Download the full version of the textbook now at textbookfull.

com

Galleries of Maoriland Artists Collectors and

the Maori World 1880 1910 Roger Blackley

https://textbookfull.com/product/galleries-of-
maoriland-artists-collectors-and-the-maori-
world-1880-1910-roger-blackley/

Explore and download more textbook at https://textbookfull.com

 Recommended digital products (PDF, EPUB, MOBI) that
you can download immediately if you are interested.

Germany And The Modern World 1880 1914 Mark Hewitson

https://textbookfull.com/product/germany-and-the-modern-
world-1880-1914-mark-hewitson/

textbookfull.com

The Art of the Bird: The History of Ornithological Art

through Forty Artists 1st Edition Roger J. Lederer

https://textbookfull.com/product/the-art-of-the-bird-the-history-of-
ornithological-art-through-forty-artists-1st-edition-roger-j-lederer/

textbookfull.com

Collectors, scholars, and forgers in the ancient world :

object lessons 1st Edition Higbie

https://textbookfull.com/product/collectors-scholars-and-forgers-in-
the-ancient-world-object-lessons-1st-edition-higbie/

textbookfull.com

A Crown Of Smoke And Ash: A Reverse Harem, Paranormal

Romance (The Shadow Walkers Saga Book 2) 1st Edition
Sloane Murphy [Murphy
https://textbookfull.com/product/a-crown-of-smoke-and-ash-a-reverse-
harem-paranormal-romance-the-shadow-walkers-saga-book-2-1st-edition-
sloane-murphy-murphy/
textbookfull.com
Land Surface Remote Sensing in Urban and Coastal Areas 1st
Edition Nicolas Baghdadi

https://textbookfull.com/product/land-surface-remote-sensing-in-urban-
and-coastal-areas-1st-edition-nicolas-baghdadi/

textbookfull.com

Caged Midnight Huntress 4 1st Edition Piper Fox Fox Piper

https://textbookfull.com/product/caged-midnight-huntress-4-1st-
edition-piper-fox-fox-piper/

textbookfull.com

Empowering Brands with Customer Integration Classification

Benefits and Success Factors 1st Edition Jörg Sesselmann
(Auth.)
https://textbookfull.com/product/empowering-brands-with-customer-
integration-classification-benefits-and-success-factors-1st-edition-
jorg-sesselmann-auth/
textbookfull.com

The Theory of Everything Quantum and Relativity is

everywhere A Fermat Universe 1st Edition Norbert Schwarzer

https://textbookfull.com/product/the-theory-of-everything-quantum-and-
relativity-is-everywhere-a-fermat-universe-1st-edition-norbert-
schwarzer/
textbookfull.com

An Introduction to Physical Science 15th Edition James

Shipman

https://textbookfull.com/product/an-introduction-to-physical-
science-15th-edition-james-shipman/

textbookfull.com
Understanding the Essentials of Critical Care Nursing 3rd
Edition Kathleen Perrin

https://textbookfull.com/product/understanding-the-essentials-of-
critical-care-nursing-3rd-edition-kathleen-perrin/

textbookfull.com
Galleries of Maoriland introduces us to the many ways in which
Pākehā discovered, created, propagated and romanticised the Māori
world at the turn of the century – in the paintings of Lindauer and
Goldie; among artists, patrons, collectors and audiences; inside the
Polynesian Society and the Dominion Museum; and among stolen
artefacts and fantastical accounts of the Māori past.
The culture of Maoriland was a Pākehā creation. But Galleries of Maoriland shows
that Māori were not merely passive victims: they too had a stake in this process of
romanticisation. What, this book asks, were some of the Māori purposes that were
served by curio displays, portrait collections, and the wider ethnological culture?
Why did the idealisation of an ancient Māori world, which obsessed ethnological
inquirers and artists alike, appeal also to Māori? Who precisely were the Māori
participants in this culture, and what were their motives?

Galleries of Maoriland looks at Māori prehistory in Pākehā art; the enthusiasm of

Pākehā and Māori for portraiture and recreations of ancient life; the trade in Māori
curios; and the international exhibition of this colonial culture. By illuminating New
Zealand’s artistic and ethnographic economy at the turn of the twentieth century,
this book provides a new understanding of our art and our culture.

