The Project Gutenberg EBook of Primeira origem da arte, by João Villeneuve This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Primeira origem da arte de imprimir dada à luz pelo primeiros characteres Author: João Villeneuve Release Date: August 3, 2006 [EBook #18974] Language: Portuguese Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK PRIMEIRA ORIGEM DA ARTE *** Produced by Rita Farinha and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by National Library of Portugal (Biblioteca Nacional de Portugal).) PRIMEIRA ORIGEM DA ARTE DE IMPRIMIR DADA A LUZ PELOS PRIMEIROS CHARACTERES, Que Joaõ de Villeneuve formou para serviço da Academia Real da Historia Portugueza. Dedicada a ELREY Dom JOAÕ V. seu Augustissimo Protector. LISBOA OCCIDENTAL. Na Officina de Joseph Antonio Da Sylva, Impressor da Academia Real. MDCCXXXII. [Figura: aberto por Pedro de Rochefort. Lisboa 1732] Senhor Com a generosa protecçaõ de Vossa Magestade naõ só renascem em Portugal as Letras, mas agora pode dizerse [~q] nascem; pois sem as [~q] eu venho a introduzir nos dilatados dominios de Vossa Magestade, naõ podiam as outras propagarse, e fazer-se eternas sendo os bronzes, em [~q] eu as deixo gravadas, as primeiras formas para as estatuas, e para as Inscripçoens, [~q] Vossa Magestade merece como Heroe, de quem os Sabios da Academia Real haõ de escrever a Historia, [~q] se há de imprimir com estas minhas letras, se o seu grande Character podese descreverse, e escreverse em Characteres tam pequenos. Attrahido pela fama [~q] com verdade pinta a Vossa Magestade por toda Europa segundo Augusto no seculo litterario de Portugal, sem valerme de outro Mecenas, vim buscar a felicidade de ser subdito seu, deixando Paris por Lisboa para introduzir nella a incognita, e utilissima Arte de fundir, e gravar as Matrises, e Punçoens, deque se serve a maravilhoza Arte Typografica, e [~q] até agora ou se mandavam vir de fóra do Reyno, saindo delle consideravel cabedal, ou se uzava das imperfeitas, e gastadas com o tempo, sem poder aperfeiçoarse por esta causa as ediçoens dos melhores Livros: como em Europa há tam poucos Artifices desta minha manufactura, he crivel, [~q] venhaõ a Portugal procuralla dos Reynos mais vizinhos, convertendose o damno em publico beneficio. Teve Vossa Magestade, Senhor, com a sua alta comprehençaõ tam prompto conhecimento deste meu zelo, [~q] logo o remunerou com huma pensaõ, e o [~q] he mais, o admittio, e honrou com o seu Real agrado: para o naõ desmerecer, offereço a os pes de Vossa Magestade alguns indicios das letras [~q] tenho fabricado, estando prompto para fazer as outras, sem me intimidarem as Hebraicas, Gregas, e Arabigas, [~q] sam taõ precizas para as doutas dissertaçoens da Academia, e para perpetuar os monumentos originaes, [~q] nestas, e outras Lingoas se conservaõ em todo o dilatado Imperio de Vossa Magestade pelas quatro partes do mundo. Espero, Senhor, [~q] nem a ociozidade, nem a distracçaõ me façaõ indigno da benevolencia de Vossa Magestade, [~q] procurarei naõ desmerecer em quanto a Vida me durar. Joaõ de Villeneuve. PRIMEIRA ORIGEM DA ARTE DE IMPRIMIR. _Primeira Prova Destes Novos Characteres_. De muitas cousas grandes, que se admiraõ no Mundo, se naõ sabe o principio; assim succedeo à Patria de Homero, ao nascimento do rio Nilo; e assim acontece tambem à origem da Arte de imprimir; se naõ he que os progressos das mesmas Artes muitas vezes saõ os mayores impedimentos para se saberem com certeza os seus nascimentos, por[~q] com a experiencia, e o uso dos artifices se costumaõ augmentar de forte, [~q] naõ parecem as mesmas, e como insensivelmente crescem, naõ he facil determinarlhe, nem o lugar em [~q] se inventaraõ, nem as primeiras pessoas [~q] as acharaõ, por[~q] a diversidade dos lugares, e multiplicidade dos Authores, [~q] as aperfeiçoaraõ, fazem provaveis as muitas opinioens, que naõ sem fundamento se seguem, e que por ambiçaõ de gloria se arrogaõ as Cidades, e naçoens, [~q] se costumaõ jactar de terem produzido homens em qualquer profissaõ insignes; para o que naõ concorre menos a emulaçaõ taõ poderosa, quando he louvavel para exercitar as mais laboriosas, e engenhosas producçoens, e taõ efficaz quando he viciosa, para promover os effeitos mais escandalosos do odio. Alguns querem fazer nesta Arte a differença, [~q] costuma haver nas producçoens da natureza, affirmando [~q] foy