The Project Gutenberg EBook of The Western Front, by Muirhead Bone

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'll have
to check the laws of the country where you are located before using this ebook.

Title: The Western Front
       Drawings by Muirhead Bone

Author: Muirhead Bone

Release Date: February 26, 2015 [EBook #48362]

Language: English

Character set encoding: UTF-8

*** START OF THIS PROJECT GUTENBERG EBOOK THE WESTERN FRONT ***




Produced by Brian Coe, Charlie Howard, and the Online
Distributed Proofreading Team at http://www.pgdp.net (This
file was produced from images generously made available
by University of California libraries)

[Pg 1]

CONTENTS

The Western Front
The Somme Battlefield
Trench Scenery
The Upper Hand
The British Navy and the Western Front

ILLUSTRATIONS

THE WESTERN FRONT

DRAWINGS BY
MUIRHEAD BONE

WITH AN INTRODUCTION BY
GENERAL SIR DOUGLAS HAIG
G.C.B., G.C.V.O., K.C.I.E., A.D.C.

PUBLISHED BY AUTHORITY OF THE WAR OFFICE
FROM THE OFFICES OF “COUNTRY LIFE,” LTD.,
20, TAVISTOCK STREET, COVENT GARDEN, LONDON
MCMXVII

3

D. Haig, Genl. (Signature)

General Headquarters,
November, 1916

4

G.H.Q., France,
November, 1916

6

I
GENERAL SIR DOUGLAS HAIG
G.C.B., G.C.V.O., K.C.I.E., A.D.C.

8

II
GRAND’PLACE AND RUINS OF THE CLOTH HALL, YPRES

The gaunt emptiness of Ypres is expressed in this drawing, done from the doorway of a ruined church in a neighbouring square. The grass has grown long this summer on the Grand’Place and is creeping up over the heaps of ruins. The only continuous sound in Ypres is that of birds, which sing in it as if it were country.

10

III
A STREET IN YPRES

In the distance is seen what remains of the Cloth Hall. On the right a wall long left unsupported is bending to its fall. The crash of such a fall is one of the few sounds that now break the silence of Ypres, where the visitor starts at the noise of a distant footfall in the grass-grown streets.

12

IV
DISTANT VIEW OF YPRES

The Ypres salient is here seen from a knoll some six miles south-west of the city, which is marked, near the centre of the drawing, by the dominant ruin of the cathedral. The German front line is on the heights beyond, Hooge being a little to the spectator’s right of the city and Zillebeke slightly more to the right again. Dickebusch lies about half way between the eye and Ypres. The fields in sight are covered with crops, varied by good woodland. To a visitor coming from the Somme battlefield the landscape looks rich and almost peaceful.

14

V
A VILLAGE CHURCH IN FLANDERS

All round this church there is the quiet of a desert. The drawing was made from within a house opposite; the fall of its entire front provided an extensive window view.

16

VI
THE BATTLE OF THE SOMME

An exciting moment in the fighting for the summit ridge of the battlefield in August, 1916. All the British guns have just burst into action and our infantry are advancing unseen in the cloud of smoke on the sky-line. The puffs of smoke high in the air are from bursting shrapnel. The battle is seen from King George’s Hill, near the old German front line, taken on July 1st, 1916. Below, among the ravaged trees, are the ruins of Mametz; beyond them, Mametz Wood; beyond it, again, the wood of Bazentin-le-Petit.

18

VII
“TANKS”

In this fine drawing Mr. Bone has seen the “Tank” in its major aspect, as a grim and daunting engine of war.

20

VIII
RUINED GERMAN TRENCHES, NEAR CONTALMAISON

The drawing shows a former German front-line trench reduced by our artillery fire, before an advance, to a mass of capricious looking irregularities in the ground. The German barbed wire entanglements are seen destroyed by our shell fire to open the way for our attacking troops.

22

IX
THE NIGHT PICKET

The hour is Retreat and a Sergeant-Major is inspecting the three men for duty at a one-man post during the coming night. Each man in turn will do two hours’ duty, followed by four hours’ rest. The fine austere drawing of the sunset, the wide waste spaces, the intent men mounting picket and the men off duty strolling at ease, is imbued with the spirit of the region just behind our front.

24

X
DUG-OUTS

A small hamlet of sand-bagged dug-outs a little behind the front line, seen during a passing lift of the clouds at the end of a wet day. Many dug-outs, like the one on the left, bear such names as “The Rat Hole,” “It,” “Some Dug-out, believe ma,” “The Old Curiosity Shop” and “The Ritz.” On the right, a shelf in the outer wall of sand-bags is decorated with flowers in pots.

26

XI
GORDON HIGHLANDERS: OFFICERS’ MESS

In the bare dancing hall of a village inn behind the Somme Front. The artist has found means to interpret with the utmost sympathy and power the extraordinary romantic quality that there often is about a Highland mess in France, created by the rude setting, the primitive half light amidst cavernous gloom, and the spectator’s sense of an enveloping world of strange dangers and adventures.

28

XII
WAITING FOR THE WOUNDED

A British advance has just begun, and the surgeons of a Divisional Collecting Station near the Somme are awaiting the arrival of the first laden stretcher-bearers. In a few minutes the three officers will be at work, perhaps for twenty-four hours on end. At one Casualty Clearing Station a distinguished surgeon performed, without resting, nineteen difficult operations, each lasting more than an hour, in cases of severe abdominal wounds, where delay would have meant the loss of life. In almost every case the man was saved. Another surgeon operated for thirty-six hours without relief. Such devotion is not exceptional in the R.A.M.C.

