Text books of art education, v. 2 of 7. Book II, Second Year
Author: Hugo B. Froehlich; Bonnie E. Snow
Date: 2011-09-21T00:00:00+00:00
Keywords: Art -- Textbooks; Art -- Study and teaching

The Project Gutenberg eBook of Text books of art education, v. 2 of 7. Book II, Second Year

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: Text books of art education, v. 2 of 7. Book II, Second Year

Author: Hugo B. Froehlich

Bonnie E. Snow

Release date: September 21, 2011 [eBook #37495]

Language: English

Other information and formats: www.gutenberg.org/ebooks/37495

Credits: Produced by Juliet Sutherland, Anna Hall and the Online
Distributed Proofreading Team at http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK TEXT BOOKS OF ART EDUCATION, V. 2 OF 7. BOOK II, SECOND YEAR ***

These books were planned in a series of conferences and consultations with leading art teachers and educators, among whom were the following:

- Miss Bonnie E. Snow, Formerly Director of Art, Public Schools, Minneapolis, Minn.

- Miss Wilhelmina Seegmiller, Director of Art, Public Schools, Indianapolis, Ind.

- Miss Harriette L. Rice, Director of Art, Public Schools, Providence, R. I.

- Mr. Walter Scott Perry, Director of the Art Department, Pratt Institute, Brooklyn, N. Y.

- Mrs. M. E. Riley, Director of Art, Public Schools, St. Louis, Mo.

- Dr. Hugo Münsterberg, Professor of Psychology, Harvard University.

- Mrs. Alice W. Cooley, Department of Education, University of North Dakota.

- Mr. John S. Clark, Boston, Mass.

TEXT BOOKS OF ART EDUCATION

BOOK II. / / SECOND YEAR

BY

HUGO B. FROEHLICH

FORMERLY INSTRUCTOR IN PRATT INSTITUTE BROOKLYN, N. Y.

AND

BONNIE E. SNOW

FORMERLY SUPERVISOR OF DRAWING IN THE PUBLIC SCHOOLS OF MINNEAPOLIS, MINN.

THE PRANG EDUCATIONAL COMPANY
NEW YORK / / BOSTON / / CHICAGO

Copyright, 1904, By
THE PRANG EDUCATIONAL COMPANY.

Acknowledgment.

We are indebted to the publishers, Charles Scribner's Sons, for permission to use the verses, "At the Seaside" (page 46), the lines from "Good and Bad Children" (page 13), and the lines from "Singing" (page 36)—all from "A Child's Garden of Verses," by Robert Louis Stevenson; to the Macmillan Company for the lines by Christina Rossetti (page 16); to Houghton, Mifflin and Company for the stanza from Longfellow's "The Fiftieth Birthday of Agassiz" (page 1).

For the Theory of Color Relations used in these books, special acknowledgment is due to Dr. Denman W. Ross, of Harvard University. The lessons in Design are preparatory to the fuller exposition in the upper books of Dr. Ross's principles of arrangement—Balance, Rhythm and Harmony.

"I took a piece of plastic clay,
And idly fashioned it one day,
And as my fingers pressed it, still
It moved and yielded to my will.
I came again when days were past,—
The bit of clay was hard at last.
The form I gave it still it bore,
But I could change that form no more.

"I took a piece of living clay,
And gently formed it day by day,
And moulded, with my power and art,
A young child's soft and yielding heart.
I came again, when years were gone,—
It was a man I looked upon.
He still that early impress bore,
And I could change it nevermore!"

And Nature, the old nurse, took
The child upon her knee,
Saying; "Here is a story-book
Thy Father has written for thee."

Come out of doors with paint-box and brush!

Come to a clear little pool in a meadow!

The world is dressed in blue, yellow and green.

The green in the distant trees looks blue-green; but the color of the meadow is yellow-green.

The pool is the color of the sky.

Paint the picture and choose a name for it.

Autumn likes bright red and yellow, with orange, violet, and deep, deep blue.

See how she has dressed our meadow.