muy diverso o tempo, em [~q] se concebeo, daquelle em que sahio a luz, e diversas tambem as pessoas, [~q] concorreraõ para [~q] se conseguisse o fim pertendido. Os Hollandezes, como Boxornio affirma no seu Theatro de Holanda, attribuem a Lourenço Coster, guarda do Palacio Real da Cidade de Harlem, a invençaõ desta admiravel Arte; o que pertendem provar com huma inscripçaõ, [~q] ainda presentemente se lê na porta da Casa, em [~q] o mesmo Lourenço Coster assistio, na qual se anticipa muito o nascimento da Impressaõ à opiniaõ cõmua, declarando-se, que ella se inventara no anno de 1440. havendo a contradiçaõ de se ler na Estatua do mesmo Lourenço Coster, que elle fora outro Cadmo, e o primeiro inventor deste utilissimo Artefacto no anno 1430. o [~q] ainda se faz tanto mais incrivel, quanto mais se afasta esta opiniaõ do anno em que se vê [~q] foraõ impressos os primeiros Livros, que appareceraõ no Mundo. Servese este Author tambem do [~q] escreveo Adriaõ Junio, Medico, e Historiador de Hollanda, [~q] no seu Livro, [~q] intitulou _de Batavia_, diz [~q] assistindo Lourenço Coster em huma Casa de Campo, e passeando por hum Bosque, lhe lembrara fazer huns characteres de pao de _Faia_ com os quaes imprimira alguns Versos em papelaõ; e assim este Author, como o primeiro em que fallei, seguraõ existirem varios Livros, [~q] nomeaõ para mostrarem [~q] Lourenço Coster seu Nacional fora quem inventara a Arte de imprimir taõ anticipadamente, como ambos affirmaõ; e para corroborarem mais a sua opiniaõ, dizem [~q] o mesmo Lourenço Coster vendo, que lhe succedera bem na primeira prova dos characteres de pao, os fizera de chumbo, ou de estanho, e para o ajudar chamara a Joaõ Fauste, ou Fust. Porèm Malinchrot na sua Arte Typographica he de parecer, [~q] as primeiras folhas de alg[~u] dos Livros, [~q] os Hollandezes allegaõ para mostrar que os imprimira Lourenço Coster, se lhe ajuntaraõ depois, e por este, e outros principios mais solidos segue, que a invençaõ da Arte de imprimir pertence aos naturaes de Moguncia, e naõ aos de Harlem, como entendem todos os que fazem o melhor, e mais certo juizo sobre esta materia, julgando [~q] este invento se deve a Joaõ Guttemberg natural de Strasbourg, a quem ajudara muito Joaõ Fauste, ou Fust no anno 1440. ou [~q] pelo contrario, o inventor fora Joaõ Fust; e [~q] Joaõ Guttemberg, e Pedro Schofer seu genro, [~q] depois foy do mesmo Fust, contribuira sómente com a despeza necessaria para se pôr em pratica este projecto; e a isso se accrescenta, que dos primeiros Livros, que se imprimiraõ, foy hum intitulado: _Speculum Salutis_, que os de Harlem pertendem [~q] já de antes estivesse impresso em vulgar por Lourenço Coster; porèm o [~q] Berthio diz no 3^{ro} Livro da descripçaõ de Alemanha, fallando de Moguncia, póde tirar toda a duvida, [~q] se mover nesta questaõ, ficando satisfeitos os sequazes de huma, e outra opiniaõ; por[~q] diz elle, [~q] neste Livro _Speculum Salutis_, como em outros muitos das primeiras ediçoens da Officina de Lourenço Coster, observara, que cada pagina fora impressa sobre numa forma, ou taboa, em [~q] se esculpiraõ as letras como abertas ao buril, e naõ com characteres separados; do que se póde julgar, que Lourenço Coster achou em Harlem a invençaõ de imprimir com esta forma, ou taboa, do modo de que dizem usaõ os Chinas; e [~q] Guttemberg, Fauste, e Schofer foraõ os [~q] inventaraõ em Moguncia os characteres moveis, e separados huns dos outros, para se poderem compor as syllabas, as palavras, e as paginas, como presentemente se pratica; mas a mais cõmua opiniaõ he a [~q] seguem Tritemio na sua Chronica, Polidoro Virgilio, Bruschio no Catalogo dos Bispos de Moguncia, Salmuth sobre Pancirolo Sabellico nas suas Eneadas, e Wemphelingo, que escreveo em 1511. os quaes affirmaõ, [~q] Joaõ Guttemberg natural de Strasbourg fora o primeiro, que nesta Cidade inventara a Arte de imprimir; e que passando a Moguncia, ahi a concluira felizmente. Esta he a opiniaõ, que commummente se segue como mais verdadeira, com que concorda Ferrario na descripçaõ da Cidade de Moguncia, com outros que Naude cita na addiçaõ à Historia de Luiz XI. os quaes affirmaõ, que Joaõ Guttemberg, Cavalhero Alemaõ, natural da Cidade de Strasbourg, procurando, ainda [~q] sem fruto, pôr esta Arte na ultima perfeiçaõ na mesma Cidade de Strasbourg, se achara obrigado a hir para Moguncia, aonde