Roger Blackley is an associate professor in art history at Victoria University of

Wellington. From 1983 to 1998 he was the curator of historical New Zealand art at
Auckland Art Gallery Toi o Tāmaki. He is the author of a number of books,
including the bestselling Goldie (Auckland Art Gallery/David Bateman, 1997).
 Steffano Francis Webb, Doorway at the Tourist Department Court at the
Christchurch Exhibition, 1906–7, scan from dry-plate glass negative. Alexander
Turnbull Library, 1/1-5023-G.
Galleries of Maoriland
Artists, Collectors and the Māori World, 1880–1910

Roger Blackley
Published as part of the
Gerrard & Marti Friedlander
Creative Lives Series.
Contents

Preface
Introduction

CHAPTER ONE
Curios and Exhibitions

CHAPTER TWO
Māori Prehistory

CHAPTER THREE
Portrait Galleries

CHAPTER FOUR
Performing the Ancient Past

CHAPTER FIVE
The Curio Economy

CHAPTER SIX
Problems with Portraits

CHAPTER SEVEN
Pākehā Propaganda

CHAPTER EIGHT
Cosmopolitan Maoriland
CHAPTER NINE
Maoriland in Focus

Conclusion
Notes
Bibliography
Index
Visit https://textbookfull.com
now to explore a rich
collection of eBooks, textbook
and enjoy exciting offers!
 ‘Haere Mai’, ‘Welcome’, invitation booklet cover, New Zealand International
Exhibition, 1906, chromolithograph, 155 × 110 mm, laid on cover, 256 × 178 mm.
ALEXANDER TURNBULL LIBRARY, EPH-B-EXHIBITION-1906-02-COVER
Preface

