    The Project Gutenberg EBook of Monograms & Ciphers, by Albert Angus Turbayne

    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: Monograms & Ciphers

    Author: Albert Angus Turbayne

    Illustrator: Other Members of Carlton Studio

    Release Date: June 18, 2012 [EBook #40023]

    Language: English

    Character set encoding: ISO-8859-1

    *** START OF THIS PROJECT GUTENBERG EBOOK MONOGRAMS & CIPHERS ***

    Produced by Chris Curnow, Diane Monico, and the Online
    Distributed Proofreading Team at http://www.pgdp.net (This
    file was produced from images generously made available
    by The Internet Archive)

# MONOGRAMS
AND
CIPHERS

ROYAL CIPHER

# MONOGRAMS
& CIPHERS

DESIGNED AND DRAWN BY
A. A. TURBAYNE
AND
OTHER MEMBERS OF THE
CARLTON
STUDIO

LONDON T. C. & E. C. JACK
& EDINBURGH

[Pg ix]

## INTRODUCTORY NOTE

In laying out this book I have put into it the experience of many years of actual work in the designing of Monograms, Ciphers, Trade-Marks, and other letter devices. I have given the work much careful thought in order to present the most useful material, to give that material on a good workable scale, and in such a way that any design can be quickly found. By the arrangement of the designs the plates form their own index. On Plate II will be found combinations of AA, AB, AC; on Plate III combinations of AC, AD; on Plate IV, AE, AF, AG, etc. A device of MB would be looked for under the letter of the alphabet first in order, B; it will thus be found in the BM combinations on Plate XVI.

Now the letters AA have only one reading; two different letters, AB, can be read in two ways; while AAB can be read in three ways; and ABC, or any three different letters, can be placed to read in six ways.

A complete series of designs, AA, AB, BA, AC, CA, to ZZ, would run to 676 devices; add to this a series with a repeated letter, which would be the next in order, giving one reading only, AAB, BBA, etc., of which there are 650, and we get 1326 combinations. This would require, if carried out with nine[Pg x] designs on a plate, 147 plates. Our book was not to exceed 135 plates, and in addition to as complete a series as possible of two-letter designs, there were to be included some plates of sacred devices, designs of three different letters, and other matter which would make a work of practical use.

By limiting the number of combinations containing the I and J, and the O and Q, which can easily be made interchangeable in the working, and giving but a single reading of most of the devices containing the letters X, Y, Z, which will be the least used, I have been able to present a good working selection of two letters and a repeated letter in 113 plates.

Three different letters, as I have stated, can be read in six ways. Take, for instance, the first three letters of the alphabet, and we have—

| ABC | BAC | CAB
| ACB | BCA | CBA

Add a fourth letter to the three, and we have four times six, or twenty-four readings, as follows:—

| ABCD | BACD | CABD | DABC
| ABDC | BADC | CADB | DACB
| ACBD | BCAD | CBAD | DBAC
| ACDB | BCDA | CBDA | DBCA
| ADBC | BDAC | CDAB | DCAB
| ADCB | BDCA | CDBA | DCBA

[Pg xi]

It will thus be seen that books advertised as made up of three-and four-letter combinations must be very fragmentary, as anything like a complete work of these units would run to an enormous length.

Now let us see what a work of three-letter designs would mean. ABC, ABD, etc., giving an alphabet of one reading only, would run to 2600 designs. A book of this sort would be of little use, as the design looked for would probably not be there, for every one of these 2600 groups can be placed to read six different ways; and to make a complete work of three-letter designs, with no repeat letters even, would require a showing of 15,600 Monograms or Ciphers. But what about the three letters, one of which is a repeat? A glance through any list of persons will show that these have a right to be included, though they do not occur as frequently as three different letters. Add these to the list for a complete three-letter book—there are 1976 of them, including 26 combinations where the three letters are the same, AAA, etc.—and we have 17,576 designs to be shown. Following the plan of nine designs on a plate, we would require 1953 plates, making a work of fourteen volumes the size of the present book. A bulky work of this sort would not only be unpractical, but the cost of production and the price at which such a work could be sold, would place it beyond the reach of most of those workers to whom we hope to appeal.