30

XIII
THE HAPPY WARRIOR

The place is a field dressing station. The wounded Grenadier Guardsman in the foreground on the left, wearing a German helmet and eating bread and jam, had brought in as prisoner the German who is sitting on the right with his hand to his face. The Guardsman indicated the German to the artist, and said, “Won’t you draw my pal here, too, Sir? He and me had a turn-up this morning when we took their trench, and he jabbed me in the arm and I jabbed him in the eye, and we’re the best of friends.” Other Germans are sitting in attitudes characteristic of newly-made prisoners.

32

XIV (a and b)
RED CROSS BARGES ON THE SOMME

Many wounded or sick soldiers, British and French, are brought by river or canal from near the front to near a base hospital or the sea. The motion is easy, the men have good air and quiet; any who are well enough to be on deck have pleasant and changeful surroundings to look at. The English have fitted up for this purpose many of the large, square-built and bluff-bowed—almost box-like—French canal boats. They are towed, in pairs, by small tugs. The French Red Cross uses barges driven by engines placed aft.

34

XV
AT A BASE STATION

A midnight scene at a base railway station. Train-loads of “walking wounded” on their way to England are met at any hour of the day or night by V.A.D. workers who offer the men hot tea or cocoa, and bread and butter. The quality of the food, and the manner of the gift, give extraordinary pleasure to the tired men.

36

XVI
ON A HOSPITAL SHIP

The boat here is an old one; in newer boats the accommodation is finer, but the drawing shows the ordinary mode of bedding the patients in double tiers of continuous bunks. At some point in the passage an R.A.M.C. orderly asks every patient to what part of “Blighty” he belongs, and an effort is made to send him to a hospital near his home. The orderly’s approach, as he makes his rounds, is always eagerly awaited throughout the ship by the wounded men.

38

XVII
DISEMBARKED TROOPS WAITING TO MARCH OFF

An every-day scene at the French ports where our men land. Whatever may come after, there are few moments so thrilling to an untravelled soldier of the New Army as those in which he awaits the order to march off into the unknown, with all the strange events of war before him.

40

XVIII
SOLDIERS’ BILLETS—MOONLIGHT

The unusually comfortable quarters of a Company in reserve while other Companies of its Battalion are in the firing and support trenches, two or three miles further up. Reserve billets are more often under ground, sometimes in the cellars of ruined houses. A thick covering of ruins above gives complete security against shell fire.

42

XIX
A GUN HOSPITAL

Many wounded or worn guns, of all calibres, are brought back for treatment to “hospitals” which do not fly the Red Cross. Here are a few invalided “heavies.” The gun on the extreme right is the first British 9.2 that came to France. Like most of our heavy guns she has been christened by her crew and bears the punning inscription, “Lizzie, Somme Strafer.”

44

XX
AN OBSERVATION POST

The lower part of the first of the ladders leading up to an artillery observation post in the top of a tall tree. It commanded a large part of the Somme battlefield until the summit ridge was won; every detail of several successful British advances could be watched from the tree-top. The battle has now left it far in the rear, and it is disused.

47

THE SOMME BATTLEFIELD.

G. H. Q., France.
January, 1917.

50

XXI
AMIENS CATHEDRAL

The “Parthenon of Gothic Architecture” is seen in this exquisitely delicate and sensitive drawing from the south-east, with the lovely rose window of the south transept partly in view on the left. The wooden spire, which Ruskin called “the pretty caprice of a village carpenter,” looks finer in the drawing than in the original, the relative flimsiness of the material being less apparent. Nothing is lost by the intervention of the foreground houses, as the façade of the south transept, like the famous west front and the choir stalls, is sheathed with sand-bags to a height of thirty or forty feet for protection against German bombs. Patrolling French aeroplanes are seen in the sky.

52

XXII
THE VIRGIN OF MONTAUBAN

An image which strangely escaped destruction during the time when the village of Montauban, now utterly erased, was being shelled successively by British and German guns. By a similar caprice of fate the Virgin of Carency, now enshrined in a little chapel in the French military cemetery at Villers-aux-Bois, received only some shot wounds when the village was destroyed during the French advance towards Lens in 1915.

54

XXIII
A SKETCH IN ALBERT

Albert, as a whole, is wrecked to the degree shown in this drawing. The building in the middle distance, on the right of the road, with its roof timbers exposed, is a wrecked factory, and many hundreds of bicycles and sewing machines now make an extraordinary tangle of twisted and broken metal in its basement.

56

XXIV
TAKING THE WOUNDED ON BOARD

Wounded men from the Somme, ordered to England by the Medical Officer commanding the General or Stationary Hospital in which each man has been a patient, are being put on board a hospital ship at the base. In the centre of the foreground is seen the timber framework of the ship’s large red cross of electric lights. With this, and a tier of some sixty green lights running from stem to stern, a hospital ship at night is a beautiful as well as unmistakeable object at sea.

58

XXV
“WALKING WOUNDED” SLEEPING ON DECK

The best place to sleep, on a summer night in a full hospital ship, for a man whose wound is not grave enough to cause serious “shock” and consequent need of much artificial warming.

60

XXVI (a and b)
“WALKING WOUNDED” ON A HOSPITAL SHIP

This drawing was done in the warm early autumn of 1916. All “walking wounded” wear lifebelts, if their injuries permit, during the Channel crossing, and each “stretcher case” has a lifebelt under his pillow, if not on. The necessity for this, in a war with Germany, has been proved by the fate of too many of our hospital ships.

“WALKING WOUNDED” ON A HOSPITAL SHIP

The deck of a British hospital ship is one of the most cheerful places in the world. Every man is at rest after toil, is about to see friends after separation, can smoke when he likes, and has in every other man on board a companion with whom endless reminiscences can be exchanged, and perhaps the merits and demerits of the Ypres salient, or the most advantageous use of “tanks,” warmly debated, as is the custom of privates of the New Army. Silent or vocal, a great beatitude fills the vessel.