D
O WE CHOOSE OUR FIELDS OF RESEARCH, or do they choose us? I
retain vivid memories of childhood visits to Wellington some
fifty years ago, especially the experience of the Dominion
Museum. My favourite area was the vast Maori Hall, where dimly lit
glass cabinets held artefacts shown in front of mysterious pictures
that depicted people and places of the lost world from which the
objects had come – images I now know were hand-coloured
lithographs after watercolours by George French Angas. I remember
a bronze-coloured bust standing sentinel near the entrance, which a
label simply identified as Wharekauri by Nelson Illingworth. Keen-
eyed scrutiny of several white patches suggested that the portrait
effigy was made of plaster rather than bronze, but now I know that
Wharekauri belongs to a group of miraculously preserved
ethnographic busts that were specially commissioned by the
museum. Also on display near the entrance were two preserved
Māori heads, ‘artefacts’ that were more perplexing than anything
else in the entire museum. I still remember the question that
furrowed my young brow – could these be real human heads?
Two decades on, during my early days as a curator at the
Auckland Art Gallery, colleagues encouraged me to display examples
of what we had recently learned to call taonga (Māori treasures)
within the gallery of Māori portraits. This would mean that the public
could see woven garments and polished greenstones ‘in the flesh’, so
to speak. Knowing that the gallery retained ownership of Sir George
Grey’s Māori collection housed at the Auckland Museum, I duly
selected some attractive pieces, negotiated the loans, wrote
informative labels including a biographical text on Grey, installed
everything in two elegant cases, and thought it all looked rather
splendid.1 Before long, however, I was exposed to the contempt of
Māori visitors who had come to the gallery in order to revere the
portraits but who encountered the taonga with palpable disdain.
Inevitably, one person would read out the label text that linked Grey
with the Waikato war, whereupon the entire group would vent their
anger over the exhibition of what had instantly been transformed
into war booty.
This episode provided a significant initiation into the knowledge
that objects can acquire radically different meanings when they
cross cultural boundaries. The mind-blowing realisation was that for
many Māori visitors the genuine taonga in the room were the
ancestral portraits by the immigrant painter Gottfried Lindauer,
rather than the ‘authentic’ Māori treasures that were delighting other
visitors, including some Māori but more particularly the tourist ‘other’
for whom the artefact display was in part intended. Even my
curatorial right to display such material was contested by a Māori
academic whose greatest annoyance was my description of the mere
pounamu as ‘clubs’, when as thrusting weapons they should have
been glossed as ‘cleavers’. The experience did not stop me from
including relevant Māori objects within subsequent exhibitions of
portraits, but it did provoke intense reflection regarding the complex
relationships between Māori objects and Māori images, as well as
the protocols and responsibilities surrounding their exhibition and
reproduction.
The experience of curating the travelling exhibition Goldie (1997–
99), the first retrospective of New Zealand’s ‘old master’ of Māori
portraiture, exposed me to the reality of a bicultural reception of his
work that had hitherto evaded the art-historical radar.2 Despite the
household-level renown he possessed, over the course of the
twentieth century Charles F. Goldie’s reputation had suffered a
catastrophic decline at the hands of Pākehā scholarship.
Nevertheless, the widespread notion that his work was ethnography,
as opposed to art, and should therefore be relegated to museums
rather than art galleries, was not a perspective acknowledged by
most Māori. When the Auckland Art Gallery exhibited its vast
collection of Māori portraits in conjunction with the final showing of
Te Maori in 1987, the room of Goldie paintings was constantly
packed with awestruck Māori visitors who invested hours inspecting
the works. Indeed, it was witnessing such scenes, day after day, that
gave me the confidence to argue for the artist’s retrospective. Under
the guidance of Haerewa, the gallery’s Māori advisory committee,
Goldie was developed in collaboration with descendants of his
models. The exhibition’s tour incorporated tikanga Māori (customary
protocol), especially in the opening and closing ceremonies; one
aspect was the installation at each venue of an ipu – a simply
decorated, unglazed terracotta vessel containing soil. It looked like
an ancient object but in fact was a recent work of art by the
renowned ceramicist Wi Taepa that Haerewa had selected to contain
the mauri (life-force) of the exhibition.3
The more I investigated, the more convinced I became that Māori
objects shared an affinity with Māori portraits, and vice versa. This is
the message currently communicated by the spectacular line-up of
Goldie portraits on show within He Taonga Māori, the Māori Court at
the Auckland Museum. The paintings, which were donated by
Goldie’s widow in 1951 when the artist’s reputation was at its nadir,
offer a magnificent foil to the surrounding taonga. At Te Papa,
portraits have regularly appeared within Māori-curated exhibitions
including Kahu Ora: Living Cloaks, a spectacular 2012 show of
historic Māori cloaks that incorporated many portrait photographs, as
well as paintings by Lindauer and Goldie that clearly served a wider
purpose than mere illustration of the garments worn by the portrait
subjects. In the face of Māori respect for painted portraits –
including Goldie’s melancholy imagery – Pākehā intellectuals
encounter difficulty in following the modernist imperative of
denouncing such works as tendentious colonial documents intended
to memorialise a dying race. An alternative strategy, deployed by Te
Papa’s curators at the time of its opening in 1998, involved
castigation of the ‘academic’ tribe personified by an artist such as
Goldie, and the recasting of this category of artist as a ‘dying race’.4

Wi Taepa, Ipu Mauri, c. 1997, terracotta, iron oxide, manganese, 180 × 170 mm.
AUCKLAND ART GALLERY TOI O TĀMAKI, GIFT OF HAEREWA, MĀORI ADVISORY GROUP,
IN MEMORY OF ARNOLD MANAAKI WILSON, 2012