Look at the trees and the clear little pool.

What color is the grass? Where is the deep blue?

Where does the violet look more red than blue?

Paint an autumn picture of our meadow.

Name each of these four trees.

Tell how you know them.

Which tree is like a leafy tent or umbrella? Its arms reach far and wide to bend over us.

Which tree looks like a spire? Its arms are raised toward the sky.

Which tree stands with trunk tall and straight from the root to the pointed top?

See "the brave old oak, with broad green crown and fifty arms so strong."

Paint a set of shadow pictures (silhouettes) of the trees you like best.

Study the trunk: its shape; its size; the way it sends out its branches.

Study the branches: their shapes; their length; the way they stretch out, or stretch up, or droop.

Paint the true shape of the whole big tree.

The maple-tree in autumn looks like a great bouquet of reds and yellows in a dark vase.

You can tell it from all others by the shape and the color.

Paint the bright bouquet.

Drop in clear colors to show the shape of the maple-tree.

When the trees are bare of leaves, we see how beautiful the branches are.

No two trees stretch out their arms in just the same way. But the largest boughs always spring from the big round trunk.

See how the smaller boughs spring from larger ones and rock the winter buds in the air.

Paint a tree as it looks in November.

"There's a ship on the sea
And it's sailing to-night, sailing to-night,—
And father's aboard, and the moon is all bright.
Dear moon, he'll be sailing for many a night—
Sailing from mother and me.
O follow the ship with your silvery light,
As father sails over the sea."

Ship, sky and sea in the soft grays of night!

Which is darker, the sky or the sea?

Look at the light in the sky where it seems to meet the sea.

The ship looks darkest gray.

We see it against the lighter grays.

Paint a "ship on the sea, sailing to-night."

Have you seen how sunset light over snow warms the white to a violet glow?

Have you seen an evergreen tree against a sunset sky? The green looks very dark.

Have you noticed the beautiful shape of Christmas trees?

Paint a winter sunset, with an evergreen against the sunset sky.

Words make us see pictures. We can paint the same pictures with the brush.

Paint what the next lines make you see.

"A little swerve; a tricky curve,—
And such a tumble!
A whirl; a stop; the sled on top;
A merry laugh,—yet this is not half
The fun of sliding!"

Here is Susan in the rain again! Now there are sky and trees in the picture.

Think how the little girl is placed to show that she is walking on the ground.

Which is lightest gray—sky, trees, or ground?

Draw the picture with pencil, or paint it with brush and ink.

"Happy hearts and happy faces,
Happy play in grassy places."

Do these lines tell the truth about your field-day picnic?

Were you in the fields or in the woods?

Show with brush or pencil the best fun of the day.

Daisies are dancing, dancing, dancing,—
Daisies are dancing, list to the call
Sung by the Katydid, gay little fiddler
"Come all ye Flowers and dance at the Ball!"

When the dandelion looks up at the sun, it shakes out its golden tresses from the green flower-cup.

See the tall, round stem—pale green, with tints of red.

What colors do you see in the long, narrow, hooked leaves? Do they grow on the flower-stem?

Paint your dandelions with their leaves just as you see them.

"Wheat sways heavy, oats are airy,
Barley bows a graceful head."

Bring stalks of wheat, oats, and other grains.

Look at the shapes of the heads.

See how each slender stalk holds its beautiful crown.

Paint with ink from grasses, grains, or weeds of slender growth.

How do you know this plant without seeing its colors?

Paint a shadow picture of this flower, or of some other blossom that is a bunch of many little flowers in one head.

Does the blossom droop, or nod, or stand erect?

Show just how each leaf grows on the stem.

Our pictures must tell the truth.

Look closely at the two pictures of the chrysanthemum.

See the two ways of painting the same plant.

Which is easier to paint—this flower, or the dandelion?

In what ways is this stem not like the flower-stem of the dandelion?

In what ways are the leaves not like the dandelion leaves?

Can you see the flower-cup?

What colors will you use to paint your flower?

