Ladies' dress shoes of the nineteenth century
Date: 2025-03-05T00:00:00+00:00
Keywords: Women's shoes -- History -- 19th century; Women's shoes -- History -- 19th century -- Pictorial works

The Project Gutenberg eBook of Ladies' dress shoes of the nineteenth century

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: Ladies' dress shoes of the nineteenth century

Author: T. Watson Greig

Release date: March 5, 2025 [eBook #75531]

Language: English

Original publication: Edinburgh: David Douglas, 1900

Credits: Alan, Mairi and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)

*** START OF THE PROJECT GUTENBERG EBOOK LADIES' DRESS SHOES OF THE NINETEENTH CENTURY ***

Ladies’ Dress Shoes
of the

Nineteenth Century

With Sixty-three Illustrations

BY

T. WATSON GREIG OF GLENCARSE

Author of

“Ladies’ Old Fashioned Shoes”

EDINBURGH: DAVID DOUGLAS

1900

Preface.

The sixty-three ladies’ shoes now illustrated have all belonged to and been worn by ladies of the 19th century. They have been most carefully selected to illustrate the variety and change of fashion during that period. The shoes can be copied in any material by any shoemaker. I beg to return thanks to all those who have been so kind as to give me their assistance in collecting them.

Glencarse,
28th May 1900.

Frontispiece.

This specimen of Mule or Bedroom Slipper is in green velvet, on which the coat of arms is embroidered in rich silk and metallic threads. The front is finished off with a white silk ruche, held in place with a row of narrow gold braid, and the lower outline softened with an edging of fine blonde lace. The heel is covered with royal blue satin, and the lining is white. The maker is Abrahams, Westbourne Grove, W.

Plate I.

We have in this illustration three fine specimens of the modern shoemaker’s craft. The general shape of the shoes is much the same, but what may be called the decoration is varied. The satisfactory use of the “Magpie” colours is striking, and argues the good taste of the worker, and the designs, though simple, give scope to great excellence in workmanship.

The cordonnier artist has apparently considered his lines as carefully as the best of yacht builders. The material employed in the first two instances is kid, and in the other black and white velvet.

Plate i.

Plate II.

Illustrates three black satin shoes. The first, without heel and very square toe, was, no doubt, comfortable, but decidedly unshapely foot-gear. The sole is thin, and there is no attempt at ornamentation, even to hide the elastic ankle strap. As this shoe dates back a considerable number of years, it serves to show the many modern improvements of its two companions.

No. 2 has a general appearance, which at once demands admiration. The heel is medium, the toe pointed, and the ornament is a trefoil in old paste. This shoe belonged to Mrs Macandrew of Dalcross Castle, N.B., who may be congratulated on its size, or, rather, want of size, and on the good taste which chooses a plainness of style embodying the essence of smartness. The Jubilee Shoe has Louis heel, and is embroidered with the Royal Crown and initials, V.R., with motto, “God save the Queen.” This shoe was designed in honour of Her Majesty’s first Jubilee, 1887. In 1897 a similar shoe appeared with the Crown, date, and wording, “Sixty Years Celebration.”

Plate ii.

Plate III.

Bronze stage shoe worn by the well-known actress Miss Ada Cavendish. Louis heel, somewhat square toe, embroidered finely with steel, and large brown satin-pleated bow with steel buckle.

Bronze shoe No. 2 is one of the smallest in the collection, and belonged to Miss Marsh. It has a pointed toe, Louis heel, and plain little bow of brown satin ribbon.

The third shoe, also in bronze, has very pointed toe, with pearl and gold embroidery, which also adorns the small bow, leaf-like in form. The side seam is stitched with silk galloon, similar to what binds the outside edge. The heel is Louis in style.

Plate iii.

Plate IV.

This elegant shoe resembles a little its immediate predecessor in Plate III. in the heel, bow with four small leaves, and the ribbon-covered side seam, and, indeed, reflects the style of the same maker, with the difference shown in the embroidery, which completely covers the pointed toe, and is of rich gold thread. Gold beads further enhance the bow. The kid is bronze.

Bronze also No. 2, with interlaced yellow ribbon in diamond pattern. This design of stitched ribbon is a good idea to make a self-coloured shoe correspond more closely with costumes in mixed hues. The round ornament is gilt, and the heel an ordinary one.

The next shoe is in black glacé kid, and belonged to the late Duchesse d’Aumâle. The toe is square, Louis heel, and the “ruched” rosette is of black silk, edged with puce.

Plate iv.

Plate V.

No. 1.—Pink kid shoe, with round toe, ordinary heel, and lined white kid. The knot-bow is in pink silk ribbon, with picot edge.