In the plan I have adopted the book is practically a complete[Pg xii] work of two-letter combinations in a single volume. A device of any two letters will always be readily found, which should be sufficient to furnish the designer or artisan with a base upon which to build a design of three or more letters.

There is to-day a growing taste for severe chaste forms in printing types and lettering; the same influence is also directing a change of style in the more decorative Monogram and Cipher. The florid combinations of the last two centuries are gradually falling into disuse, and are giving place to the very simplest forms. The aim of the present work is towards simplicity, but in order that the book may appeal to various tastes, and thus be of greater value, examples of many styles are included.

Each of these styles, while based on some familiar form which has long been in use, has had its pruning, and as much of the superfluous flourish not necessary to letter or design has been discarded.

The styles included may be classed under five principal heads—Roman, Gothic, Sans Serif, Cursive or Running, and what I might call Rustic. These styles are treated in various ways, and in light and heavy letters. Here and there throughout the work a design will be found that may suggest a treatment for some particular device. These are odd pieces that have occurred to me as the plates were in progress, the execution of most of which would probably be more satisfactory in embroidery than any other medium. There are three principal forms of treating[Pg xiii] a device; I will call them the Imposed, Extended, and the Continuous forms. By the Imposed form I mean a design where the letters are written or interlaced directly over one another. In the Extended form the letters are interlaced or written side by side. In the Continuous form the device runs from beginning to end without a break. In the Imposed form the principal letter, whether it is first or final, should be accentuated, either by making it slightly larger, heavier, or in some other way best suited to the material in which it is being produced, it may be colour or texture. For the Extended form, if the letters are to be read in the order in which they follow one another, all may be treated alike. In this form, however, it is often advisable, for design and balance, especially when filling a circular space, to place the principal letter in the centre; in that case it may be drawn larger, and in some other way made more important. The Continuous form should read as the letters would be written, and care must betaken to place them so that they will not appear to read in some other way. It is intended that the Monograms and Ciphers shown in the following plates be considered as outlines only, as models or working drawings. The solid or tint grounds need not be taken as part of the design; they are intended to show which are planned in a round, and which in a square panel. There are but a few cases in which any detail is given that would apply to a particular craft, or suggest the material in which they are to be worked. Each artist or craftsman can use the forms, supplying his own[Pg xiv] detail to suit the technique of the work in hand. By this means the book should be equally useful to any craft. With this broad rendering it will be noticed that some of the designs do not appear to read in the order described; in such cases the important letter requires that detail which I have suggested in some instances with a tint or black. The order of description is followed throughout the book for the sake of easy reference; it is only departed from in a few places where one reading only is intended, as in the LRR on Plate LXXXIV, the continuous Monogram NMN on Plate LXXXVII, and the continuous Cipher WTW on Plate CX.

Before proceeding further I should state the difference between a Monogram and a Cipher. This is necessary, as the two devices are constantly being miscalled; some authorities too, while correctly describing a Monogram, give a Cipher for illustration. A Monogram is a combination of two or more letters, in which one letter forms part of another and cannot be separated from the whole. A Cipher is merely an interlacing or placing together of two or more letters, being in no way dependent for their parts on other of the letters.

Of the two classes Monograms are the more interesting, probably on account of their being more difficult to plan, though I think they are rarely as pleasing to the eye as the Cipher, except in the very severest forms. Compare the whole plate of Ciphers, CXIV, with the next plate, CXV, composed entirely of Monograms.

The difficulty in designing Monograms does not so often lie[Pg xv] in being able to plan the Monogram, as in being able to produce one that will be read by others, and where all the letters will read, and those only that are intended. When we begin to put two or three letters together that are made up of one another into a single unit, other letters are suggested or occur in the device not intended; or again, two or three of the letters will be so apparent that the third or fourth will only be known to the designer or owner. Take, for instance, the PQR on Plate CXV; the small device is the better one of the two, but few will read it other than PQ, QR, or PR. Personally I prefer a design that is a little obscure, if the lines are good, if it is a fine piece of ornament.