It is fair to say that, in the contemporary Pākehā world, historical

portraits command minimal interest unless the subject is notorious
or the artist is renowned.5 By contrast, the Māori world offers
constant manifestations of portraiture’s duty to assert mana tupuna
(ancestral prestige). At the July 2012 sitting of the Waitangi Tribunal
at Waiwhetū Marae, large-scale images of important ancestors were
carried in by the plaintiffs and placed against the front table
occupied by the judges.6 Whereas European art history traditionally
prioritises aesthetic quality over all else, in Māori terms it is the
mana of the portrait subject that is paramount and a poor-quality
photograph can take precedence over a sumptuous oil painting. By
the same token, Māori curators will privilege taonga with known
provenance over those that are now anonymous, no matter how
spectacular the latter may be. Part of the purpose of this book is to
help explain why so many taonga Māori in New Zealand’s ‘national’
collections are devoid of provenance.
Written by a Pākehā art historian, Galleries of Maoriland does not
purport to be a work of Māori scholarship. A Māori scholar deploying
the same archive would undoubtedly produce a very different work.
Nevertheless, my hope is that I succeed in communicating the
symbiotic relationship manifested by Māori objects and images of
Māori – especially portraits – in the collecting and exhibiting culture
of New Zealand at the turn of the twentieth century, a relationship
that has been largely severed as these categories have shifted into
separate disciplinary and institutional domains. Many Pākehā would
prefer that less attention be paid to the rapacious practices that saw
so much of the Māori material heritage wrenched out of Māori
hands, just as they regret the ongoing exposure of the coercive
transfer of land from communal Māori ownership to individualised
European control – the industry on which the colonial state was
based. Confronting collections and their histories, Pākehā art
historians need to acknowledge the grim realities that attended
colonial subjugation. Simultaneously, however, they should recognise
that there were Māori interests at stake and that a Māori reception
of colonial art was always in play.

ACKNOWLEDGEMENTS

This book began life as a doctoral thesis and I owe a significant debt
to my supervisors, Geoffrey Batchen and Lydia Wevers, as well as to
my long-suffering colleagues in the Art History programme at
Victoria University of Wellington. I am extremely grateful to the
Faculty of Humanities and Social Sciences for allocating the research
and study leave that made this project possible and for supporting
reproduction costs. Special thanks are due to Chris Szekely, Chief
Librarian, and the staff of the Alexander Turnbull Library for hosting
me as a Scholar in Residence during 2015. The congenial quiet of
the Katherine Mansfield Reading Room significantly enhanced the
writing of this text.
Many people have assisted with research that now stretches over
several decades. Over that time some have died and I want first to
acknowledge them – Judith Binney, David Colqhoun, Rangiiria
Hedley, Joan Kerr, Mauriora Kingi, Lynton Lindauer, Jonathan Mane-
Wheoki, Dorothy ‘Bubbles’ Mihinui, Roger Neich, Malcolm Ross, Cliff
Whiting, Arnold Manaaki Wilson. He mihi nui ki a rātou.
I gratefully single out the following individuals who have helped
me: Mark Adams, John Allen, Maurice and Beverley Allen, Matiu
Baker, Mark Baldwin, Tim Barringer, Christina Barton, Hikitia Barton,
Andrea Bell, Len Bell, Nigel Borell, Ron Brownson, Errol and Jennifer
Clark, Chanel Clarke, Christian Coiffier, Robert Cross, Jeremy Dart,
Jane Davidson-Ladd, Sharon Dell, Paul Diamond, Ngarino Ellis, Karen
Erueti, Rene Fisher, Keith Giles, John Gow, Michael Graham-Stewart,
Lyonel Grant, Nicolas Greis, Julia Gresson, Arapata Hakiwai, Ken Hall,
Catherine Hammond, David Hansen, Jenny Harper, Geoffrey Heath,
Sarah Hillary, Sue Hirst, Michelle Horwood, Greg Illingworth, Carolina
Izzo, Alexa Johnston, Mary Kisler, Gerry Keating, Amanda Lillie,
Heather Lindauer, Mere Lodge, Indra Velasco Lopez, Charlotte
Macdonald, Caroline McBride, Conal McCarthy, Kerie McCombe, Colin
McDiarmid, John McIver, John McPhee, Francis McWhannell, Les
Maiden, Hinureina Mangan, Bruce Marshall, David Maskill, Ngahiraka
Mason, Rebe Mason, Gina Matchitt, Helen Mitchell, Lissa Mitchell,
Rose Mohi, Phillip O’Shea, Pipito Paerata, Timutetai Hoariri Paerata,
Pat Parsons, Hera Te Upokoiri Peina, Elizabeth Pishief, Kristelle
Plimmer, Matt Plummer, Katherine Prior, Wiremu Puke, Rebecca Rice,
Eric Riddler, Vanessa Robinson, Jim Schuster, Piri Sciascia, Libby
Sharpe, Peter Shaw, Hana Small, Oliver Stead, John Sullivan, Wi
Taepa, Paul Tapsell, Rangi Te Kanawa, Nick Thomas, Richard
Thomson, Danielle Tolson, Awhina Twomey, Ani Waaka, Jennifer
Wagelie, Tim Walker, Paerau Warbrick, Lucy Whitaker, Anna-Marie
White, Nat Williams and Angela Živković. He mihi nui ki a koutou
katoa.
Thanks are due to the directors, curators, librarians, archivists and
photographers of many museums, art galleries, libraries and archives
– too numerous to list – who have furnished valuable data for this
project. Heartfelt gratitude to the team from Auckland University
Press: to Sam Elworthy, who believed in the book from the very
outset; to Mike Wagg for his impeccable editing; to Jane McRae for
advice on Māori language matters; to Katrina Duncan for the
beautiful design; to Caren Wilton, Louisa Kasza and Susannah
Whaley for proofreading; and to Katharina Bauer for her efficient
management of the production.
And to Godfrey, who kept the home fires burning, fa‘afetai tele
lava.

