Some Historic Trees
Author: Unknown
Date: 2021-03-09T00:00:00+00:00
Keywords: Trees -- United States -- History; Trees -- Folklore

The Project Gutenberg eBook of Some Historic Trees

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: Some Historic Trees

Creator: Public Library of Fort Wayne and Allen County

Release date: March 9, 2021 [eBook #64762]
Most recently updated: October 18, 2024

Language: English

Credits: Stephen Hutcheson and the Online Distributed Proofreading Team at https://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK SOME HISTORIC TREES ***

Some Historic Trees

One of a historical series, this pamphlet is published under the direction of the governing Boards of the Public Library of Fort Wayne and Allen County.

BOARD OF TRUSTEES OF THE SCHOOL CITY OF FORT WAYNE

B.F. Geyer, President

Joseph E. Kramer, Secretary

W. Page Yarnelle, Treasurer

Mrs. Sadie Fulk Roehrs

Willard Shambaugh

PUBLIC LIBRARY BOARD FOR ALLEN COUNTY

The members of this Board include the members of the Board of Trustees of the School City of Fort Wayne (with the same officers) together with the following citizens chosen from Allen County outside the corporate City of Fort Wayne:

James E. Graham

Arthur Nieneier

Mrs. Glenn Henderson

Mrs. Charles Reynolds

i

FOREWORD

From earliest times, trees have served and interested man. Primitive man found trees to be a source of food, fuel, clothing, and building material. In the dim, distant past certain trees were considered sacred as the habitat of woodland deities. Today, some giants of the forest are known for their great age and as landmarks; they are often associated with historical events.

The first portion of this pamphlet was published in the FORT WAYNE SENTINEL on July 11, 1891, and describes historic trees of the Colonial and Revolutionary periods. Grammar, spelling, and punctuation have been changed to correspond with current usage. The second part was written by the Library Staff; stories of notable trees of the Old Northwest are related.

The Boards and the Staff of the Public Library of Fort Wayne and Allen County present this publication in the hope that it will prove entertaining and informative to citizens of the Summit City.

1

There has been no Methuselah since the flood. Man seldom lives longer than one hundred years. Only the elephant and the tortoise feebly imitate the longevity of the antediluvians. But there are living things that outlive them all—things far more stately than the tallest man or largest quadruped—living things that were companions of the gray beards before the flood and lived to bless their grandchildren.

The only living links between us and the remote past are trees—grand old trees with clustering memories like trailing vines. In the shadows of the dark forest, in the light of the lofty hills, in the warmth and beauty of the broad plains of the great globe, they stand in matchless dignity. But they are few. They are patriarchs of the vegetable kingdom, receiving the homage of myriads of children. With what mute eloquence do they address us? With what moving pathos do the trees of Olivet discourse of Jesus, his “beautiful life and sublime death”? How the cedars of Lebanon talk of Solomon and Hiram, and the great temple of Jerusalem! In our own country and in our own time, ancient trees have been, and still are, intimately connected with our history as colonies and as a nation; they command the reverence of every heart.

Probably the most ancient of these living links connecting the present and the past was the Big Tree that stood on the bank of the Genesee River, near the village of Geneseo, New York. When first seen by the white man, it was the patriarch of the Geneseo Valley and was so revered by the Senecas that they named their village “Big Tree.” It also gave name to an eminent Seneca chief, who was the friend of Washington and his cause. During a great flood in the Geneseo Valley in 1857, the Big Tree was swept away and buried in the bottom of Lake Ontario. The trunk measured twenty-five feet, nine inches in circumference.

Probably next in age to the Big Tree was the famous Charter Oak in the city of Hartford, Connecticut. It was standing at the height of its glory and was estimated to be six hundred years old when the seeds of the commonwealth were planted there. Connected with it is a curious episode. When James II ascended the English throne, he took measures to suppress the growth of free government in America; 2 he sent over Edmond Andros to take away the charters from the colonies and to rule over them as governor general. Connecticut refused to give up her charter. When Andros attempted to seize it during a night session of the Assembly, Captain Wadsworth bore the charter away and secreted it in a hollow of the old oak. After James II had been deposed and Andros had been banished from New England, the charter was taken from its hiding place and the government re-established. On a stormy night in August, 1854, the old oak was prostrated.

