The Project Gutenberg eBook of The Living Museum, Vol. XV No. 6, October 1953 This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: The Living Museum, Vol. XV No. 6, October 1953 Author: Various Editor: Virginia S. Eifert Release date: September 16, 2020 [eBook #63212] Most recently updated: October 18, 2024 Language: English Credits: Produced by Stephen Hutcheson and the Online Distributed Proofreading Team at https://www.pgdp.net *** START OF THE PROJECT GUTENBERG EBOOK THE LIVING MUSEUM, VOL. XV NO. 6, OCTOBER 1953 *** The LIVING MUSEUM Vol. XV OCTOBER, 1953 No. 6 Devoted to a better understanding of living things and fine surroundings in which we live _MIDDLE MISSISSIPPI MAN—by Art Sieving_ THE ILLINOIS STATE MUSEUM Fifth Floor of the Centennial Building Springfield, Illinois, State Capitol Group ALWAYS FREE Hours: Daily, 8:30 to 5. Sundays, 2 to 5 p. m. Open every day except New Year’s Day, Fourth of July, Thanksgiving, and Christmas. _Dept. of Registration and Education_ _State of Illinois_ Hon. Vera M. Binks, _Director_ Hon. William G. Stratton, _Governor_ _Museum Board of Advisers_ Hon. Vincent Y. Dallman, _Chairman_ Editor, Illinois State Register, Springfield Hon. Robt. H. Becker, _Outdoor Editor_ Chicago Tribune, Chicago M. M. Leighton, Ph.D., _Chief_ State Geological Survey, Urbana Virginia S. Eifert, Editor Thorne Deuel, Museum Director (Printed by authority of the State of Illinois) Illinois Fashions a Thousand Years Ago 418 Scalamandre Textiles in the Art Gallery 420 The Badger, Master Excavator 421 Science Adventure Program for School Age Young People 423 The Program 423 Three Rivers South by Eifert: A Review 424 ILLINOIS FASHIONS A THOUSAND YEARS AGO by Melvin Fowler, _Curator of Anthropology_ Museum visitors often wonder about the appearance of the prehistoric peoples of Illinois, but pictures of unearthed skeletons and pieces of aboriginal jewelry in museum cases do not wholly satisfy this interest. Anthropologists also are deeply concerned with ancient fashions of dress, yet remains or evidence of garments, cloth, and hair styles seldom come to light. True, anthropologists are able to determine something from beads, ear ornaments, and bracelets found with the dead in graves, and the relationship of these objects to the skeleton sometimes gives clues about the uses of the objects. For instance, it is a fair presumption that disc-shaped ornaments found near the ear region of a skull were ear pendants or decorations. Occasionally, however, small clay figures are found which give considerable information on the dress and appearance of prehistoric Illinoisians. The purposes for which these statuettes were made by the Indians is not known; they often depict human beings, their clothing, and ornaments. Some are made of clay, others are carved of stone. In addition to statuettes, sculptures are sometimes added as decoration on pottery vessels and in modeling smoking pipes. Recently a study has been made of the figures and objects made by Hopewellian peoples (who lived about 200 B.C. to 800 A.D.?) and much has been learned about their appearance.[1] Many figures and representations of human beings belonging to the Middle Mississippi Culture in Illinois (1200-1600 A.D.) have also been discovered. A study is being made of these figures at the present time to learn about Middle Mississippi costume, research which is necessary in preparing exhibits on Amerindians (American Indians) in the Museum and the Museumobile. Already, much has been learned from the study of the figures available. For example, in studying a human figure in stone from the Kincaid Site near Brookport in Massac County, it was observed that the hair styling which was represented consisted of three main elements: a band of some sort around the head, hair bobbed over the ears and cut at shoulder length behind, and an appendage or hair braid commencing on top of the head and trailing down behind. In turning to other Middle Mississippi figures represented in the Museum collection, several were found showing these same characteristics. [Illustration: _Original (right) and restored (left) Middle Mississippi Figurine_] One of the most interesting figures of this type is the fragmentary top of a water bottle from Cahokia found by Mr. Gregory Perino of Belleville, Illinois. The opening of the bottle is made where the face of the figure would be. The hairdo is shown in detail, including all of the features mentioned above except that on this figure the hair is bobbed all around the head. The novel feature of this figure is the knot of hair shown in detail with the attached appendage indicating, in this case at least, that the pendant which trails down behind is not of hair, but something else. When the early explorers came through the southeastern United States they found Middle Mississippi Indians still living there. Because the accounts of chroniclers of DeSoto’s expedition and the early French settlers of Louisiana are especially full, we are thus able to fill in our knowledge of the appearance of these Indians. From these sources, we find that headbands were commonly worn and the hair was often knotted on top of the head with “the tails of animals or their entire skins fastened to the hair....”