NOTE ON TERMINOLOGY

It is obvious that what I am calling a Māori image – photograph,

drawing, oil painting, lithograph – is simultaneously a physical
object. Likewise, a Māori object, in this book, usually appears in the
form of images made by non-Māori. The words image and object are
therefore shorthand for images of Māori, and objects by Māori.
In keeping with New Zealand usage, words in the Māori language
are not italicised except when they function as the name of a ship
(including ancestral waka). Long vowels are indicated by macrons,
except in relation to period terminology and within the titles of books
and articles, and quotations from such sources, where the original
orthography is maintained.
Visit https://textbookfull.com
now to explore a rich
collection of eBooks, textbook
and enjoy exciting offers!
George Henry Wynyard, Sir George Grey’s Address to the N Zealand Society Septr
26 MDCCCLI, c. 1860, ink and wash on cardboard, 336 × 252 mm. ALEXANDER
TURNBULL LIBRARY, A-164-003, PRESENTED BY MR A. H. R. GILLESPIE, 1960
Introduction

R
EFERRING AS MUCH TO A PERIOD as a place, the term ‘Maoriland’
conjures New Zealand in the decades around the turn of the
twentieth century – the so-called ‘late colonial’ era. During this
period, more than in any other, colonial art and museology
essentialised ‘traditional’ Māori culture and used it to help forge a
distinctive Pākehā identity. Galleries of Maoriland introduces us to
the many ways in which Pākehā discovered, created, propagated
and romanticised the Māori world. During this period Māori material
culture was avidly collected and exhibited as civic and national
treasures, while Pākehā artists and savants turned their attentions to
the intellectual colonisation of the Māori past. Galleries of heroic
portraits of celebrated chiefs formed the colonial equivalent of
national portrait galleries, while episodes from Māori history
occupied pride of place in exhibitions staged by artists intent on
forging a new ‘national’ art for the infant colony.
The culture of Maoriland was a Pākehā creation. But this book will
argue that Māori were not merely passive victims but had a stake in
this process of romanticisation. What, it asks, were some of the
Māori purposes that were served by curio displays, portrait
collections, and the wider ethnological culture? Why did the
idealisation of an ancient Māori world, which obsessed ethnological
enquirers and artists alike, appeal also to Māori? Who precisely were
the Māori participants in this culture, and what were their motives?
And what can a Māori reception of Pākehā art tell us? The inclusion
of Māori as participants and agents in colonial art history serves to
revise the long-standing emphasis on Māori as ethnographic and
artistic subjects. By illuminating the artistic and ethnographic
economy and critiquing the ways in which its history has been
captured and re-presented, a more textured and balanced view of
the transactions of the late-colonial art world becomes possible.