"Many fingered maple
Spreads her palms on high."

Study the shape of your own bright maple leaf.

Are the leaf stems the same color as the bough?

What do you see where the stems join the bough?

Is your bough bent or straight?

Does it grow smaller toward the end?

What colors do you see in the leaves?

Paint this bit of autumn glory.

Plums on their twigs,

Cherries and figs,

Peaches, pears, and apples,—growing in the sun.

Which fruit is shown in the picture?

Try to find fruit growing.

Paint a twig with leaves and fruit. Use ink.

Show how the leaves and the fruit grow on the bough.

Show true shapes.

"APPLES! RIPE APPLES! WHO'LL BUY?"

An apple growing on a twig is as beautiful as a flower.

See how the leaves hide part of the bough.

Paint the shape of the apple with water; drop in fresh, clear colors.

Study the growth and color of the stem.

Paint what you see.

When you painted pussy-willows last year, you painted them in grays. Now show them in colors.

The budding twigs of spring often show colors as bright as those of flowers.

Look for color in the stems and buds of bushes, and in the tiny twigs of many trees.

For willow catkins spring chooses her daintiest colors: soft silvery grays; rosy pink; pale green; bits of yellow; and never are two dressed alike! Paint them as they look now.

Would you like to tell the story of the life of the bean from seed to fruit?

You can tell it by shadow pictures.

Now let us paint its flower and fruit.

Look closely at the shape of each pod.

Show by the stem how your bean grows.

This little wild fellow of the woods is very like another flower we love. The other is a queenly lady in pure, spotless white. Her name is calla lily. Tell how the two plants are alike; how unlike.

Paint shadow pictures of both.

Alice is glad to find the ground covered with snow this morning. She wishes to take her new sled to school.

She sees the bright, blue sky; she sees the snow sparkle in the sunlight; she sees the soft violet of the far-off trees.

Paint the little girl and what she sees.

We have very good times taking care of our goldfish. The beautiful shapes darting about in the water glow and flash like the brightest of jewels. They seem to have all the colors of the rainbow. We often paint them.

"Said the rooster, 'I'd have you all know
I am nearly the whole of the show;
Why, the sun every morn
Gets up with the dawn
For the purpose of hearing me crow!'"

Cut pictures to show animals you have seen in a circus parade.

Look at this picture. See how it shows that the little girl is jumping.

Who can jump the rope without tripping? Alice may try it.

Draw or paint the picture these verses make you see:

"Over your head, and under your toes,
That is the way the merry rope goes.
Up with this foot, down with that,
Happy heart, go pit-a-pat."

This is the way we wash our clothes,
wash our clothes, wash our clothes;
This is the way we wash our clothes,
on a cold and frosty morning!

This is the way we dry our clothes,
dry our clothes, dry our clothes;
This is the way we dry our clothes
on a cold and frosty morning!

This is the way the ladies walk,
ladies walk, ladies walk;
This is the way the ladies walk,
on a cold and frosty morning!

This is the way the gentlemen walk,
gentlemen walk, gentlemen walk;
This is the way the gentlemen walk,
on a cold and frosty morning.

The children sing in far Japan,
The children sing in Spain;
The organ with the organ man
Is singing in the rain.

Show in a Picture:

1. What you can do to help mother.

2. A game the girls play at recess.

3. What the boys play at recess.

4. What the wind does.

5. Something that can swim.

6. Something that can fly.

7. What you play with at home.

8. What you do in school.

9. What the birds do in the spring.

10. A picnic in the grove.

"Does your little Mary drink tea, Mrs. Brown?"

"Oh, no, Mrs. Bird! but she likes to drink milk out of these pretty cups."

"My little Ruth likes the cups, too. You see I have a new tea-set. It was my Christmas present. I have a tea-party almost every day."

Sing a song of sixpence,
A pocket full of rye;
Four-and-twenty blackbirds
Baked in a pie.

When the pie was opened,
The birds began to sing;
Was not that a dainty dish
To set before a King?