62

XXVII (a and b)
A MAIN APPROACH TO THE BRITISH FRONT

The canvas screen on the left marks a place where the road had been under enemy observation. A “sausage,” or stationary observation balloon, is seen above the road. “Sausages” are not pretty. They exhibit, at various stages of inflation, the various shapes taken by a maggot partly uncurled. But the work done from them, besides being always disagreeable and often risky, is extremely valuable.

“ROAD LIABLE TO BE SHELLED”

A stretch of high-road which was under enemy observation when drawn. Such roads are, of course, only used with due caution. The whole drawing is remarkably instinct with the artist’s sense of a malign invisible presence—a “terror that walketh by noonday”—infesting the sunny vacant length of the forbidden road.

64

XXVIII
TROUBLE ON THE ROAD

War has its tyre troubles, as peace has. In this case the lack of a spare wheel, and the consequent necessity for changing an inner tube, had the compensation of giving the artist time to make the drawing.

66

XXIX
BRITISH TROOPS ON THE MARCH TO THE SOMME

A typical Picardy landscape behind the frontal zone of destruction. The crescent-shaped line of troops and transport on the road is a small fraction of a Division moving up to take its place in the front line.

68

XXX
A SKETCH AT CONTALMAISON

The place is Contalmaison, but the drawing has caught the spirit of the whole of the shattered country-side recaptured this year.

70

XXXI
ON THE SOMME: SAUSAGE BALLOONS

A typical winter scene on the Somme battlefield. The nearer “sausage,” or captive observation balloon, is being run out to its proper height for work, by unwinding its cable from a reel on the ground. The further balloon is already moored high enough and its observer, alone in the small hanging cage, is at work with his map, telescope and telephone.

72

XXXII
A WRECKED AEROPLANE NEAR ALBERT

A casualty in the R.F.C. The smashed biplane and the retreating stretcher party on the right explain themselves. On the left, Albert church, to the right of a tall factory chimney, is seen in the distance.

74

XXXIII
A MESS OF THE ROYAL FLYING CORPS

The Officers’ mess at the most advanced station of the Royal Flying Corps on the Somme front. The great tent was designed as an aeroplane hangar. An R.F.C. mess usually has an atmosphere of its own. There is more variety of apparel than at other messes; there are more dogs; personal mascots abound, and in many ways there is more expression of individual choice or peculiarity than elsewhere—corresponding, perhaps, to the more individual character of a flying officer’s work and responsibilities and to the temperament which leads to success in flying. The officers are drawn from all sorts of regiments, and each continues to wear his regimental badge. It is winter, and the second figure from the left is wearing a fur jacket.

76

XXXIV
WATCHING OUR ARTILLERY FIRE ON TRONES WOOD FROM MONTAUBAN

The drawing expresses well the singular aspect of the parts of the battlefield where artillery fire was heavy and where the conical holes made in the ground by high explosive shells were consequently close together. At a later stage these separate pock-marks overlap, like the pits in confluent small-pox, and the whole of the shelled ground becomes soft and loose, as though raked deeply but unevenly. In the distance the detached higher puffs of smoke from bursting shrapnel are distinguishable from the rising clouds of smoke from high-explosive shells.

78

XXXV (a and b)
IN THE REGAINED TERRITORY

Both the places drawn were in German hands until July. The first drawing is of a cemetery found behind the old German front line near Fricourt. There were many imperfectly marked German graves near these. They have since been marked, as many thousands of hurriedly made British graves have been, with wooden crosses and metal inscriptions by our Graves’ Registration and Inquiries Units.

The second drawing, with a helmeted sentry at the sand-bagged entrance to a dug-out, conveys the sinister air of a village destroyed, but not quite effaced, by shell-fire.

80

XXXVI
A V.A.D. REST STATION

At a base railway station in France. Between the arrivals of hospital trains from the front the V.A.D. workers occupy themselves in the “dispensary” in rolling bandages or preparing hot cocoa and other food for the wounded or sick men who will pass through the station.

82

XXXVII
A GATEWAY AT ARRAS

A few hundred yards from this gate the Anglo-French treaty of peace was signed after Agincourt. Part of the city’s later history is written in the curious and beautiful Spanish architecture of its chief squares. It is now in the middle stage of destruction: almost every building is shattered or injured, but enough is standing to make the empty city seem still sensitive, in its very stones, under the enemy’s random shellfire.

84

XXXVIII
OUTSIDE ARRAS, NEAR THE GERMAN LINES

At Arras the Germans always seem very near you. In fact they are. No other famous town in the Allies’ hands has a German front trench in its suburbs; nowhere do the two front trenches come so close to each other. The result is a subtle quality of apprehensiveness in the atmosphere of the silent empty city. It seems like someone standing on tiptoe, peering and listening, in a solitary place, for some vague unseen danger, or like a horse nervously pricking its ears, you cannot tell why. This tingle of uncanny dread has been conveyed with remarkable success in this figureless but haunted landscape.

86

XXXIX
WATCHING GERMAN PRISONERS

British soldiers watching recently captured Germans on their way down from the front to an Army Corps “cage.” Until removed to the base our prisoners are well housed in huts or tents in a kind of compound fenced with barbed wire and placed well outside the range of their friends’ artillery. There are no attempts at escape. Our men, behind the front line, always watch the arrival of new prisoners with silent curiosity. Those of our soldiers who have themselves fought with the Germans, and captured them, usually befriend them with cigarettes and drinks from water-bottles.