[2] Putting these fragments of evidence together, we have been able to construct a figure representing a Middle Mississippi man. The hair styling consists of the main features shown in the statuettes and figures. The head band is decorated with a circle and cross, a design found painted on Middle Mississippi pottery and engraved on pendants. A coon tail is attached to the hairknot on the crown of the head. In the man’s hand is a string of cut shell beads to which is attached a gorget (breast ornament) made of sea shell. At his side is a robe made of turkey feathers. By these means we can at last answer the Museum visitor’s and the anthropologist’s questions, “How did they look?”—“How did Middle Mississippi people dress?” SCALAMANDRE TEXTILES IN THE ART GALLERY Beginning October 10th, the Illinois State Museum Art Gallery under the direction of Frances S. Ridgely, Curator of Art, features an exhibition of textiles used in the restoration of pre-revolutionary homes. From among the many fabrics which Franco Scalamandré has reproduced for restoration of historic American houses, the Scalamandré Museum of Textiles has assembled this exhibition of woven materials of the 17th and 18th centuries. Among the 17th century homes are those of the two noted Quakers, “Pennsbury Manor”, the country estate of William Penn, and the John Bowne House, Flushing, New York. The Hudson River Valley Dutch era is shown in “Philipse Castle”, North Tarrytown, New York. New England is represented by the modest cottage of Paul Revere, Boston, Massachusetts. The Howland House, Plymouth, Massachusetts, is reputed to be the only house still standing where once was heard the foot treads of the Pilgrims, and there is the famous Buckman Tavern, Lexington, Massachusetts, which was headquarters of the Minute Men, April 19, 1775, the night that ushered in the War of Independence. As the colonies increased in population and wealth in the succeeding century, the homes became more pretentious in their furnishings. The textiles used in the 18th century homes were the beautiful silk damasks, brocatelles, lampases, brocades, velvets, and toiles. Colonial Williamsburg, Virginia, is represented by the Governor’s Palace, the abode of the royal governors appointed by the King; the Wythe House, residence of George Wythe, one of the signers of the Declaration of Independence, and the Raleigh Tavern, the most famous hostelry of its time. The town and plantation houses of the landed gentry include “Kenmore”, the home of George Washington’s only sister, Betty Washington Lewis, at Fredericksburg, Virginia; the Heyward-Washington House, Charleston, South Carolina; the Hammond-Harwood House, Annapolis, Maryland; the Ford Mansion, Morristown, New Jersey, Washington’s headquarters at the time Lafayette arrived to bring the glad tidings that France was sending an army to help the American cause. There are a number of others equally as famous. The owners of these houses were the famous colonists who, with the exception of a few who remained royalists, played prominent roles in the struggle for freedom. They are the patriots who obtained their niche in history as having fought and struggled in making America a free and great nation. Some of this atmosphere of the exciting past comes to the Museum with this exhibition of textiles from these old homes. The walls of the Museum Gallery hung with five-yard lengths of these colorful textiles radiate a galaxy of colors in shimmering and lustrous silks. Framed charts are included with photographs of exteriors and interiors of each house. A brief resume of the lives of the owners, the period of architecture, and a description of color schemes of the rooms and contents are also given. It is an exhibit of interest and educational value to every American, and alike, instructive to interior decorators and students of interior design. College and public school students studying American history will be enlightened as to how their famous forefathers lived. THE BADGER, MASTER EXCAVATOR by Donald F. Hoffmeister, _Assistant Professor of Zoology and Curator of the Natural History Museum, University of Illinois_ [Illustration: _Photograph by E. P. Haddon, Fish and Wild Life Service_] Although for many years the badger was common in Illinois, it all but vanished from this State about the first half of the 19th century. By 1861, an Illinois biologist commenting on the badger wrote that the species had “nearly abandoned the State,” and by