Sir George Grey – ‘soldier, explorer, colonial governor, premier,

scholar’ – was the godfather of ethnological collecting in New
Zealand.1 In a speech made to the New Zealand Society in 1851,
Grey outlined the urgent task at hand:

We who stand in this country occupy an historical position of extraordinary

interest. Before us, lies a future already brilliant with the light of a glorious
morn, which we are to usher in to gladden unborn generations. Behind us, lies
a night of fearful gloom, unillumined by the light of written records, of picture
memorials, of aught which can give a certain idea of the past. A few stray
streaks of light, in the form of tradition, of oral poetry, of carved records, are
the only guides we have. And, in the gloom of that night, are fast fading out of
view, although dim outlines of them are still visible, some of the most fearful
spectres which have ever stalked amongst mankind, in the hideous shapes of
idolatry, human sacrifices, and cannibalism, – mixed up with which, in uncouth
unison, was much of real poetry, and of actual grace of fancy. Future
generations will almost doubt that such gloomy forms of thought have haunted
their then highly-cultivated and civilized homes; or that a people, debased by
such barbarities, could yet have felt and cherished so much of the poetic and
good: and if they could then question us, who have seen these now fading
superstitions ere they wholly vanished, what eager questions they would
propose to us regarding their monstrous shapes, their horrid aspect, the rude
and inharmonious voices with which, with horrid shouts and yells, their orgies
were fulfilled! – How eagerly the poet, the painter, the sculptor, would seek to
recover some traits of their terrible lineaments, – or of their softer outlines,
when they related to scenes of the gentler passions, or of domestic life! – that
either a stern grandeur, or the romantic glow of a primitive state of existence,
might be imparted to some work of art.2

Grey’s two major collections of taonga were acquired largely as

gifts from Māori chiefs and in turn presented to the British Museum
and Auckland Art Gallery respectively. Grey also commissioned a
number of paintings to memorialise key colonial events, such as the
baptism of Te Āti Awa chief Hōniana Te Puni – the first steps towards
realising the history painting tradition that he recommended in his
1851 speech.3 Another commission, a full-figure portrait of his
equerry Hāmi Hōne Rōpiha, or John Hobbs, was prominently
displayed in the drawing room of Grey’s mansion on Kawau Island,
where Rōpiha looked down on the gracious surroundings that
housed the carved and woven taonga and innumerable books,
manuscripts and exotic curios.4
Grey outlined the purposes underlying such collecting in a famous
passage from the preface to his Polynesian Mythology (1854):

I soon perceived that I could neither successfully govern, nor hope to

conciliate, a numerous and turbulent people, with whose language, manners,
customs, religion, and modes of thought I was quite unacquainted. . . .
Although furnished with some very able interpreters, who gave me assistance
of the most friendly nature, I soon found that even with their aid I could still
only very imperfectly perform my duties.5
Daniel L. Mundy, Maori Artifacts in Grey’s Museum on Kawau Island, 1870–71,
albumen photograph, 285 × 232 mm. SIR GEORGE GREY SPECIAL COLLECTIONS,
AUCKLAND CITY LIBRARIES, PHOTOGRAPH ALBUM NO. 88
Random documents with unrelated
content Scribd suggests to you:
THE FULL PROJECT GUTENBERG LICENSE
 PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free

distribution of electronic works, by using or distributing this work (or
any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg™ License available with this file or online at
www.gutenberg.org/license.

Section 1. General Terms of Use and

Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand, agree
to and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ electronic work and you do not agree to be
bound by the terms of this agreement, you may obtain a refund
from the person or entity to whom you paid the fee as set forth in
paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be

used on or associated in any way with an electronic work by people
who agree to be bound by the terms of this agreement. There are a
few things that you can do with most Project Gutenberg™ electronic
works even without complying with the full terms of this agreement.
See paragraph 1.C below. There are a lot of things you can do with
Project Gutenberg™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project
Gutenberg™ electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the
collection of Project Gutenberg™ electronic works. Nearly all the
individual works in the collection are in the public domain in the
United States. If an individual work is unprotected by copyright law
in the United States and you are located in the United States, we do
not claim a right to prevent you from copying, distributing,
performing, displaying or creating derivative works based on the
work as long as all references to Project Gutenberg are removed. Of
course, we hope that you will support the Project Gutenberg™
mission of promoting free access to electronic works by freely
sharing Project Gutenberg™ works in compliance with the terms of
this agreement for keeping the Project Gutenberg™ name associated
with the work. You can easily comply with the terms of this
agreement by keeping this work in the same format with its attached
full Project Gutenberg™ License when you share it without charge
with others.