In the Kensington area of Philadelphia, an old elm stood until 1810, known as Penn’s Treaty Tree, because under it the renowned Quaker made his compact with the Indians. “I will not do as the Marylanders did, that is, call you children or brothers only,” said Penn, addressing the Indians, “for parents are apt to whip their children too severely, and brothers sometimes will differ; neither will I compare the friendship between us to a chain for the rain may rust it or a tree may fall and break it, but I will consider you as the same flesh and blood with the Christians, and the same as if one man’s body were to be divided into two parts.”

Until 1860 a venerable willow tree stood in New York City and it has an interesting history. When Alexander Pope, the English poet, built his villa at Twickenham, he planted a small twig that a friend had sent him from Smyrna. This little twig of the Salix babylonica, or weeping willow, became the parent of all its kind in England and in the United States. One of the British officers who came to Boston in 1775 to crush the American Revolution carried with him a twig from Pope’s willow to plant on American soil. The twig was presented to John Parke Custis, Washington’s stepson, and was planted at Abingdon, Virginia. In 1790 General Gates planted a shoot from it on his farm on Manhattan Island, where it became in time a beautiful willow, the grandchild of Pope’s willow at Twickenham.

Soon after the great conflict for American independence had begun, Washington was appointed Commander in Chief of the continental forces; on July 2, 1775, he took up his headquarters at Cambridge, Massachusetts. The following morning he proceeded to a great elm tree at the north end of Cambridge Common and drawing his sword, he formally took command of the army. The old elm tree was known afterward as Washington’s Elm.

3

Penn’s Treaty Tree

4

Near the dividing line between North and South Carolina stood a famous tulip tree, marking the spot where the Americans defeated a part of Lord Cornwallis’ army in October, 1780. Because ten Tories were hanged from its branches after the battle, the tree was called afterward the Tory Tulip Tree.

Until about 1852, a majestic pine tree stood by the highway between the villages of Fort Edward and Sandy Hill (now Hudson Falls) on the Hudson in upstate New York. Upon its trunk was carved “Jane McCrea, 1777.” The inscription memorialized the tragic fate of Jane McCrea. The daughter of a New Jersey clergyman, she moved, after her father’s death, to her brother’s home near Fort Edward. Here she became engaged to a neighbor’s son. He was a loyalist who entered the army of Burgoyne. In 1777, Jane was captured by Indians and was killed instantly when a bullet intended for the savages pierced her heart. Her lover purchased the locks of his beloved, deserted the army, and retired to Canada, where he bewailed his betrothed’s fate until the end of his life.

In 1779 Washington sent Mad Anthony Wayne to storm the fort on Stony Point in the Hudson highlands. When asked by Washington whether he could carry the fort, Wayne replied: “I’ll storm hell if you will only plan it!” Under a black walnut tree, in the stillness of the night, Wayne gave orders to his men, and as stealthily as tigers they approached the fort and surprised it. In the early morning Wayne wrote to the Commander in Chief, “The fort and garrison and Colonel Johnston are ours.” The walnut tree has perished.

5

a black walnut tree at Stony Point

6

Near Seaconnet, Rhode Island, stood a venerable sycamore tree, the only great tree left in that section of the state by the British when they evacuated it in October, 1779. Seaconnet Channel was the scene of one of the most dashing exploits of the War of Independence. The British had blocked the channel with the warship, “Pigot,” which was armed with twelve eight-pounders and ten swivels. Captain Silas Talbot undertook the capture of the “Pigot.” Embarking sixty men on the coasting schooner “Hawke” which was armed with only three three-pounders and small arms, he sailed under cover of darkness. Grappling the enemy, he boarded, drove the crew below, coiled the cables over the hatchway to secure his prisoners, and carried off his prize to Stonington.

In Charleston until 1849 there was a beautiful magnolia tree which spread its branches over more than two hundred square feet. Under this tree General Benjamin Lincoln held a council in 1780 to determine whether Charleston, then besieged by Sir Henry Clinton, should be evacuated. It was resolved to remain, but a few weeks later the Americans surrendered to the British, who had been reinforced by Lord Cornwallis.

At Lake Drummond in the Dismal Swamp in Virginia, there is a tall tree under which Washington is reputed to have passed a night in Colonial times.