88

XL
ON THE SOMME: “MUD”

At a camp, near Albert, whose Church, with the image knocked awry, is seen to the right. With the permission of the officer on the left some soldiers are fishing in the mud for such fragments of old timber, boxes and tins as may be of use to them in their field housekeeping, though they are not worth collecting for deposit at the official Salvage Dumps.

91

TRENCH SCENERY.

G. H. Q., France.
February, 1917.

94

XLI
CASSEL

Cassel has no great part in this war. But it has endured ancient sieges; three notable battles have taken its name since 1070; the last of them led to the annexation of Cassel to France in 1678 and gave her a town finely set on a hill amidst lowlands, and equally good to look at and look from. The many windmills about it give Cassel an air of liveliness as you approach, and this cheerful effect is maintained on reaching the main square, drawn by Mr. Bone, with its lightsome spaciousness and comfortable, well-proportioned houses. The eyes of passing Scottish soldiers find a familiar look in the “step” gables of many of Cassel’s roofs. One is seen on the right.

96

XLII
A LINE OF TANKS

Thanks to the imaginative power of the artist, the “Tank” is here seen not as the British soldier sees it—a friendly giant with lovably droll tricks of gait and gesture—but as it must look to a threatened enemy, the very embodiment of momentum irresistibly grinding its way towards its prey. In the presence of “tanks” as here drawn—though there is no trace of exaggeration in the drawing—the spectator is as a crushed worm and, in fact, finds there is more force in that phrase than he knew.

98

XLIII
A KITCHEN IN THE FIELD

One of the improvements in our field organisation since the early part of the war is the more general provision of hot meals for the men in the front trenches. From cookhouses like the one shown in the drawing, or from travelling field kitchens, the hot stew and tea are brought up the communication trench in dixies, two to a platoon, each dixie being slung from a pole carried on two men’s shoulders. The cooks work under shell fire and many have been killed.

100

XLIV
THE GUN PIT: HARDENING THE STEEL

The drawing shows one of the most thrilling moments in the making of a great gun. The doors of the furnace have just been thrown back and the heated gun tube is about to be lifted by the giant pincers of the crane.

102

XLV
THE GUN PIT: A GUN JACKET ENTERING THE OIL TANK

The gun jacket shown here has just been heated in the furnace and is about to plunge into its oil bath. The spectacle is always striking, especially at dusk, when the fierce glow of the huge mass of metal seems more brilliant than ever. The passage is made in a few seconds.

104

XLVI
THE GUN PIT: THE GREAT CLUTCHES OF THE CRANE

The figures in the foreground give a scale by which to judge the size and power of the crane that handles the heavier guns in the gun pit. The tube has now been lifted from the oil tank and waits to be carried back to the gun shop lathes.

106

XLVII
MOUNTING A GREAT GUN

This is one of the largest guns. At such a scene as its mounting one is always struck by the contrast between the restless stir of the minute figures busy about it and the massive impassivity—for the present—of the thing they have created. “A great gun,” it has been said, “is so sheer.” In a gun shop it dwarfs everything round it and seems the embodiment, at the same time, of immobility and of menace.

108

XLVIII
“THE HALL OF THE MILLION SHELLS”

A store containing loaded shells of every calibre. All the plant has been made since 1914, in answer to the challenge of German militarism. The railway trucks in the foreground are incessantly filled and refilled from the supplies pouring into the store for dispatch to the front. Women drive the cranes that gather up bunches of shells from any part of the building and lower them, with absolute precision, to their appointed places in the trucks. All handling of shells must be cautious and deliberate, but the work proceeds, without haste and without rest, at a remarkable speed.

110

XLIX
THE RUINED TOWER OF BÉCORDEL-BÉCOURT

The village of Bécordel-Bécourt is just on the Allies’ side of the front line as it was before the Battle of the Somme. It has, therefore, sustained only the German artillery fire, not that of both armies in turn. Hence the survival of this comparatively large fragment of the village church.

112

L
EMBARKING THE WOUNDED
Sketched at night at a Port of embarkation of the wounded.

Owing to the low tide the “stretcher cases” or “lying wounded” had all to be carried underneath the pier to the level of the hospital ship. This meant very hard work for the stretcher bearers, and one is here seen resting a moment while the previous stretcher is being carefully taken aboard to be lowered by the lift from the deck to the large wards below.

114

LI (a and b)
MONT ST. ELOI

In the left centre are the tall ruins of the large church of the monastery at Mont St. Eloi, a little hill about five miles north-west of Arras. The hill is a splendid viewpoint, commanding the Vimy Ridge, the German lines between Neuville St. Vaast and Thelus, the city of Arras itself, the wood of Souchez and the slopes of Notre Dame de Lorette. On the ground for many miles north and north-east of it the French fought with heroic determination in the advances which gained them Carency, Souchez and Notre Dame de Lorette in 1915.

RUINS OF MAMETZ

Mametz must have been one of the pleasantest of the villages on the Somme battlefield. It was built on a gentle slope, facing south, a little way off the dusty main road from Albert to Peronne, and large, shady trees were intermingled with the houses. The drawing shows what was left of the village after its capture in the beginning of July. The tall fragment of the parish church stands in the centre of the drawing.

116

LII
RUINED TRENCHES IN MAMETZ WOOD

In this one drawing may be seen the face of all the hard-fought woods of the Somme battlefield—Mametz, Fricourt, Bazentin, Delville, Thiepval, Foureaux and St. Pierre Vaast. Everywhere in them all there is the same close network of half-filled trenches, the same bristle of ruined tree trunks, the same litter of the leavings of prolonged fighting at close quarters—bits of broken rifles and bayonets, perforated helmets, unexploded hand grenades, fragments of shell, displaced sand-bags, broken stretchers, boots not quite empty, and shreds of uniform and equipment.