The King was in his counting-house
Counting out his money;
The Queen was in the parlor,
Eating bread and honey.

The maid was in the garden,
Hanging out the clothes;
When up came a blackbird,
And snapt off her nose.

Look over your toys. Choose two you would like to see together in a picture.

What would you like with a doll? Why not a drum? Why not a flat-iron and a whip?

Why do you like the picture of a tub with a wash-board?

Place your two toys as they look best.

Draw their picture as you see them.

What dishes do you use in your play kitchen when you are getting ready for a tea-party?

Choose two you would like to see together in a picture.

Place them as you think they look best.

Look at them very closely. Be sure to see their true shapes. Draw just what you see.

Mrs. Marsh was getting ready to take Roy and Grace to spend a week at Clear Lake. Grace saw the open trunk.

"Oh, Roy!" said she, "here's our trunk open, ready to be packed. Let's pack it ourselves and surprise mother."

"All right! That will be great fun! Then we can take just what we like."

Draw the open trunk.

Draw it after it was packed and closed.

Guess what they put into it.

How do you think mother liked to be surprised in this way?

"When I was down beside the sea
A wooden spade they gave to me
To dig the sandy shore."

"In the sunlit garden
Through the glad spring day,
Watch the happy little folk
Turning work to play."

Mould clay to make a sphere. With thread, cut it into two parts of just the same size.

You have cut your sphere into two equal parts. Each is called a hemisphere.

Mould clay to make half an apple on a square tablet.

Think how many things shaped like a hemisphere you can mould and draw.

Mould a square prism of clay. Draw it standing on a square face. Draw it lying on an oblong face.

Think of things shaped like a square prism: things you see out of doors; at home; at school; everywhere you go. Tell what you have seen.

Choose some to draw, mould or paint.

Mould a square prism of clay.

With thread, cut it into two equal parts like those in the picture. Each of these two equal parts is a right tri-prism.

Look at the three oblong faces of your right tri-prism. One face is wider than either of the others. When a right tri-prism is resting on its widest oblong face, it looks like a roof.

What does it look like in other positions?

Show by drawing or painting.

Draw a circle. Fold and cut it into two equal parts. Each is a semicircle.

Place a hemisphere on a book. Raise the book to the level of your eyes. Draw the shape of the hemisphere. You have drawn a semicircle.

What plant is shaped like a hemisphere on a round stem?

Do you see how to draw a row of these shapes, or a border of semicircles?

These pictures show you how to get a square and an oblong from a square prism.

Draw an oblong four inches long and two inches wide. Draw a three-inch square.

Draw an oblong table-cloth with a border of squares in a row.

Lay a row of tablets: first, an oblong; then a square. Draw this border on a paper towel.

One of the drawings on this page is called a right triangle. Can you find it?

Think how you can get a right triangle from a right tri-prism.

Lay tablets of the same shape to make a border across the ends of a rug.

Draw a house with a triangle in the roof.

COLOR CHART

What pleasure to paint a window like this, beautiful in shape, beautiful in color!

Draw a two-inch square. On this lay tablets—the inch square in the center, with semicircles about it. Draw around it. Draw around the semicircles.

Paint the shape with water. Drop in the fresh colors and let the water blend them.

Finish with the dark edge.

In the two bright circles of color, point out the six rainbow colors: yellow, orange, red, violet, blue, green.

Find in the circles the color that is between yellow and orange. These two colors are blended in one, named yellow-orange. Find the color between red and orange. What two colors are blended in red-orange?

Find the color between red and violet, named red-violet. Why? Find blue-violet.

Find blue-green. What two colors blend to make yellow-green? Find it in the circles.

How many of these colors are in your stained glass window? Paint another window, and watch the colors come.

Draw or paint a picture of the animal you know best.

Draw or paint a row of these shapes, all just alike.

Take pictures of your animal as it looks when it stands; sits up; lies down; walks or runs.

Make rows of these shapes. Which row would you like best for a border on your book cover?