When Thomas Moore, the Irish poet, visited Norfolk in 1834, he heard the story of a young man who became mentally unbalanced on the death of his beloved. Refusing to admit her death, he believed that she was living deep within the swamp. Under that impression he wandered into its solitudes and perished. Moore used this legend as the basis for his touching ballad “The Lake of the Dismal Swamp,” which commences:

“They made her a grave, too cold and damp

For a soul so warm and true;

And she’s gone to the Lake of the Dismal Swamp,

Where, all night long, by a fire-fly lamp,

She paddles her white canoe.

And her fire-fly lamp I soon shall see,

And her paddle I soon shall hear;

Long and loving our life shall be,

And I’ll hide the maid in a cypress tree,

When the footstep of death is near.”

7

The last of our historical trees is a white oak in the eastern part of the village of Flushing on Long Island a few miles from New York. George Fox, the founder of the Society of Friends, preached under it in 1672, and afterward it was held in deep regard by the Quakers.

FORT WAYNE SENTINEL, July 11, 1891

9

Hoosiers and other Midwesterners may well be proud of the interesting trees of their states. These giants of the forest are interesting because of closely connected historical events or because of special facets of their own histories. Indiana and her neighboring states have produced great trees worthy of special mention.

The fame of a tree is perpetuated and frequently exaggerated or altered during its lifetime. The natives consider the tree as a landmark; they proudly point it out and relate its history to strangers. All too often when the tree dies and is felled, it is unfortunately forgotten. The legend also dies for succeeding generations.

The citizens of Indiana are indeed fortunate that their most famous tree, the Constitution Elm, has not been allowed to sink into oblivion. Delegates met at Corydon, Indiana’s first capitol, on June 10, 1816, to draft the first state constitution. The weather was unseasonably warm; the heat may have influenced the committee to adjourn to the shade of a huge elm on the lawn of the Statehouse. Under these sheltering branches spreading over one hundred feet, the delegates met each day until they had completed that historic document on the twenty-ninth of June in that memorable summer. The elm perished in 1925 from a fatal root disease, phloem necrosis, but the trunk was preserved and set in a sandstone monument.

Another elm connected with the political history of Indiana grew at Plainfield. In 1842 Martin Van Buren toured the West, and his itinerary included Indianapolis and Terre Haute with a stop en route at Plainfield. Although 1842 was not a presidential election year, Van Buren undoubtedly had in mind the coming nominations of 1844, for he made speeches at every stop and gave his political opinions freely. In Indianapolis he was given an enthusiastic reception by his friends and admirers. But he also had political enemies in Indiana. The owners of the stage coach lines were incensed because he had not favorably received legislation for road improvement.

10

the Constitution Elm ... Corydon, Indiana

11

These enemies planned to mar his arrival at Plainfield and had little trouble bribing the driver of Van Buren’s coach to effect it. The National Road led into Plainfield, and beside it towered an ancient elm. The massive roots of the tree extended across the road. As the coach approached the tree, the driver whipped up the horses instead of slowing them down. The wheels struck the obstacle; the impact upset the coach, and Van Buren landed in the muddy road. His political foes succeeded in spoiling his arrival at Plainfield and doubtlessly impressed him with the urgent need for highway improvement! The local chapter of the Daughters of the American Revolution has since marked this elm with a plaque.

The patriarch of Fort Wayne’s apple trees was bearing fruit long before General Wayne appeared on the scene. When Chief Richardville of the Miami Indians was born in a hut near the tree in 1761, the apple tree stood in the midst of the Miami village, Kekionga. The city grew and prospered; late in the nineteenth century the venerable tree perished at an estimated age of one hundred and fifty years. Although the exact location is unknown, it stood in the Lakeside residential district of Fort Wayne. An article in the May, 1862, issue of HARPER’S NEW MONTHLY MAGAZINE reveals that the trunk of the ancient tree measured twenty feet in diameter in 1860.

New Harmony, Indiana, the scene of two remarkable social experiments, had two trees worthy of mention. In 1803 the Harmonists, under the leadership of George Rapp, separated from the Lutheran church in Germany and migrated to Pennsylvania. In 1815 the sect moved again; the members decided on a site which they called “Harmonie” on the Wabash River in Indiana. Upon disembarking at their destination, they slept under an oak tree, which was later named “The Rappite Oak.” Rapp built his own house near the tree. The Harmonists were so successful in their communal living experiment that jealous neighbors made life unpleasant for them, and they returned to Pennsylvania in 1824. But the oak survived until 1900 and outlived all of the Harmonists, whose numbers dwindled rapidly because of their strict adherence to celibacy.