118

LIII
“THAWING OUT”

It is always cold in an aeroplane in flight, but in winter the cold endured by airmen is often atrocious, however perfect their equipment. A pilot, who has just come down from his three hours of duty in the air, is here seen “thawing out” over a spirit stove in his tent. Like the thawing of meat taken from cold storage, the process requires some patience.

120

LIV
DISEMBARKING

At a base port in France. Officers are disembarking from the upper deck. Many officers arrive under orders simply to “proceed overseas.” At the “A. M. L. O. Office” they receive, through the Assistant Military Landing Officer, exact orders where to go and what to do. The men on the lower deck disembark by a second gangway and the boat is cleared in a few minutes.

122

LV
SLEEPING WOUNDED FROM THE SOMME

Every soldier on active service has more or less of deferred sleep, as well as deferred pay, due to him. If he be wounded he usually recovers a large instalment of both—the former during his first nights and days in hospital, the latter when he leaves the convalescent hospital for the ten days’ sick leave given to all wounded or sick men who have been sent to England for treatment.

124

LVI
DISTANT AMIENS

As you walk southward from Amiens, across meadows and cornfields, the ground rises more gently than the immediate south bank of the Somme, on which the Cathedral and the City stand. Thus the city sinks gradually out of sight until nothing is left but the thin Cathedral spire, looking like the mast of a sunken ship. Mr. Bone’s drawing was done from a point, about a mile south of the city, at which the Cathedral roof, the tower of Saint Martin’s Church, and one or two factory chimneys are still unsubmerged.

126

LVII
SCOTTISH SOLDIERS IN A FRENCH BARN

A typical billet for troops on the march or enjoying a “Divisional rest” between two turns of duty in the trenches. An average-sized barn at a French farm will house about thirty men. If the straw be deep and the roof sound it makes better quarters than anything but a good bedroom. Its chief drawback in the men’s eyes is that smoking has to be forbidden because of the straw. In the winter evenings the men usually cross the farmyard to the kitchen, where they smoke and make friends with the farmer, and buy coffee, at a penny a bowl, from his wife.

128

LVIII
WELSH SOLDIERS

Characteristic trench attitudes, two of the men with their heads well down, the cheek cuddling the small of the butt, while the N.C.O. beyond directs their fire, with his head a little free. There is just the same soldierly combination of “much care and valour” in the typical Welshman in France to-day as there was in Shakespeare’s Fluellen.

130

LIX
A BRITISH RED CROSS DEPOT AT BOULOGNE

Dead low water in Boulogne Harbour, and a slack time for the motor ambulances parked on the quay above. The work of the R.A.M.C. inevitably comes in rushes, with lulls in between. The great thing is, when a rush comes, to treat every case with a rapidity exactly proportioned to its urgency, removing instantly to the base hospitals or to England every serious case which will be the better, or none the worse, for a slight delay in operation. To work this system perfectly there must always be in readiness, at every point where wounded are entrained or transhipped, a supply of ambulances equal to the maximum call.

132

LX
INDIAN CAVALRY

Our Indian Cavalry on the Somme were given a chance of showing their quality at the Bois de Foureaux on July 17th, 1916. They used it. Apart from other soldierly qualities, the grave dignity of their bearing impresses all foreign visitors to the battlefield. They always salute a passing officer as if they were Kings and he an Emperor.

135

THE UPPER HAND

G.H.Q., France,
March, 1917

138

LXI
MOUNTING A GREAT GUN

One of the largest guns viewed from the breech. However many large guns may have been turned out by the same men before, a glow of pride is always felt in a gun shop when one more masterpiece like this is ready at last to go out to its work in the field.

140

LXII
ERECTING AEROPLANES

A great contrast to the scenes in the gun shop. Here everything is light and delicate, the bright, varnished wood curved to delicate shapes like violins, the women flitting with their needlecraft around the wide, dazzling planes and the brilliant pigmy engines shining like jewels—all seem gay and exhilarating after the sombre company of the guns. There is even a lightsome airiness about the thought that these delicate creations fly away from their makers’ hands when completed and do not burden any railway with their transit.

142

LXIII
AN AEROPLANE ON THE STOCKS

Another view of the same shop. Close to, the propeller seems a great thing, wonderfully subtle in its graceful curves.

144

LXIV
THE GIANT SLOTTERS

These machines are among the largest of their kind. A row of them, jutting colossally forward like the heads of Egyptian sculptured lions, make an impressive feature in the spacious avenues of a great machine shop. The nearer machine is at work on part of a big gun mounting.

146

LXV
NIGHT WORK ON THE BREECH OF A GREAT GUN

The breech is open: underneath it, hidden from sight, the mechanics are at work. Such a scene has a special appeal to those who loved the stories of Jules Verne in their youth. These largest of all guns seem as if they could fulfil the hopes of Verne’s sanguine President of the Gun Club and justify his fervid belief in ballistics as your only science.

148

LXVI
THE HOWITZER SHOP

Howitzers of various calibres are in the background; in the foreground, guns of lighter types. Guns are like ships; each piece seems endowed with a personality which endears it to its creators. The soldiers to whose keeping they are sent feel a similar tenderness towards their own special charge. They express it by giving them fond names like “Saucy Sue,” “Sweet Seventeen,” “Jill Johnson,” “Our Lizzie,” and “’Ria.”

150

LXVII
THE NIGHT SHIFT WORKING ON A BIG GUN

“A scene,” the artist writes, “so romantic in its mingling of grimness and mystery that one thinks with compunction of the long line of romantic artists whose lot it was not to have seen it!” The work on hand seems carried on by noiseless ghosts, so completely is the noise of their labours drowned by the incessant hum of machines.