A Monogram or Cipher is in all cases intended for ornament, whether used as a mark of ownership by private individuals, or for a company, or a trade-mark. For purposes of commerce it is of course important that the device should be distinct and easily read. The same might apply also to the design for a club or society mark. For private use, however, where the device is to enrich a piece of jewellery, plate, the binding of a book, a piece of furniture, or part of the decoration of a house, it should in the first place be a good design. If the conceit is legible to the owner, and is of such fine proportion as to be thoroughly satisfying to the eye, why should it read like an advertisement, or be like 'Everything in the shop marked in plain figures'?

Some of the most beautiful Ciphers I have seen are to be found on old French bindings, many of which would be unintelligible if[Pg xvi] we did not know for whom the books were bound. These Ciphers form in many instances the sole decoration of the binding, sometimes but a single impression appearing on each side, yet the book satisfies one as being perfectly decorated. This is so often the case with the Monogram and Cipher—it may be the only ornament that is to enrich a fine piece of workmanship—that in such places it should be a piece of choice design.

This brings us to that disputed point in this branch of art, the reversing of letters. For my own part I have no hesitation whatever in reversing a letter, or turning it upside down, or any other way, if it will produce a good piece of ornament. It is just as easy to fill a space, and fill it with good balance, with the letters facing as we are accustomed to see them, but this method will rarely produce that grace, beauty of line, and easy balance that letters of similar form turned toward one another will give. As an instance of this I would go no further than a single illustration which must be familiar to all—the Monogram HDD of Henry II and Diana of Poitiers—Henri Deux, Diane. It matters not where we find this, in the decoration of a ceiling, in enamel or painted ornament, or as a tooled book-binding, it has a dignity and feeling of easy repose that is never tiring. It would have been just as simple for the designer to have made a Monogram of these letters without reversing one of the D's, but no other possible arrangement would give the grace of line we find in this device. Another excuse for the reversing or turning upside down of a letter is, that when the[Pg xvii] letters A, B, C, D, E, K, M, N, S, V, W, and Y occur repeated, you often get by turning a letter over or upside down a design that will read the same from all points of view. This advantage must be apparent to all, where the Monogram or Cipher is to be seen from different positions, as it will be, for instance, in the top of an inlaid table, a ceiling, a tiled or inlaid floor, or in the decoration of some small object like a finely bound book that will lie on a table, and on many a piece of the goldsmith's and silversmith's work.

The H, I, N, O, S, X, and Z can be drawn in Roman so as to appear the same upside down, and do not require to be turned over or stood on their heads; but with the letters A, M, V, W, and Y, though they will not require reversing where two occur in a combination, one will have to be turned upside down to make the design read the same from all points of view. If there are only the two letters, this will be simple, but if three or four letters are to be put together, it will depend on what the third or fourth letter is whether this is possible or not. I do not hold with doubling one of the letters in a device simply to turn over and make symmetry. If there is not a repeat letter, or a letter of similar form in the combination of letters to be put together, all letters should be doubled if symmetry, or reading from various points of view, must be had. On Plate LXXXV will be found a Cipher LT, planned without reversing to read the same upside down; a third letter, H, N, O, S, X, or Z, could be introduced without altering the LT, so that the combination of[Pg xviii] three letters would read in the same way, whether looked at from the top or the bottom. There are but few letters that will plan in this way. When it is required of a design that it will read from all points of view, Roman letters will usually be found to give the most satisfactory result.

Intermixture of styles should always be avoided. If the Roman and Gothic are found too severe to suit a given subject, the Cursive and Rustic letters with their easy flowing lines can be made to fill almost any space one will be called upon to fill with either Monogram or Cipher.

A device besides being of one style of letter should also be pure as a whole; plan either a Monogram or a Cipher, but don't combine the two. The only excuse that might be advanced for the mongrel form, would be where a combination of three or more letters contained conjoined or hyphened words, represented by, say, AB-B or BC-D. Here the B-B and the C-D would form Monograms, the A and the B separate letters interlaced into them. I have given illustrations of this mixed device on Plate II, BBA; and on Plate XLII, EEO. For this last device there is no excuse, except as a trade-mark to be written quickly; a circle with three horizontal strokes, an upright stroke connecting the three in the centre, forming a solid device, EEO, on the lines of the Cipher FFO on Plate XLIX.