1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside the
United States, check the laws of your country in addition to the
terms of this agreement before downloading, copying, displaying,
performing, distributing or creating derivative works based on this
work or any other Project Gutenberg™ work. The Foundation makes
no representations concerning the copyright status of any work in
any country other than the United States.

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™ License must
appear prominently whenever any copy of a Project Gutenberg™
work (any work on which the phrase “Project Gutenberg” appears,
or with which the phrase “Project Gutenberg” is associated) is
accessed, displayed, performed, viewed, copied or distributed:
 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™ electronic work is derived

from texts not protected by U.S. copyright law (does not contain a
notice indicating that it is posted with permission of the copyright
holder), the work can be copied and distributed to anyone in the
United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must
comply either with the requirements of paragraphs 1.E.1 through
1.E.7 or obtain permission for the use of the work and the Project
Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted

with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg™ License for all works posted
with the permission of the copyright holder found at the beginning
of this work.

1.E.4. Do not unlink or detach or remove the full Project

Gutenberg™ License terms from this work, or any files containing a
part of this work or any other work associated with Project
Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this

electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1
with active links or immediate access to the full terms of the Project
Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form,
including any word processing or hypertext form. However, if you
provide access to or distribute copies of a Project Gutenberg™ work
in a format other than “Plain Vanilla ASCII” or other format used in
the official version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or
expense to the user, provide a copy, a means of exporting a copy, or
a means of obtaining a copy upon request, of the work in its original
“Plain Vanilla ASCII” or other form. Any alternate format must
include the full Project Gutenberg™ License as specified in
paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,

performing, copying or distributing any Project Gutenberg™ works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing

access to or distributing Project Gutenberg™ electronic works
provided that:

• You pay a royalty fee of 20% of the gross profits you derive
from the use of Project Gutenberg™ works calculated using the
method you already use to calculate your applicable taxes. The
fee is owed to the owner of the Project Gutenberg™ trademark,
but he has agreed to donate royalties under this paragraph to
the Project Gutenberg Literary Archive Foundation. Royalty
payments must be paid within 60 days following each date on
which you prepare (or are legally required to prepare) your
periodic tax returns. Royalty payments should be clearly marked
as such and sent to the Project Gutenberg Literary Archive
Foundation at the address specified in Section 4, “Information
 about donations to the Project Gutenberg Literary Archive
Foundation.”

• You provide a full refund of any money paid by a user who

notifies you in writing (or by e-mail) within 30 days of receipt
that s/he does not agree to the terms of the full Project
Gutenberg™ License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg™ works.

• 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™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™

electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.

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™ collection. Despite these efforts, Project
Gutenberg™ electronic works, and the medium on which they may
be stored, may contain “Defects,” such as, but not limited to,
incomplete, inaccurate or corrupt data, transcription errors, a
copyright or other intellectual property infringement, a defective or
damaged disk or other medium, a computer virus, or computer
codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for

the “Right of Replacement or Refund” described in paragraph 1.F.3,
the Project Gutenberg Literary Archive Foundation, the owner of the
Project Gutenberg™ trademark, and any other party distributing a
Project Gutenberg™ electronic work under this agreement, disclaim
all liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR
NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR
BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH
1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK
OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL
NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT,
CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF
YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

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™ electronic works in
accordance with this agreement, and any volunteers associated with
the production, promotion and distribution of Project Gutenberg™
electronic works, harmless from all liability, costs and expenses,
including legal fees, that arise directly or indirectly from any of the
following which you do or cause to occur: (a) distribution of this or
any Project Gutenberg™ work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg™ work, and (c) any
Defect you cause.

Section 2. Information about the Mission

of Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers.
It exists because of the efforts of hundreds of volunteers and
donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the

assistance they need are critical to reaching Project Gutenberg™’s
goals and ensuring that the Project Gutenberg™ collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a
secure and permanent future for Project Gutenberg™ and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help,
see Sections 3 and 4 and the Foundation information page at
www.gutenberg.org.

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™ 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™ electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose network of
volunteer support.
Project Gutenberg™ eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.

Most people start at our website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,

including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how
to subscribe to our email newsletter to hear about new eBooks.