152

LXVIII
SOME GREAT GUNS

A sketch in the heavy gun bay. The size of these unmounted guns may be judged by the figures at work near them.

154

LXIX
MOVING HEAVY GUN TUBES

This is a corner in the gun shop where heavy gun forgings of all sorts lie about, awaiting their turn on the machines. The overhead crane is lifting one of the guns. Many of these cranes are being driven by women.

156

LXX
A CORING MACHINE AT WORK ON A BIG GUN TUBE

The big gun tube is rotating slowly while the tool inside scoops out long shavings of the metal like cheese parings. The mounting heaps of the metal shavings are constantly cleared away. The iridescent colours of these shavings (showing the different temperings of the steel) present surprisingly beautiful effects to the eye, tired with the bewildering rotations of the immense gun tubes on their machines.

158

LXXI
RUINS NEAR ARRAS

Landscape near Arras is like the biblical vine hanging over a wall—“All the archers have shot at her.” Injured, but not yet destroyed, the woods seem like creatures scared, as if the trees themselves were possessed with the disquiet of dryads crouching somewhere in hiding. Many different parts of the front have their own almost personal expression, but it is seldom one of fear. At and around Arras this expression of alarm is so curiously strong that, if he transgressed prose, the visitor might fancy the taut bulrushes were nature’s hair standing on end, and a slight stir in the poplars her shudder. By some means, which a layman cannot mark down, Mr. Bone has suffused his drawing with his own sense of the tragic queerness of this vacuous and unnerved landscape.

160

LXXII
ON THE SOMME: IN THE OLD NO MAN’S LAND

High ground near “King George’s Hill,” whence the King viewed the main battlefield of 1916; the drawing shows this in the distance. The foreground was won last July by the Manchesters. They found in No Man’s Land the bodies of many Frenchmen killed in earlier fighting, and buried them beside their own dead. Not all the bodies could be identified: Some of the crosses shown in the drawing bear such inscriptions as “In honoured Memory of Two Unknown French Soldiers, buried here.”

162

LXXIII (a and b)
A ROAD NEAR THE FRONT

The canvas screen on the left remains from a time when this stretch of road was under enemy observation. The battle of the Somme has left it far behind the front. From a point just beyond the trees indicated upon the skyline on the right every detail of a part of the fighting on July 1st, 1916, could be seen.

A TRAIN OF LORRIES

Whether on the road between a rail-head and the front, or during a halt by the way, or at rest in their own park, the lorries of a Division keep their proper distance or interval from each other, like men on parade. If one falls lame it is taken in tow; if disabled past towing, it falls out and waits for a first-aid mobile workshop to come and repair it. The scene here is one of the two chief roads to the Somme front. In July and August, 1916, the procession of lorries along it was often unbroken for several miles. Field railways have much lightened its traffic since then.

164

LXXIV
ON THE SOMME. R.F.C. MEN BUILDING THEIR WINTER HUT

To most English soldiers it is one of the compensations, and not of the hardships, of active service that they so often have to do work which is not their own trade nor a regular part of all soldiering. They find a flavour of the sport of peace-time camping-out in the work of making or finding their own shelter from the weather. Sometimes it is done, as here, with excellent materials, sometimes with hardly any at all, and the man who has built himself a rain-proof hut, for one, out of a few old biscuit tins, some sticks and a waste piece of corrugated iron enjoys a special thrill of triumphant ingenuity.

166

LXXV
MARICOURT: THE RUINS OF THE VILLAGE

Near Maricourt the British line ended, and the French began, during the battle of the Somme. Blue and khaki were equally blended in the endless lines of traffic passing both ways through Maricourt and raising a barrage of dust all along the road to Bray-sur-Somme. At Maricourt crossroads there was a doubled post of military police, one man British and one French, ready with rebuke or instruction in either tongue. The place is now several miles behind the British front, and its old animation is gone. It and the woods near it are less completely destroyed than most of the neighbouring villages. Many walls are standing; even a few roofs remain.

168

LXXVI
ON THE SOMME, NEAR MAMETZ

The German front line, until July 1st, 1916, run a few yards on the spectator’s side of the two dismounted figures in the foreground. In the background are the bare poles of Mametz Wood. The nearest figure can be known for an Australian, by his hat.

170

LXXVII
A MARKET PLACE. TRANSPORT RESTING

After work the divisional motor transport lorries return methodically to their own parks. During long journeys they rest now and then, tucked into the right of the road or standing in a market place, while the men eat their haversack rations. Mixed with the lorries here are their seniors, the covered vans of French country carriers and, still older, the long, low, French farm wagons now drawn by horses, but built, as is shown by the very low pole, for draught oxen. In the market place there wait also the cars of British staff officers visiting the town. The handsome building in the background has its red-brick façade set off with alternating square bosses of white stone, on each side of the windows, after the custom of 17th and early 18th century builders.

172

LXXVIII (a and b)
THE “BLIGHTY BOAT” AND A HOSPITAL SHIP

Leaving a French base port. The artist has contrived to suggest in his drawing of the homeward hastening leave-boat the happy eagerness with which the eyes and minds of all on board are turned westward. The slower hospital ship is just leaving the harbour. There is no possibility of any honest failure to distinguish, by day or night, the black painted lightless transport from the hospital ship with its gleaming white and light-green paint and its festal-looking tiers and crosses of scores of brilliant green and red lamps.

SCOTTISH TROOPS ON A TROOPSHIP

There are some Scottish soldiers on all troopships. On this one there were no others. The Highlanders on the drawing have the good fortune to be on deck and also not to be crowded. On most troopships the men, if on deck, look, at a little distance, like a solid brown mass.