When planning a device avoid, if it is at all possible to do so, having three lines crossing at the same point, making three planes.[Pg xix] There is always a confusion in the interlacing if there are more than two planes, which produces a clumsy appearance in the design. There are cases when slanting or curved lines come across a straight line, where three crossings could only be avoided by contorting one of the letters; in such a place it will be better to allow the three planes. Examples of Ciphers having three crossings at one point will be found on Plate XL, KE, Plate LXXXIX, MMT, and on Plate XCI, YM. Ciphers not interwoven, but placed side by side forming decorative lines, will be found on Plates XXIII, XXXIX, XLVII, and LX. One with the letters written one within another, a useful form for trademarks, is the CCG on Plate XXII.

A number of the plates have the nine designs carried out in one style. These should be useful as examples of the different characters of letters, as specimen pages for styles. I have grouped them under four heads as follows:—

### ROMAN.

Plate LXXXI, light. Plate LXXXII, light, with cord and tassel. Plate LXXXVII, uniform stroke, small serifs. Plate XCVII, sans serif, with cord and tassel.

### GOTHIC.

Plate XII, heavy. Plate LXXXVIII, light, pointed. Plate XCII, heavy, ending in leaf-forms. Plate XCIII, heavy, suggesting low relief, for stone-or wood-carving. Plate C, black-letter.

[Pg xx]

### CURSIVE

Plates XIII and XV, foliated, embroidery. Plate LXXXIII, continuous. Plate LXXXIV, half-cursive, upright. Plate LXXXV, slanting. Plate LXXXVI, upright, uniform stroke. Plate XC, cursive-Roman, thin, uniform stroke. Plate XCIX, light, upright, flourish.

### RUSTIC.

Plate XI, jewellery. Plate XX, two-colour. Plate XXXV, flourish. Plates XCI, XCIV, XCV, and XCVI, upright. Plate XCVIII, quill-rustic.

Monograms and Ciphers of three different letters will be found on Plates CXIV, CXV, and CXVI. On Plates CXVII to CXXI are firm-marks of two letters joined with the Ampersand, &. Plates CXXII to CXXVII show an alphabet with the '& Co.,' examples being given in round and square form. The last one of these plates contains also five examples of Numerals in Cipher, 1905, 1906, 1907, 1908, and 1909. Sacred Devices and Names fill Plates CXXVIII to CXXXII. Plates CXXXIII and CXXXIV are made up of Labels and three-letter Monograms. The letters for the Monograms are taken at random from a list of authors. The last plate, CXXXV, is a suggestion for the decorative treatment of Sacred Inscriptions in Monogram and Cipher, following the style of the Italian Renaissance.

One plate has been added to the work, engraved by Mr. Thomas Moring, which shows some few ways in which these designs [Pg xxi]can be intelligently interpreted for a particular craft. It also shows how the character of a design may be preserved while a change is made in the letters or in their position. Plate L of the work was taken as the model. The PPF has been altered to EPF; the FQ transposed and made to read QF; FR to read FE; and RF to read RS. In the FFR the R has been made into a P, an R substituted for the reversed F, and with a slightly different treatment of the second F, the whole made to read RFP. In the sixth design the reversed R has been turned back, a very slight difference of treatment in all the letters being necessary to plan this well. The last three designs continue in the same way. A comparison of the engraved plate with Plate L will show with what little alteration a different character or reading can be introduced into a design.

I trust there will be found something in this book to please all tastes, if only a single device. For any errors there may be in the work I am alone responsible. In the drawing of the plates I have been ably assisted by different members of the studio. I am also indebted for the whole of Plate X. One error has passed me unnoticed till the part was published. What should have been DP, on Plate XXXIV, I have drawn OP; this, though a correct Cipher, is out of place on this plate.