The late Marchioness of Ely owned the centre shoe. It is in rich pink satin, ornamented with round real lace rosette, and has Louis heel and square toe.

Plain pink satin shoe—the 3rd—very neat in shape, with ordinary heel, and trimmed small bow of same pink satin as the shoe.

Plate v.

Plate VI.

Here appears another of Miss Ada Cavendish’s shoes, worn on the stage. It is of bright yellow satin, trimmed silver braid, which mingles also with the satin in the round rosette, with mother-of-pearl centre. The toe is very square, this actress being slow to adopt the pointed toe now so much in vogue.

No. 2, yellow satin shoe, has silk embroidery, studded with orange-tinted cabochons, and the bow of crimson silk gives an uncommon finish. Pointed toe and ordinary heel.

The third is of plain straw-coloured satin, made uncompromisingly to match costume without further decoration than the bow, formed of the same material.

Plate vi.

Plate VII.

Single strap shoe, in French grey satin, the front in a certain manner unattached from back, and distinguished from the same by elaborate floral embroidery in silk and iridescent beads, which figures also on the strap. A single paste stone forms central finish to this shoe—uncommon in shape and design.

The second shoe, deeper in hue, is said to have belonged to Mrs. Grahame; and its central tongue, with two overlapping flaps, which call for a necessary buckle of paste or silver, would place its date in the early part of the century.

The silver embroidery in thread, tiny sequins, beads, and lace is in admirable taste; and the whole workmanship of the shoe, which is in excellent preservation, is of the best order.

The last shoe is of plain blue satin, with handsome decoration of gold tinsel embroidery, studded with oval turquoises, and supplemented with the brightness of crystal beads, being similar to the trimming of the dress.

Plate vii.

Plate VIII.

This shoe—Figure 1—bears the print of its French origin in its essential smartness, combined with neatness and uniformity of colouring—namely, a deep, rich purple satin, the bow being of velvet in similar shade. It was worn by a member of the Rothschild family at the time of the Queen’s first Jubilee, and the maker, Meier of Paris, not only has a great monopoly in the clothing and adorning of fashionable feet, but is also much in request in successfully fulfilling stage taste and requirements in shoes.

The second shoe on the page is of very small size, and is of English make, though owned and worn by the French Duchesse de Beauprémont. It is of bright blue silk, with large rosette and peculiarly shaped heel, being much elongated underneath towards the side seam.

The next, pale blue silk shoe, is made simply to match a gown, and probably out of the same fabric.

Plate viii.

Plate IX.

The first shoe of this plate would be remarkable for neatness, though it might be thought somewhat spoilt by a squareness of toe, but it will be noticed the idea of squareness appears carried out otherwise in the cut of the shoe. The space between the principal strap and the three small ones crossing the foot makes an uncommon variety. The little bows of twilled silk (of which the shoe also is constructed) give a chic, if somewhat formal finish, to each band. The heel is a Louis shape.

Figure 2 belonged to an Edinburgh belle of the season of 1872, and is of tiny dimensions, though the old fashion of ornamenting with a large bow deprived the wearers of these small sizes of some of the credit.

The third and most elegant shoe possesses one of the highest Louis heels worn off the stage, and belonged to an American lady who, like several others, came to this country and acquired for herself the right to the motto first adopted by Alexander the Great—namely, “Veni, Vidi, Vici.”

Plate ix.

Plate X.

This shoe of white silk has the novel decoration of small netted buttons. These buttons rest on simulated straps, the silk being merely cut away to show spaces of the blue lining between. The shoe has altogether a perfection of style which its distinguished owner, an autocrat in dress, always demands.

No. 2 is of very small size in white satin, richly embroidered in crystal beads and thick silk twist. The open-work meshes, like spider webs, could reveal a pretty shade of stocking.

The latter idea, however, is carried out to perfection by No. 3, a shoe which is composed entirely of strong cream silk guipure. It is eminently fitted for evening—especially dancing—wear, both as to texture and coolness. The pattern of the lace in this example adapts itself to the neatest and smallest of shapes. The back is kept in shape with satin-covered stiffening.

Plate x.

Plate XI.

This shoe of Cromwellian shape hails from the stage, and boasts the highest heel in the collection. It is thickly embroidered in small crystal beads studded with cabochons, the latter also in clear crystal, which is a decoration difficult to beat. The wide tongue is kept in place by a strap, which would require a diamond or silver buckle to fasten it at the side, not visible in the illustration. The lining is of pale blue satin.

No. 2 is owned by a society belle, whose beauty may be said to extend from “top to toe,” as the toe, or rather toes, encased in this foot-gear must be of the smallest and daintiest description, and demanding a share of the admiration granted to their lovely owner’s figure and face.