Robert Owen (1771-1858), another social experimenter, 12 purchased the settlement from Rapp and renamed it “New Harmony.” Unlike the Harmonists, Owen and his followers were humanists. Their community did not flourish long, but while in existence it was the home of a brilliant group of scientists. Among them were Thomas Say, a noted zoologist, Thomas Nutthall, a botanist, and William Maclure, one of the world’s outstanding geologists. All three men are commemorated by an Osage Orange tree planted in New Harmony in 1826. Say planted the tree and Nutthall conferred its scientific name, “Maclura pomifera,” in honor of Maclure. The tree was still alive in the 1920’s, a memorial to an experiment, which, although short lived, has had a lasting influence upon American democracy.

Several trees in the Great Lakes area were famous for their connections with treaty negotiations between the white settlers and the Indians. Just two days after the signing of the Declaration of Independence, Alexander and William Macomb purchased Grosse Ile and several smaller islands at the mouth of the Detroit River. The Fox and Potawatomi Indians signed a treaty ceding the islands in return for tobacco, blankets, and a small sum of money. The document was signed under a linden tree, which survived the event a century and a quarter. It was felled by a violent storm on July 3, 1901; the site has been marked by a tablet.

Relations between the Indians and settlers were not distinguished by a high code of honor; the unprovoked murders occasionally committed by both white and red men are probably the ugliest testimony of that fact. Chief Logan of the Mingo tribe has immortalized an elm tree by his reply to just such a treacherous mass murder. In the course of Dunmore’s campaign against the Indians in 1774, Colonel Cresap had killed all of Logan’s relatives in spite of Logan’s unblemished record as a friend of the whites. After this unwarranted cruelty, the embittered chief joined the battle against the settlers. The Indians were finally forced to make peace. Logan, standing beneath an elm tree in Pickaway County, Ohio, made his famous and moving appeal to Dunmore’s representative:

13

patriarch of Fort Wayne’s apple trees

14

“I appeal to any white man to say if he ever entered Logan’s cabin hungry, and he gave him not meat; if he ever came cold and naked, and he clothed him not? During the course of the last long and bloody war, Logan remained idle in his camp, an advocate for peace. Such was my love for the whites that my countrymen pointed as I passed and said, ‘Logan is the friend of the white man.’ I had ever thought to have lived with you but for the injuries of one man. Colonel Cresap, the last spring, in cold blood and unprovoked, murdered all the relations of Logan, not even sparing my women and children. There runs not a drop of my blood in the veins of any living creature. This called on me for vengeance. I have sought it. I have killed many. I have fully glutted my vengeance. For my country I rejoice at the beams of peace; but don’t harbor a thought that mine is the joy of fear. Logan never felt fear. He will not turn on his heel to save his life. Who is there to mourn for Logan? Not one.”

In Webster County, Kentucky, a tree acquired a sinister reputation because of its association with an infamous criminal. Two notorious brothers, Micajah and Wiley Harpe, came to Kentucky from North Carolina in 1799. Commonly known as “Big Harpe” and “Little Harpe,” the men left a trail of murder and plunder as they moved across the state. Arrested and imprisoned for murder, the desperadoes escaped and killed a boy and three men. They finally climaxed their crimes by murdering an entire family of women and children.

The outraged citizens, led by Captain Leeper, organized a posse and rode in search of the outlaws. One of the party was Mr. Stigall, the husband and father of the last group of victims. The posse overtook the brothers in Webster County, at a point near the junction of Union and Henderson counties. Captain Leeper shot and wounded “Big Harpe,” and Mr. Stigall killed him; but “Little Harpe” escaped unharmed.

The incensed men decapitated Harpe, and impaled his head on a sharpened sapling growing nearby. The tree continued to grow, branching around its shortened trunk. Underneath the head, a face was later carved into the bole of 15 the tree. The sculptured effigy remained clearly visible until the landmark was hewn down nearly a century later. The tree grew beside the intersection of roads from Henderson, Hopkinsville, and Morganfield, and the crossroads became known as “Harpe’s Head.”

Transcriber’s Notes

- Silently corrected a few typos.

- 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 SOME HISTORIC TREES ***

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.

Table of Contents

- Some Historic Trees
- FOREWORD
- Transcriber’s Notes
- THE FULL PROJECT GUTENBERG LICENSE