A. A. TURBAYNE.

CARLTON STUDIO,
LONDON, _March 1906_.

## MONOGRAMS
AND
CIPHERS

SUGGESTIONS AS TO VARYING TREATMENT
By The Engraver of The Designs in This Work

VARIOUS TREATMENTS OF THE SAME DESIGN
PLATE I—AA

PLATE II—AA, AB, AC

PLATE III—AC, AD

PLATE IV—AE, AF, AG

PLATE V—AG, AH, AI

PLATE VI—AI, AJ, AK

PLATE VII—AL, AM, AN

PLATE VIII—AN, AO, AP

PLATE IX—AP, AQ, AR, AS

PLATE X—AS, AT, AU

PLATE XI—AV, AW, AX, AY, AZ

PLATE XII—BB, BC, BD

PLATE XIII—BE, BF, BG

PLATE XIV—BG, BH, BI

PLATE XV—BI, BJ, BK, BL

PLATE XVI—BL, BM, BN

PLATE XVII—BN, BO, BP

PLATE XVIII—BQ, BR, BS

PLATE XIX—BT, BU, BV

PLATE XX—BV, BW, BX, BY, BZ

PLATE XXI—CC, CD, CE

PLATE XXII—CF, CG, CH

PLATE XXIII—CH, CI, CJ

PLATE XXIV—CJ, CK, CL

PLATE XXV—CL, CM, CN

PLATE XXVI—CO, CP, CQ

PLATE XXVII—CR, CS, CT

PLATE XXVIII—CT, CU, CV

PLATE XXIX—CV, CW, CX, CY, CZ

PLATE XXX—DD, DE, DF

PLATE XXXI—DG, DH, DI

PLATE XXXII—DI, DJ, DK

PLATE XXXIII—DK, DL, DM

PLATE XXXIV—DN, DO, DP

PLATE XXXV—DP, DQ, DR, DS

PLATE XXXVI—DS, DT, DU

PLATE XXXVII—DU, DV, DW, DX

PLATE XXXVIII—DY, DZ, EE, EF, EG

PLATE XXXIX—EG, EH, EI

PLATE XL—EJ, EK, EL

PLATE XLI—EL, EM, EN

PLATE XLII—EN, EO, EP, EQ

PLATE XLIII—EQ, ER, ES

PLATE XLIV—ES, ET, EU

PLATE XLV—EV, EW, EX, EY, EZ, FF

PLATE XLVI—FG, FH, FI

PLATE XLVII—FI, FJ, FK, FL

PLATE XLVIII—FL, FM, FN

PLATE XLIX—FN, FO, FP

PLATE L—FP, FQ, FR, FS

PLATE LI—FS, FT, FU

PLATE LII—FV, FW, FX, FY, FZ

PLATE LIII—GG, GH, GI, GJ

PLATE LIV—GJ, GK, GL

PLATE LV—GL, GM, GN

PLATE LVI—GO, GP, GQ

PLATE LVII—GQ, GR, GS

PLATE LVIII—GT, GU, GV

PLATE LIX—GV, GW, GX, GY, GZ, HH

PLATE LX—HI, HJ, HK

PLATE LXI—HK, HL, HM

PLATE LXII—HN, HO, HP

PLATE LXIII—HP, HQ, HR, HS

PLATE LXIV—HS, HT, HU

PLATE LXV—HU, HV, HW, HX, HY

PLATE LXVI—HZ, II, IJ, IK

PLATE LXVII—IL, IM, IN

PLATE LXVIII—IO, IP, IQ, IR

PLATE LXIX—IR, IS, IT, IU

PLATE LXX—IU, IV, IW, IX, IY, IZ

PLATE LXXI—JJ, JK, JL, JM

PLATE LXXII—JM, JN, JO

PLATE LXXIII—JO, JP, JQ, JR

PLATE LXXIV—JR, JS, JT

PLATE LXXV—JT, JU, JV, JW

PLATE LXXVI—JW, JX, JY, JZ, KK, KL

PLATE LXXVII—KM, KN, KO

PLATE LXXVIII—KO, KP, KQ

PLATE LXXIX—KR, KS, KT

PLATE LXXX—KT, KU, KV

PLATE LXXXI—KV, KW, KX, KY, KZ

PLATE LXXXII—LL, LM, LN

PLATE LXXXIII—LO, LP, LQ