passou o resto da sua vida, alcançando o Privilegio de natural della, o que foy cauza de muitos Authores lhe chamarem Moguntino, como tambem na Inscripçaõ seguinte. JOANNI GUTTEMBERGENSI MOGUNTINO, Qui Primus omnium Litteras AEre imprimendas invenit Hac Arte de Orbe toto benemerenti YVO Vintigensis Hoc Saxum pro Monumento posuit. Guttemberg naõ podendo fazer os gastos, e despezas necessarias para se pôr em pratica esta Arte, (porque a mayor parte dos primeiros Livros se imprimiraõ em pergaminho para poderem passar por Manuscritos, e por isto custavaõ muy caros) se vio obrigado a fazer sociedade com Joaõ Fust, ou Fauste, acima nomeados, ajudado de seu genro Pedro Schoffer, ou Opilio de Gernshain, [~q] se tem pelo primeiro inventor dos Punçoens e Matrizes, aos quaes cõmunicou o seu projecto, com que ultimamente se publicaraõ tantos effeitos desta Arte, como o explicou Arnaldo Bergellano nestes Versos. Addidit huic operi lucem sumptumque laboris Faustus Germamus, munera fausta ferens. Et levi ligno sculpunt & grammata prima, Quae poterat variis quisque referre modis. Materiam bibulae supponunt indè papyri Aptam, quam libris littore Nilus alit. Insuper aptabant mitti quas sepia guttas Reddebat pressas sculpta tabella notas. Sed qui non poterat propria de classe character Tolli, nec variis usibus aptus erat, Illi succurrit Petrus cognomine Schoffer, Quo vix caelando promptior alter erat. Ille sagax animi praeclare toreumata finxit, Quae sanxit matris nomine posteritas. Et primus vocum fundebat in aere figuras, Innumeris cogi quae potuere modis. E mais adiante fallando nesta mesma sociedade neste distico: Illo primus erat tunc Guttembergus in albo, Alter erat Faustus, tertius Opilio. Principiaraõ estes Inventores a imprimir os primeiros Livros no anno de 1450. como se acha escrito no Livro intitulado _Trithemianarum Historiarum Breviarium_: isto mesmo confirma Erasmo no prologo de hum Tito Livio, impresso em 2 Volumes no anno de 1519 em Moguncia, por Joaõ Schoffer, filho de Pedro Schoffer, e Neto de Joaõ Fust, no fim do qual se lê tambem hum Privilegio do Emperador Maximiliano, dado ao mesmo Joaõ Schoffer em consideraçaõ de seu avou Joaõ Faust ter inventado a Arte de imprimir. A Biblia, que estes mesmos primeiros inventores imprimiraõ, era tam semelhante às manuscritas, que levando Joaõ Faust muitos Exemplares a Pariz, de que a mayor parte eraõ de pergaminho, ornados com grandes Letras, e Vinhetas de ouro feitas de maõ, como ainda muitos existem, os vendeo por Escritos de maõ por hum preço muy consideravel; porèm advertindo os [~q] os tinhaõ comprado, que os Exemplares eraõ muitos, o accusaraõ pelo crime de feitiçaria; e isto obrigou a Joaõ Fauste a retirarse para Moguncia; e naõ se achando ainda seguro, passou a Strasbourg, aonde assistio alg[~u] tempo, e alli ensinou esta Arte a Joaõ Metelin, ou Mentel, que foy o primeiro, que a exercitou em Strasbourg. Depois publicou por hum Edital o Parlamento de Pariz, que declarava livre de culpa a Joaõ Faust, reconhecendo a grande utilidade da admiravel Arte de imprimir. Tendo estes engenhosos Artifices impresso estas Biblias, e alguns mais Livros, se deviaõ separar, ou morrer, porque se naõ achaõ outros com os seus nomes; e assim se principiou a divulgar este invento pelos criados, e Officiaes destes primeiros Impressores. Joaõ de la Caille na sua Historia da Impressaõ, de quem tirey a mayor parte destas noticias, diz que Roma fora a primeira Cidade aonde se principiou a exercitar esta Arte no anno de 1467. sendo Pontifice Paulo II, e que o primeiro Livro, [~q] ahi imprimiraõ Conrado Suvenhein, e Arnoldo Parmarts, fora a Cidade de Deos de Santo Agostinho, e que por isto se ficara chamando a letra em que esta Obra foy impressa, com o mesmo nome do Santo; porèm eu entendo, que Joaõ de la Caille se engana, se he certo o que pessoas dignas de mayor credito me affirmaraõ, dizendome que na Livraria de huma das primeiras Casas deste Reyno se acha hum Livro impresso em Lisboa sem data, porèm em lugar della, se lê nelle, que fora impresso 8 annos depois de se inventar a Arte da Imprimissaõ; (saõ palavras do mesmo Livro) e como o mesmo de la Caille assenta, que os primeiros Livros se principiaraõ a imprimir no anno 1450. sendo certa a noticia da nossa primeira ediçaõ, tambem fica sem duvida, que já em Lisboa havia Impressaõ no anno 1458. que saõ nove annos antes