive Aims of the Founder—Exclusion of the Ascetic, Acceptance of the Worldly Spirit—Review of the Order's Rapid Extension over Europe—Loyola's Dealings with his Chief Lieutenants—Propaganda—The Virtue of Obedience—The Exercitia Spiritualia—Materialistic Imagination—Intensity and Superficiality of Religious Training—The Status of the Novice—Temporal Coadjutors—Scholastics—Professed of the Three Vows—Professed of the Four Vows—The General—Control exercised over him by his Assistants—His Relation to the General Congregation—Espionage a Part of the Jesuit System—Advantageous Position of a Contented Jesuit—The Vow of Poverty—Houses of the Professed and Colleges—The Constitutions and Declarations—Problem of the Monita Secreta—Reciprocal Relations of Rome and the Company—Characteristics of Jesuit Education—Direction of Consciences—Moral Laxity—Sarpi's Critique—Casuistry—Interference in Affairs of State—Instigation to Regicide and Political Conspiracy—Theories of Church Supremacy—Insurgence of the European Nations against the Company
How did the Catholic Revival affect Italian Society?—Difficulty of Answering this Question—Frequency of Private Crimes of Violence—Homicides and Bandits—Savage Criminal Justice—Paid Assassins—Toleration of Outlaws—Honorable Murder—Example of the Lucchese Army—State of the Convents—The History of Virginia de Leyva—Lucrezia Buonvisi—The True Tale of the Cenci—The Brothers of the House of Massimo—Vittoria Accoramboni—The Duchess of Palliano—Wife-Murders—The Family of Medici
Tales illustrative of Bravi and Banditti—Cecco Bibboni—Ambrogio Tremazzi—Lodovico dall'Armi—Brigandage—Piracy—Plagues—The Plagues of Milan, Venice, Piedmont—Persecution of the Untori—Moral State of the Proletariate—Witchcraft—Its Italian Features—History of Giacomo Centini
Tasso's Relation to his Age—Balbi on that Period—The Life of Bernardo Tasso—Torquato's Boyhood—Sorrento, Naples, Rome, Urbino—His first Glimpse of the Court—Student Life at Padua and Bologna—The Rinaldo—Dialogues on Epic Poetry—Enters the Service of Cardinal d'Este—The Court of Ferrara—Alfonso II. and the Princesses—Problem of Tasso's Love—Goes to France with Cardinal d'Este—Enters the Service of Duke Alfonso—The Aminta—Tasso at Urbino—Return to Ferrara—Revision of the Gerusalemme—Jealousies at Court—Tasso's Sense of His own Importance—Plans a Change from Ferrara to Florence—First Symptoms of Mental Disorder—Persecutions of the Ferrarese Courtiers—Tasso confined as a Semi-madman—Goes with Duke Alfonso to Belriguardo—Flies in Disguise from Ferrara to Sorrento—Returns to Court Life at Ferrara—Problem of his Madness—Flies again—Mantua, Venice, Urbino, Turin—Returns once more to Ferrara—Alfonso's Third Marriage—Tasso's Discontent—Imprisoned for Seven Years in the Madhouse of S. Anna—Character of Tasso—Character of Duke Alfonso—Nature of the Poet's Malady—His Course of Life in Prison—Released at the Intercession of Vincenzo Gonzaga—Goes to Mantua—The Torrismondo—An Odyssey of Nine Years—Death at Sant Onofrio in Rome—Constantini's Sonnet
Problem of Creating Heroic Poetry—The Preface to Tasso's Rinaldo—Subject of Rinaldo—Blending of Romantic Motives with Heroic Style—Imitation of Virgil—Melody and Sentiment—Choice of Theme for the Gerusalemme—It becomes a Romantic Poem after all—Tancredi the real Hero—Nobility of Tone—Virgilian Imitation—Borrowings from Dante—Involved Diction—Employment of Sonorous Polysyllabic Words—Quality of Religious Emotion in this Poem—Rhetoric—Similes—The Grand Style of Pathos—Verbal Music—The Chant d'Amour—Armida—Tasso's Favorite Phrase, Un non so che—His Power over Melody and Tender Feeling—Critique of Tasso's Later Poems—General Survey of his Character
Scientific Bias of the Italians checked by Catholic Revival—Boyhood of Bruno—Enters Order of S. Dominic at Naples—Early Accusations of Heresy—Escapes to Rome—Teaches the Sphere at Noli—Visits Venice—At Geneva—At Toulouse—At Paris—His Intercourse with Henri III.—Visits England—The French Ambassador in London—Oxford—Bruno's Literary Work in England—Returns to Paris—Journeys into Germany—Wittenberg, Helmstädt, Frankfort—Invitation to Venice from Giovanni Mocenigo—His Life in Venice—Mocenigo denounces him to the Inquisition—His Trial at Venice—Removal to Rome—Death by Burning in 1600—Bruno's Relation to the Thought of his Age and to the Thought of Modern Europe—Outlines of his Philosophy