the latter part of the past century the badger was definitely on the wane in Illinois. But strangely enough, within recent years the badger once more has increased in numbers in northern Illinois and has reinvaded some of the territory it formerly occupied in central Illinois. It is most abundant in our northwestern counties, but even as far south as Fulton County this animal has been seen in nearly a dozen different localities in the past ten years. Two badgers were taken nearly as far east as the Indiana line in 1953. The badger, in spite of man’s attempt to control it, apparently is increasing and spreading. Although you may live in an area where the badger is common, it would not be surprising if you had never seen this animal, for it is abroad principally at night. However, its presence is usually well known by the abundance of its diggings. The badger is excellently equipped to dig, with powerful forelegs tipped with long, strong claws. It is squat and streamlined for getting through—not over—the ground. More than once, a group of men have cornered a badger in a shallow burrow, but one badger with its own digging apparatus extended the burrow faster than the crew of men could shovel. When pursuing or pursued, the badger never rests on its “shovels”, but keeps them going at such a rapid pace that the tunnel behind is soon filled with moved dirt. The front legs loosen the dirt and push it under the animal, where the hind legs pick up the process and continue the earth on out behind. The operation proceeds like an endless track, without a wasted motion. As many as ten men, all equipped with shovels, have failed to keep up with the excavating of a badger, and the latter has escaped their intents. Ten men against a 30-pound badger! No wonder it has been called a master excavator. With the powerful front legs, the badger is not readily deterred in its burrowing. I have seen where a badger had decided to come to the surface from its subterranean burrow beneath a heavily macadamized road. The well-packed rocks, gravel, and tar, some four or five inches thick, were torn away and a sizeable hole made as if no roadway were there. A captive badger was given the run of a concrete basement. This seemed like a safe enough place. However, the animal found a crack and enlarged it until he was successful in removing a piece of concrete. The badger is yellowish gray in color, with a conspicuous white stripe on the head, extending from the nose over the forehead, and disappearing on the back. Because the animal belongs to the weasel and skunk family, it possesses scent glands and a strong odor which is emitted only infrequently. When tormented, the badger holds its stubby tail erect, skunk-fashion, and hisses in a menacing way. In Illinois, the badger is at home on the rolling, sandy prairies, as well as on prairies with heavier soils. Franklin ground squirrels, thirteen-lined ground squirrels, woodchucks, and meadow mice provide food for the badger population. When prey is sensed in the badger’s underground burrow, the dirt flies until the hunter has it securely in mouth. Snakes, frogs, insects, and rabbits also are eaten; and because the majority of these items in its diet are pests of man, the badger is considered a most important animal in northern Illinois in keeping small mammals in check and is vastly underrated as a natural control of many of our pests. To condemn the woodchuck and badger, or the ground squirrel and badger, in the same breath would be like despising both garbage and the garbage man. Badgers have a single litter of young each year in May or June. The young are cared for in a nest at the end of a protective subterranean burrow. In wintertime, badgers are said to hibernate, but they do not do so in the strict sense of the word. They may become inactive during periods of extreme cold, but they do not enter into the deep sleep, with reduced metabolic activities, that the woodchucks and ground squirrels do in Illinois. In our State, the badger has few, if any, enemies, other than man. Man traps the badger, makes unusable some of its preferred habitat, poisons off the squirrels and woodchucks which are its preferred source of food, and runs it down on the highway. The fur of the badger nowadays has little or no value, but in former years it was in demand, and a badger hide, at inflated prices, would have been worth as much as ten dollars. Conservationists maintain that it is unwise not to give some protection to one of our most interesting mammals, a potentially valuable fur-bearer, and a foremost controller of rodent pests. May the “diggings” of the badger, the next time you encounter them, thrill you with the thoughts of one of Illinois’ first and foremost engineers, a master excavator. SCIENCE ADVENTURE PROGRAM FOR SCHOOL AGE YOUNG PEOPLE by Milton D. Thompson, _Assistant Director_ There will be two identical programs each Saturday this fall, on four consecutive Saturdays from October 31 to November 21, one at 9:00 A.M. and the second at 10:30 A.M. in the auditorium of the Centennial Building. This double program is offered in response to the tremendous crowds with standing room only which we experienced last spring. We will have room for between 1200 and 1300 persons each Saturday. Parents and group leaders are invited to attend with their young people. We appreciate a few adults scattered through the audience. Out-of-town groups making reservations in advance will have a block of seats reserved for them until five minutes before starting time. These Saturday morning programs and a visit to the Museum, Lincoln’s Home, Lincoln’s Tomb, and perhaps a trip out to New Salem make a wonderful weekend excursion for your club or class, and these interesting places are not nearly as crowded in the fall as in the spring. THE PROGRAM 9:00 A.M. and 10:30 A.M. About 1 Hour and 15 Minutes Each October 31—The Forgotten Village. This is the story of a small Mexican village, a primitive place, where the people prefer the chants and lotions of their “Witch Doctor” or “Wise Woman” to the modern knowledge of the village teacher. It is a stirring and vigorous film with the thrills and suspense of a Hollywood production. November 7—Wedding of Palo. An exciting story of Greenland Eskimo life filmed by that famous Danish Arctic explorer, Knud Rasmussen. The sound track is in native Eskimo with English titles; there is a rousing surprise-ending to this tale of the Far North. November 14—Wildlife Wonders. Presented in person by Drs. Lorus and Margery Milne, a “Western movie” like no other Western, for this is the story of wildlife of the Jackson Hole country of Wyoming. We will see elk roaming in herds among the quaking aspen trees, pronghorn antelope and badger in the sagebrush, moose browsing along the Snake River, buffalo taking dust baths, and the rare trumpeter swans. Drs. Lorus and Margery Milne who tell this tale will be here in person under the auspices of Audubon Screen Tours. November 21—American Pioneer Highlights. This is the presentation of three films on exciting pioneer episodes of American history—The Kentucky Pioneers; Daniel Boone; and Pocahontas, the Indian girl who saved Captain John Smith and Jamestown. The trio forms an interesting story of some of America’s spectacular historic pioneer events. _THREE RIVERS SOUTH_ BY EIFERT: A REVIEW In the new novel, _Three Rivers South, a Tale of Young Abe Lincoln_, Virginia S. Eifert, editor of _The Living Museum_, has written a story based on Abraham Lincoln’s famous flatboat trip in the spring of the year, 1831. Into the fabric of fiction, Mrs. Eifert has woven the few known facts of this obscure period in Lincoln’s life, and has created a narrative of adventure down three rivers of Mid-America. These three streams are the Sangamon, the Illinois, and the Mississippi. The tale begins with young Abe and his kinsmen building a flatboat at Sangamo Town because their employer had neglected to procure a boat at the specified time in order to haul a load of corn and pork down to New Orleans. The story covers the month occupied in building the boat, the month enroute down the flooding rivers to the rowdy, elegant city of New Orleans, where the three spent a month exploring the city before returning to the Illinois country where Abe had a job at New Salem. _Three Rivers South_ has been capably and dramatically illustrated by one of America’s foremost artists, Thomas Hart Benton. It was published in September by Dodd, Mead and Company, New York, and is priced at $2.95. It may be obtained from your local book shop and from the Book Department of the Illinois State Museum. FOOTNOTES [1]Deuel, Thorne: “Hopewellian Dress in Illinois”, in _Archaeology of Eastern United States_ (J. B. Griffin, Editor). University of Chicago Press, 1952. Available as Report of Investigations, No. 3, Illinois State Museum, 1952. See _Living Museum_, April 1953. [2]Swanton, John R. “The Indians of the Southeastern United States”, _Bureau of American Ethnology 147_; U. S. Government Printing Office, Washington, D. C., 1946, pp. 503-504. The Living Museum THE ILLINOIS STATE MUSEUM Springfield, Illinois _Return Postage Guaranteed_ Sec. 34.65(e) P. L. & R. U. S. POSTAGE PAID Springfield, Illinois Permit No. 878 Transcriber’s Notes —Silently corrected a few typos, including listed errata. —Retained publication information from the printed edition: this eBook is public-domain in the country of publication. —In the text versions only, text in italics is delimited by _underscores_. *** END OF THE PROJECT GUTENBERG EBOOK THE LIVING MUSEUM, VOL. XV NO. 6, OCTOBER 1953 *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ 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.