Look at the shapes on these book covers.

In the borders you have made, the shapes have always faced the same way. Do these?

Place two sweet-peas, daffodils, or other flowers, as the grasses are placed.

Choose those that seem to look toward each other.

Place shapes of animals in the same way.

Draw or paint them on book covers.

This is a good pattern for a floor of wood, or for oil-cloth to cover a floor.

You may draw it for your play house.

On an eight-inch square of paper draw sixteen two-inch squares. In the center of each, lay an inch tablet. Draw around it.

With the pencil, color the squares like the squares in the picture.

Look at bowls at home and in stores. Choose the shape you like best. We will make one out of clay.

Does it not seem strange that you can make a lump of moist clay into a beautiful bowl?

With the thumbs, press a deep hollow in the lump of clay for the inside of the bowl. Press and pull up the outside into the shape you wish. If you need more clay, work in a small lump at a time.

Let the bowls stand one day to dry. Then wash the inside with a glaze. When the bowl is very dry, it is ready to be baked in the kiln.

This clay match-safe is not so easy to make as the round bowls we have made.

Shape a lump of clay like a square prism. With the thumbs, press the hollow inside until the bottom is like an oblong tablet.

Press and pull the walls into good shape. Leave square corners. Work in the handle.

Let the match-safe stand one day to dry. Then, with the brush, paint upon it a row of shapes in red.

When the match-safe is very dry, it may be fired in a kiln.

Look at this pattern for wall-paper. It would be good for a bedroom.

You may make your own patterns for different rooms in your house.

Choose your shapes. Think how to place them.

Choose two colors you like to see together. Color with brush or pencil.

Choose the best patterns for your rooms.

See how this table is made from a box like a cube without a cover. Make one.

Look at this stove, and at the one in the play house. We can make such a stove.

Make a solid cube of stiff black paper. Cut pieces for doors, covers, grate, hearth and pipe. Paste them on. The bottom is a very low box with a little larger face than the cube. Make one. If you like, cut out the sides to leave wide legs. Paste the bottom of the stove on this base.

Fold, cut, and paste an eight-inch square to make a square prism for the seat.

Cut a sheet six inches by eight inches.

Fold and crease two inches from each short edge. Shape the sides. Fold around the seat. Paste.

To make a short book-mark, fold four strips ten inches long into double five-inch strips. Hold two of them side by side in the left hand, with the open ends of the outer strip at the top, and the open ends of the inner strip at the bottom.

With a third strip in the right hand, pass its two parts around the outer strip in the left hand. Pass its two ends between the two parts of the inner strip.

Then hold the work in the right hand. With the fourth strip in the left hand, pass it around the outer strip and between the parts of the inner strip in the right hand. To draw the strips tight, pull the open ends. Cut two ends. Trim the other ends. (See the picture.) Paste the parts in place. You have made a pretty gift.

"Hi, weavers! Ho, weavers!
Come, and weave with me!
You'll rarely find, go where you will,
A happier band than we!"

Choose, for the body of your rug, carpet yarn of a color you will like in the room where you will put it.

What color that looks well with this, will you choose for the stripes?

String your loom with one long piece of warp. Draw it so it feels firm. Leave long, free ends.

Thread your needle or shuttle, and weave from both ends to the middle.

Lift the rug from the loom when it is woven full.

Run the ends of the warp strings along the sides of the rug; or, tie them to the next warp strings.

Is your rug for a hall, a parlor, a dining-room or a bedroom?

"There is work that is work;
There is play that is play;
There is play that is work;
There is work that is play—
And one of these four
Is the very best way."

*** END OF THE PROJECT GUTENBERG EBOOK TEXT BOOKS OF ART EDUCATION, V. 2 OF 7. BOOK II, SECOND YEAR ***

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 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. 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.

Table of Contents

- TEXT BOOKS OF ART EDUCATION
- BOOK II. / / SECOND YEAR
- Acknowledgment.
- THE FULL PROJECT GUTENBERG™ LICENSE