que esta Arte se exercitasse em Roma, como diz o mesmo de la Caille; mas sobre esta materia espero tratar mais com extençaõ em outra Obra a [~q] mais propriamente pertence. Foy tal o progresso, [~q] em breve tempo fez esta utilissima Arte, que dentro do mesmo seculo de 400. se introduzio o seu uso nas Cidades mais principaes de Europa, e os que a exercitaraõ, tiveraõ tanta estimaçaõ, que mereceraõ occupar muitos lugares, e Officios pela sua capacidade, a qual parece que adquiriraõ pelo mesmo emprego em que se occupavaõ, tirando do seu trabalho o melhor lucro no estudo [~q] faziaõ, e pelas noticias com [~q] se instruiaõ. Sirva a todos de exemplo o celebre Aldo Manuntio, que floreceo no mesmo seculo de 400. e a quem devem os Professores da Lingua Latina a mayor luz para penetrarem os mysterios mais escuros, e o methodo mais efficaz de se aproveitarem das riquezas deste Thesouro da erudiçaõ. Os louvores desta Arte naõ cabem nem ainda em tantos volumes, quantos por ella se tem publicado, porque todas quantas ediçoens se fizerem pelos seculos futuros, todas seraõ novas provas da sua utilidade, porque ninguem negarà, que se a Arte de escrever he a mais necessaria para o cõmercio dos homens de Negocio, e para o mais trato civil, a Arte de imprimir he a mais precisa para os homens de letras, e para todas as Artes, e Sciencias, que tambem ajudaõ ao negocio, e à conservaçaõ do genero humano, com a differença, [~q] a Arte de escrever suppre ordinariamente a falta da presença dos que vivem, e a Arte de imprimir resuscita os que já naõ existem, conservando lhes o nome, e a fama, que he huma vida mais perduravel. Devem pois entre os Artifices, que concorrem para este fim, ser mais estimados, naõ só os que fundem os characteres, mas os que formaõ aquelles instrumentos donde elles nascem, e muito mais os que executaõ huma, e outra cousa; de sorte que naõ só enriquecem as officinas da Impressaõ com as letras mais bem formadas, mas lhes deixaõ as fontes inexgotaveis dos Punçoens, Matrizes, e Moldes, de que por muitos seculos se poderáõ valer para se refazerem de toda a especie de characteres, que lhes forem necessarios. Aos Soberanos pertence mais que a ninguem exaltar, e favorecer a Arte de imprimir, porque nesta Officina se forja a trombeta da sua Fama; e o metal [~q] se emprega neste exercicio, naõ he menos conducente para permanecer a sua gloria, que o das Estatuas, em que tanto se ostenta a dos Heroes, a quem se dedicaõ semelhantes incentivos da memoria, ficando esta mais diffusa, e nobremente eternizada pelas relaçoens das façanhas, escritas, e impressas pelo character das virtudes referidas, e pela eloquencia dos Historiadores, e Panegyristas, do que pela semelhança da figura representada, ou pela estatura do corpo figurada, que mais serve para lembrar a pessoa, do que para persuadir o merecimento. Assim espera _Joaõ de Villeneuve_ ter a mayor fortuna, [~q] he merecer o agrado de Vossa Magestade por esta prova, [~q] offerece dos characteres [~q] formou, e fundio para o serviço da Impressaõ da Academia Real da Historia Portugueza. * * * * * O Director, e Censores da Academia Real da Historia Portugueza mandaõ imprimir esta prova dos primeiros characteres, que fez Joaõ de Villeneuve para uso da Impressaõ da mesma Academia. Lisboa Occidental, 18 de Janeiro de 1732. O Conde da Ericeira. O Marquez de Alegrete. Joseph da Cunha Brochado. O Marquez de Abrantes. O P. D. Manoel Caetano de Sousa. O Marquez Manoel Telles da Sylva. End of Project Gutenberg's Primeira origem da arte, by João Villeneuve *** END OF THIS PROJECT GUTENBERG EBOOK PRIMEIRA ORIGEM DA ARTE *** ***** This file should be named 18974-8.txt or 18974-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/1/8/9/7/18974/ Produced by Rita Farinha and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by National Library of Portugal (Biblioteca Nacional de Portugal).) Updated editions will replace the previous one--the old editions will be renamed. Creating the works from public domain print editions means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away--you may do practically ANYTHING with public domain eBooks. Redistribution is subject to the trademark license, especially commercial redistribution. *** START: FULL LICENSE *** THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg-tm mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase "Project Gutenberg"), you agree to comply with all the terms of the Full Project Gutenberg-tm License (available with this file or online at http://gutenberg.org/license). Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works 1.A. By reading or using any part of this Project Gutenberg-tm electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg-tm electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg-tm electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. "Project Gutenberg" is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg-tm electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg-tm electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg-tm electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the collection of Project Gutenberg-tm electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is in the public domain in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm works in compliance with the terms of this agreement for keeping the Project Gutenberg-tm name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg-tm work. The Foundation makes no representations concerning the copyright status of any work in any country outside the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg-tm License must appear prominently whenever any copy of a Project Gutenberg-tm work (any work on which the phrase "Project Gutenberg" appears, or with which the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org 1.E.2. If an individual Project Gutenberg-tm electronic work is derived from the public domain (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase "Project Gutenberg" associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg-tm License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg-tm. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg-tm License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg-tm work in a format other than "Plain Vanilla ASCII" or other format used in the official version posted on the official Project Gutenberg-tm web site (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original "Plain Vanilla ASCII" or other form. Any alternate format must include the full Project Gutenberg-tm License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg-tm works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg-tm electronic works provided that - You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg-tm trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, "Information about donations to the Project Gutenberg Literary Archive Foundation." - You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg-tm License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg-tm works. - You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. - You comply with all other terms of this agreement for free distribution of Project Gutenberg-tm works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and Michael Hart, the owner of the Project Gutenberg-tm trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread public domain works in creating the Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm electronic works, and the medium on which they may be stored, may contain "Defects," such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right of Replacement or Refund" described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg-tm trademark, and any other party distributing a Project Gutenberg-tm electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 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 checks, online payments and credit card donations. To donate, please visit: http://pglaf.org/donate Section 5. General Information About Project Gutenberg-tm electronic works. Professor Michael S. Hart is the originator of the Project Gutenberg-tm concept of a library of electronic works that could be freely shared with anyone. For thirty years, he produced and distributed Project Gutenberg-tm eBooks with only a loose network of volunteer support. Project Gutenberg-tm eBooks are often created from several printed editions, all of which are confirmed as Public Domain in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our Web site which has the main PG search facility: http://www.gutenberg.org This Web site includes information about Project Gutenberg-tm, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.