PLATE LXXXIV—LQ, LR, LS

PLATE LXXXV—LT, LU, LV

PLATE LXXXVI—LV, LW, LX, LY, LZ

PLATE LXXXVII—MM, MN, MO

PLATE LXXXVIII—MP, MQ, MR

PLATE LXXXIX—MR, MS, MT

PLATE XC—MU, MV, MW

PLATE XCI—MW, MX, MY, MZ, NN, NO

PLATE XCII—NO, NP, NQ, NR

PLATE XCIII—NR, NS, NT

PLATE XCIV—NT, NU, NV, NW

PLATE XCV—NW, NX, NY, NZ, OO, OP

PLATE XCVI—OP, OQ, OR, OS

PLATE XCVII—OS, OT, OU, OV

PLATE XCVIII—OV, OW, OX, OY, OZ

PLATE XCIX—PP, PQ, PR, PS

PLATE C—PS, PT, PU

PLATE CI—PU, PV, PW, PX

PLATE CII—PY, PZ, QQ, QR, QS, QT

PLATE CIII—QT, QU, QW, QX, QY, QZ

PLATE CIV—RR, RS, RT

PLATE CV—RU, RV, RW

PLATE CVI—RW, RX, RY, RZ, SS, ST

PLATE CVII—ST, SU, SV, SW

PLATE CVIII—SW, SX, SY, SZ, TT, TU

PLATE CIX—TU, TV, TW

PLATE CX—TW, TX, TY, TZ, UU, UV

PLATE CXI—UW, UX, UY, UZ, VV

PLATE CXII—VW, VX, VY, VZ, WW, WX

PLATE CXIII—WY, WZ, XX, XY, XZ, YY, YZ, ZZ

PLATE CXIV—THREE-LETTER CIPHERS

PLATE CXV—THREE-LETTER MONOGRAMS

PLATE CXVI—THREE-LETTER CIPHERS AND MONOGRAM

PLATE CXVII—TWO LETTERS WITH THE &

PLATE CXVIII—TWO LETTERS WITH THE &

PLATE CXIX—TWO LETTERS WITH THE &

PLATE CXX—TWO LETTERS WITH THE &

PLATE CXXI—TWO LETTERS WITH THE &

PLATE CXXII—COMPANY CIPHERS

PLATE CXXIII—COMPANY CIPHERS

PLATE CXXIV—COMPANY CIPHERS

PLATE CXXV—COMPANY CIPHERS

PLATE CXXVI—COMPANY CIPHERS

PLATE CXXVII—COMPANY CIPHERS, YEARS

PLATE CXXVIII—SACRED DEVICES

PLATE CXXIX—SACRED DEVICES

PLATE CXXX—SACRED DEVICES

PLATE CXXXI—SACRED DEVICES

PLATE CXXXII—SACRED DEVICES

PLATE CXXXIII—LABELS AND MONOGRAMS

PLATE CXXXIV—LABELS AND MONOGRAMS

PLATE CXXXV—SACRED DEVICES

EDINBURGH
T. and A. CONSTABLE
Printers to His Majesty

    End of Project Gutenberg's Monograms & Ciphers, by Albert Angus Turbayne

    *** END OF THIS PROJECT GUTENBERG EBOOK MONOGRAMS & CIPHERS ***

    ***** This file should be named 40023-h.htm or 40023-h.zip *****
    This and all associated files of various formats will be found in:
            http://www.gutenberg.org/4/0/0/2/40023/

    Produced by Chris Curnow, Diane Monico, and the Online
    Distributed Proofreading Team at http://www.pgdp.net (This
    file was produced from images generously made available
    by The Internet Archive)

    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
      www.gutenberg.org/license.

    Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
    electronic works

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

    1.B.  "Project Gutenberg" is a registered trademark.  It may only be
    used on or associated in any way with an electronic work by people who
    agree to be bound by the terms of this agreement.  There are a few
    things that you can do with most Project Gutenberg-tm electronic works
    even without complying with the full terms of this agreement.  See
    paragraph 1.C below.  There are a lot of things you can do with Project
    Gutenberg-tm electronic works if you follow the terms of this agreement
    and help preserve free future access to Project Gutenberg-tm electronic
    works.  See paragraph 1.E below.

    1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
    or PGLAF), owns a compilation copyright in the collection of Project
    Gutenberg-tm electronic works.  Nearly all the individual works in the
    collection are in the public domain in the United States.  If an
    individual work is 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 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
    TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
    LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
    INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
    DAMAGE.

    1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
    defect in this electronic work within 90 days of receiving it, you can
    receive a refund of the money (if any) you paid for it by sending a
    written explanation to the person you received the work from.  If you
    received the work on a physical medium, you must return the medium with
    your written explanation.  The person or entity that provided you with
    the defective work may elect to provide a replacement copy in lieu of a
    refund.  If you received the work electronically, the person or entity
    providing it to you may choose to give you a second opportunity to
    receive the work electronically in lieu of a refund.  If the second copy
    is also defective, you may demand a refund in writing without further
    opportunities to fix the problem.

    1.F.4.  Except for the limited right of replacement or refund set forth
    in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
    WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
    WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

    1.F.5.  Some states do not allow disclaimers of certain implied
    warranties or the exclusion or limitation of certain types of damages.
    If any disclaimer or limitation set forth in this agreement violates the
    law of the state applicable to this agreement, the agreement shall be
    interpreted to make the maximum disclaimer or limitation permitted by
    the applicable state law.  The invalidity or unenforceability of any
    provision of this agreement shall not void the remaining provisions.

    1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
    trademark owner, any agent or employee of the Foundation, anyone
    providing copies of Project Gutenberg-tm electronic works in accordance
    with this agreement, and any volunteers associated with the production,
    promotion and distribution of Project Gutenberg-tm electronic works,
    harmless from all liability, costs and expenses, including legal fees,
    that arise directly or indirectly from any of the following which you do
    or cause to occur: (a) distribution of this or any Project Gutenberg-tm
    work, (b) alteration, modification, or additions or deletions to any
    Project Gutenberg-tm work, and (c) any Defect you cause.

    Section  2.  Information about the Mission of Project Gutenberg-tm

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

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

    Section 3.  Information about the Project Gutenberg Literary Archive
    Foundation

    The Project Gutenberg Literary Archive Foundation is a non profit
    501(c)(3) educational corporation organized under the laws of the
    state of Mississippi and granted tax exempt status by the Internal
    Revenue Service.  The Foundation's EIN or federal tax identification
    number is 64-6221541.  Contributions to the Project Gutenberg
    Literary Archive Foundation are tax deductible to the full extent
    permitted by U.S. federal laws and your state's laws.

    The Foundation's 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
    contact links and up to date contact information can be found at the
    Foundation's web site and official page at www.gutenberg.org/contact

    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 www.gutenberg.org/donate

    While we cannot and do not solicit contributions from states where we
    have not met the solicitation requirements, we know of no prohibition
    against accepting unsolicited donations from donors in such states who
    approach us with offers to donate.

    International donations are gratefully accepted, but we cannot make
    any statements concerning tax treatment of donations received from
    outside the United States.  U.S. laws alone swamp our small staff.

    Please check the Project Gutenberg Web pages for current donation
    methods and addresses.  Donations are accepted in a number of other
    ways including checks, online payments and credit card donations.
    To donate, please visit:  www.gutenberg.org/donate

    Section 5.  General Information About Project Gutenberg-tm electronic
    works.

    Professor Michael S. Hart was the originator of the Project Gutenberg-tm
    concept of a library of electronic works that could be freely shared
    with anyone.  For forty years, he produced and distributed Project
    Gutenberg-tm eBooks with only a loose network of volunteer support.

    Project Gutenberg-tm eBooks are often created from several printed
    editions, all of which are confirmed as 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:

         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.