174

LXXIX
TROOPS RETURNING FROM THE ANCRE

A unit coming back from the trenches to rest is unlike anything ever seen at home. Everyone is dead tired; everyone, though washed and shaved, has caked mud on his uniform; most of the men are stooping to get well under the weight of their packs and so ease the cut of the straps on their shoulders; cooks and a few footsore men trail behind the transport wagons and field kitchens, taking a tow with one hand. Odds and ends of light baggage are carried in little, almost toy-like hand-carts, the men pulling them by many ropes and pushing them from behind. Some men, perhaps, are wearing German helmets. Everyone’s face has a look of contented collapse, the restful reaction of senses and nerves relaxed after many days of strained attention and short sleep. The weary and happy procession serpentines slowly across the chalk downs, carried along by the rhythm of the swing it has learnt from months of route marching in England.

176

LXXX
A HOSPITAL SHIP AT A BASE

The ship’s large wooden Red Cross, to be illuminated at night with electric lights, is seen near the centre of the drawing.

179

THE BRITISH NAVY AND THE WESTERN FRONT

G. H. Q., France,
April, 1917

182

LXXXI
“OILING”: A BATTLESHIP TAKING IN OIL FUEL AT SEA

Viewed from the bridge. A large oil “tanker” is alongside. Unseen, but very fast, the oil fuel is running into the battleship. How great a boon this new fuel is can be understood, at any rate partly, by those who have endured the coaling of a great ship in the old way. The scene shown in the drawing was animated by the changeful gleam of the gay signal flags flapping in the foreground and by the flashing of the wings of innumerable hungry gulls.

184

LXXXII
ON A BATTLE-CRUISER (H.M.S. “LION”)

The ship’s funnel behind and the sailor’s figure on the left help to give the scale of the great gun.

186

LXXXIII
H.M.S. “LION” IN DRY DOCK

The great hull we see here has seen more battling in the present war than any other of our “capital” ships. Officially “sunk” by the Germans, she will yet prove a troublesome ghost to them. In the foreground the dockyard workers are busily surveying the ship’s Gargantuan cables for weakened or damaged links.

188

LXXXIV
ON A BATTLESHIP: LOWERING A BOAT FROM THE MAIN DERRICK

The “Main Derrick” is a great crane and lifts a heavy boat like the one in the drawing, or an Admiral’s barge, out of the water and stows it on deck with the greatest ease.

190

LXXXV
APPROACHING A BATTLESHIP AT NIGHT

A battleship revealed by the beam of its own searchlight. A big gun emerges in silhouette, as well as a sentry on duty. One feels considerable awe when threading one’s way in a small picket boat between the ships of the Fleet at night.

192

LXXXVI
A LINE OF DESTROYERS

A line of destroyers at anchor. Seen from a distance, in this formation, a long line of destroyers looks curiously like a battalion drawn up in line of platoons in file, at a wide interval, and standing on the sea. It will be remembered that the battle of Jutland was as much a battle of destroyers as of any other type of warship.

194

LXXXVII
ON A BATTLESHIP: A GUN TURRET

Part of the deck of one of the most famous of British ships, cleared for action.

196

LXXXVIII
ON A BATTLESHIP IN THE FORTH

Britain has many beautiful estuaries, but the Forth has features like the distant Highland hills and its enormous Bridge which make it unique among our waterways. The Bridge makes even the largest warship seem a pigmy, yet one has a queer sensation when about to pass under it for the first time; one momentarily expects all the ship’s top hamper to be carried away—everything about the Bridge being on so big a scale that what is safely distant seems perilously close.

198

LXXXIX (a and b)
A FLEET SEASCAPE

To the left a group of destroyers are gathered round a parent ship. To the right is the beginning of an imposing line of battleships.

THE CREW AT A SMALL GUN ON A BATTLESHIP

From this point of view the shield partly hides the muzzle of the gun. The gun crew are listening to instructions. Note the “Navy Warm” worn by the figure in the middle: often, when the weather is “fine” from the landsman’s point of view, it is still bitterly cold on the North Sea. Two larger guns can be seen protruding from their turret in the deck below.

200

XC
THE FO’C’SLE OF A BATTLESHIP

The crew of a Battleship at “General Drill” on a brisk spring morning is an exhilarating sight to the spectator posted at a quiet corner well out of the way. The band of the Marines plays, and the maximum of everything possible seems to be going on at once. In the sketch the ship’s boats have been launched and are making their way with steady stroke out to a neighbouring ship and back.

202

XCI
ON A BATTLESHIP: THE AFTER DECK

The delicate but firm precision of the drawing conveys aptly the general air of a man-of-war’s deck, where everything is intricate without confusion, and busy without fuss.

204

XCII
INSIDE THE TURRET

Interior of a Big Gun Turret on a Battleship, with the crew at their stations. The breech of the gun is open and looks gigantic in this confined space where every inch is made to serve some purpose. An officer is seen in the gangway between the twin guns, but of course the higher direction of the firing is transmitted from the “Fire control” station situated elsewhere.

206

XCIII
A BOILER ROOM ON A BATTLESHIP

The vessel is oil-driven, so the stoke-hold is robbed of its old terrors and is remarkably cool. The stokers seem few in proportion to the size of the place, but they are experts of a higher class than coal furnaces required.

208

XCIV (a and b)
PRACTICE FIRING: BIG GUNS ON A BATTLESHIP

Here the scale of the great guns is only given by the dwarfed rail beneath and by the long stretch of horizon which the funnels subtend. But no merely physical ratio can convey the impression of enormousness that a great naval gun makes on the imagination. By subtler technical means the artist has managed to transfuse this impression from his own imagination to that of the spectator of the drawing.