Sarpi's Position in the History of Venice—Parents and Boyhood—Entrance into the Order of the Servites—His Personal Qualities—Achievements as a Scholar and a Man of Science—His Life among the Servites—In Bad Odor at Rome—Paul V. places Venice under Interdict—Sarpi elected Theologian and Counselor of the Republic—His Polemical Writings—Views on Church and State—The Interdict Removed—Roman Vengeance—Sarpi attacked by Bravi—His Wounds, Illness, Recovery—Subsequent History of the Assassins—Further Attempts on Sarpi's Life—Sarpi's Political and Historical Works—History of the Council of Trent—Sarpi's Attitude towards Protestantism His Judgment of the Jesuits—Sarpi's Death—The Christian Stoic
Dearth of Great Men—Guarini a Link between Tasso and the Seventeenth Century—His Biography—The Pastor Fido—Qualities of Guarini as Poet—Marino the Dictator of Letters—His Riotous Youth at Naples—Life at Rome, Turin, Paris—Publishes the Adone—The Epic of Voluptuousness—Character and Action of Adonis—Marino's Hypocrisy—Sentimental Sweetness—Brutal Violence—Violation of Artistic Taste—Great Powers of the Poet—Structure of the Adone—Musical Fluency—Marinism—Marino's Patriotic Verses—Contrast between Chiabrera and Marino—An Aspirant after Pindar—Chiabrera's Biography—His Court Life—Efforts of Poets in the Seventeenth Century to attain to Novelty—Chiabrera's Failure—Tassoni's Life—His Thirst to Innovate—Origin of the Secchia Rapita—Mock-Heroic Poetiy—The Plot of this Poem—Its Peculiar Humor—Irony and Satire—Novelty of the Species—Lyrical Interbreathings—Sustained Contrast of Parody and Pathos—The Poet Testi
Italy in Renaissance produces no National School of Music—Flemish Composers in Rome—Singers and Orchestra—The Chaotic, Indecency of this Contrapuntal Style—Palestrina's Birth and Early History—Decrees of the Tridentine Council upon Church Music—The Mass of Pope Marcello—Palestrina Satisfies the Cardinals with his New Style of Sacred Music—Pius IV. and his Partiality for Music—Palestrina and Filippo Neri—His Motetts—The Song of Solomon set to Melody—Palestrina, the Saviour of Music—The Founder of the Modern Style—Florentine Essays in the Oratorio
Decline of Plastic Art—Dates of the Eclectic Masters—The Mannerists—Baroccio—Reaction started by Lodovico Caracci—His Cousins Annibale and Agostino—Their Studies—Their Academy at Bologna—Their Artistic Aims—Dionysius Calvaert—Guido Reni—The Man and his Art—Domenichino—Ruskin's Criticism—Relation of Domenichino to the Piety of his Age—Caravaggio and the Realists—Ribera—Lo Spagna—Guercino—His Qualities as Colorist—His Terribleness—Private Life—Digression upon Criticism—Reasons why the Bolognese Painters, are justly now Neglected
The Main Events of European History—Italy in the Renaissance—Germany and Reformation—Catholic Reaction—Its Antagonism to Renaissance and Reformation—Profound Identity of Renaissance and Reformation—Place of Italy in European Civilization—Want of Sympathy between Latin and Teutonic Races—Relation of Rome to Italy—Macaulay on the Roman Church—On Protestantism—Early Decline of Renaissance Enthusiasms—Italy's Present and Future
End of the Project Gutenberg EBook of Renaissance in Italy, Volumes 1 and 2
by John Addington Symonds
*** END OF THIS PROJECT GUTENBERG EBOOK RENAISSANCE IN ITALY ***
***** This file should be named 16504-h.htm or 16504-h.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/1/6/5/0/16504/
Produced by Ted Garvin, Chuck Greif and the Online
Distributed Proofreading Team at http://www.pgdp.net
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg.net/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.net
1.E.2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.net),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation."
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1.F.3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. 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 MERCHANTIBILITY 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, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.pglaf.org.
Section 3. Information about the Project Gutenberg Literary Archive
Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
gbnewby@pglaf.org
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf.org
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including including checks, online payments and credit card
donations. To donate, please visit: http://pglaf.org/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Most people start at our Web site which has the main PG search facility:
http://www.gutenberg.net
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
*** END: FULL LICENSE ***