ON A BATTLESHIP: SUNSET AFTER A WET DAY

The sailor has much to bear from the weather, but at any rate he sees to extraordinary advantage the glories of sunset and the “incomparable pomp of dawn,” unsullied by the smoke of the land.

210

XCV
ON A BATTLESHIP: AIRING BLANKETS

An unfamiliar aspect of a warship to the public, but, to Jack, it returns with unfailing regularity once a week. In the cramped space it requires careful management to keep all the great crew in health and comfort.

212

XCVI
CAPTAIN CYRIL FULLER,
C.M.G., D.S.O., ROYAL NAVY

214

XCVII
THE FLEET’S POST OFFICE

To the right is an old hulk which now serves as a sorting office for the Fleet’s Post. Around it there is at certain hours a busy scene, picket boats coming from the various ships to deliver or collect their mails.

216

XCVIII
IN THE SUBMERGED TORPEDO FLAT OF A BATTLESHIP

Interior of the Chamber from which the torpedoes are fired. The torpedo in the foreground is partly engaged in the tube through which it will be fired. To the right is seen the exterior of another tube. The men are lowering, for stowage in safety, a trial torpedo which has been fired for a practice run and then re-captured.

218

XCIX
SAILORS ON A BATTLESHIP MAKING MUNITIONS FOR THE ARMY

This is Jack at his handiest, especially from the Army point of view. The party are using spare time to make “grommets” of rope-work to go round the bases of 9.2 shells. Not many people, even in the Army, know that the Army have come to look to the men of the Fleet for a great supply of these necessaries.

220

C
THE CINEMA ON A BATTLESHIP

A relaxation immensely popular and quite easy for the handy men, who abound in the Navy, to equip and run. Being their own child, each ship takes a pride in its “pictures.” The operator in this case was the Chief Mechanician of the ship and the film the “Battle of the Ancre.” In the centre are a group of midshipmen, to the right a group of warrant officers. In the foreground will be observed the ever ready fire hose.

End of the Project Gutenberg EBook of The Western Front, by Muirhead Bone

*** END OF THIS PROJECT GUTENBERG EBOOK THE WESTERN FRONT ***

***** This file should be named 48362-h.htm or 48362-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/4/8/3/6/48362/

Produced by Brian Coe, Charlie Howard, and the Online
Distributed Proofreading Team at http://www.pgdp.net (This
file was produced from images generously made available
by University of California libraries)

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-tm electronic works to protect the PROJECT GUTENBERG-tm
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for the eBooks, unless you receive
specific permission. If you do not charge anything for copies of this
eBook, complying with the rules is very easy. You may use this eBook
for nearly any purpose such as creation of derivative works, reports,
performances and research. They may be modified and printed and given
away--you may do practically ANYTHING 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-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full
Project Gutenberg-tm License available with this file or online at
www.gutenberg.org/license.

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

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

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

1.C. The Project Gutenberg Literary Archive Foundation ("the
Foundation" or PGLAF), owns a compilation copyright in the collection
of Project Gutenberg-tm electronic works. Nearly all the individual
works in the collection are in the public domain in the United
States. If an individual work is 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-tm mission of promoting
free access to electronic works by freely sharing Project Gutenberg-tm
works in compliance with the terms of this agreement for keeping the
Project Gutenberg-tm name associated with the work. You can easily
comply with the terms of this agreement by keeping this work in the
same format with its attached full Project Gutenberg-tm License when
you share it without charge with others.

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

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other
immediate access to, the full Project Gutenberg-tm License must appear
prominently whenever any copy of a Project Gutenberg-tm work (any work
on which the phrase "Project Gutenberg" appears, or with which the
phrase "Project Gutenberg" is associated) is accessed, displayed,
performed, viewed, copied or distributed:

  This eBook is for the use of anyone anywhere 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'll have to check the laws of the country where you
  are located before using this ebook.

1.E.2. If an individual Project Gutenberg-tm 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-tm
trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg-tm License for all works
posted with the permission of the copyright holder found at the
beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

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

1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works
provided that

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

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

* You provide, in accordance with paragraph 1.F.3, a full refund of
  any money paid for a work or a replacement copy, if a defect in the
  electronic work is discovered and reported to you within 90 days of
  receipt of the work.

* You comply with all other terms of this agreement for free
  distribution of Project Gutenberg-tm works.

1.E.9. If you wish to charge a fee or distribute a Project
Gutenberg-tm electronic work or group of works on different terms than
are set forth in this agreement, you must obtain permission in writing
from both the Project Gutenberg Literary Archive Foundation and The
Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm
trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
works not protected by U.S. copyright law in creating the Project
Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
electronic works, and the medium on which they may be stored, may
contain "Defects," such as, but not limited to, incomplete, inaccurate
or corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged disk or
other medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

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

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

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

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

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

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

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



Section 3. Information about the Project Gutenberg Literary Archive Foundation

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

The Foundation's principal office is in Fairbanks, Alaska, with the
mailing address: PO Box 750175, Fairbanks, AK 99775, but its
volunteers and employees are scattered throughout numerous
locations. Its business office is located at 809 North 1500 West, Salt
Lake City, UT 84116, (801) 596-1887. Email contact links and up to
date contact information can be found at the Foundation's web site and
official page at www.gutenberg.org/contact

For additional contact information:

    Dr. Gregory B. Newby
    Chief Executive and Director
    gbnewby@pglaf.org

Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To SEND
DONATIONS or determine the status of compliance for any particular
state visit www.gutenberg.org/donate

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

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

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

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

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

Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as 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 Web site which has the main PG search
facility: www.gutenberg.org

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.