The next shoe is a wedding shoe, looking strange to us in its old-world form, but the very mould of fashion in its day, which dates nearly forty years ago.

Plate xi.

Plate XII.

A handsome shoe this of rich silver brocade, with bow of same, pointed toe, and substantial Louis heel. The incurved seam at back gives a firmer hold to heel and ankle.

Miss Edna May owned the centre shoe, and it was worn by her as the “Belle of New York.” The embroidery in white silk and silver beads is faultless in design. The heel is an extremity of height, and is much the safer for the single ankle-strap, with its neat bow and ornament.

No. 3, of plain silver kid, has elongated toe, beaded by small silver ornament. It is a suitable shoe for fancy dress, but has this drawback—together with its two companions, also much besilvered—a liability to tarnish.

Plate xii.

Plate XIII.

This well-shaped boot stands out unique amongst the bevy of surrounding shoes, but its texture, shade, and workmanship are none the less delicate. Its owner and wearer was of exalted position, and her foreign birth, perhaps, inclined her to a departure from the usual style for evening wear.

No. 2 shoe is of a shape frequently made in two shades, but looks no less well for its sameness of colouring in the present instance, with which the neat trio of steel daisies admirably harmonise, adapting it at once to modified mourning if desired.

Last on this page is a bridesmaid’s shoe, and it could well be taken as a pattern of style for anyone called upon to enact that part. The bow of silk ribbon harmonises with the heliotrope coloured satin, of which this shoe and its two predecessors are made.

Plate xiii.

Plate XIV.

First appears in this shoe a further idea of contrivances for firm wear. This is in the form of a useful elastic strap, covered with heliotrope satin bow to match shoe. It is a more clumsy appliance than the indrawn heel at the top, before described in Plate XII.

The second shoe, also in heliotrope shade, but of silk, belonged to the Comtesse de Paris, and is decorated with real lace. It has a square toe and low heel.

No. 3 is distinguished for its embroidery, the species of flower and the blending of its colours harmonising so well with the lilac colour of satin.

Plate xiv.

Plate XV.

First, a shoe which can be certified as Imperial, and bears the French print of good taste in elaboration. The little border of lace all round the edge and also round the bow gives daintiness and lightness, whereas the gold embroidery gives massive richness at the same time. The additional knot of gold lace and tassels is peculiarly handsome and effective, and the rich embroidery and bead work extends even to the heel—an Imperial heel evidently demanding special adornment.

Algiers contributes this specimen of slipper, Eastern in design and shape, and in its lavish covering of patterned gold.

No. 3 is another case of the evening “Oxford” shoe. It is beautifully shaped and free from clumsiness, and the embroidery in lightness and effectiveness of design scores a success. The Duchess who chose and wore it might well be imitated in such a fashion.

Plate xv.

Plate XVI.

The first shoe on this plate belonged to and was worn by Miss Christine Nilsson in “Lohengrin.” It is of cloth of gold, and testifies that the great singer does not neglect, in her superior charm of voice, the additional charm of dress. The gilt buttons are appropriate, and the crystal studs, glistening like dewdrops across the instep, are original in arrangement. The toe is very elongated. Otherwise the shoe is of the ordinary approved shape.

No, 2 is gilded kid, superior to the cloth of woven gold thread from its untarnishable quality. The round gilt button makes a neat finish. The heel is rather low for smart effect.

The third shoe of cloth of gold boasts a Duchess for its quondam owner, who, in turn, can boast that her foot could grace its tiny dimensions. The sole ornament of loops of braid is uncommon, in the fact that it is composed of bullion and not tinsel. The shoe has a Louis heel and white kid lining.

Plate xvi.

Plate XVII.

Though simply severe in style (which the richness of material demands), this shoe doubtless repeats the hue and texture of the gorgeous sweeping folds of the costume it was made to match. The paste button is neat and good, and too modest in size to publish its own failure in competition with the jewels due to the rank and toilette of the wearer. The Louis heel is also velvet-covered.

No. 2 shoe is a departure from the ordinary evening style. It must have a firmness for dancing, which is, perhaps, advantageous in some cases. The festooned embroidery in chain stitch and French knots is tastefully done in silk of darker shade, and adds to the originality of the shoe. Also a feature of it is that it is made all in one piece, and a line of stitching simulates a seam.

The last is of watered silk. The inside lining is of delicate pink satin. The buttoned strap is a favourite style with many—sometimes single, sometimes multiplied, and more or less elaborate. The plain gilt button in this case alone figures, whilst on the toe rests a small bow of watered silk ribbon exact in shade.

Plate xvii.

Plate XVIII.

1. Deep eau-de-nil satin shoe worn by Miss Ada Cavendish as Lady Teazle. Large rosette, with gilt and steel square buckle. This size of bow (now obsolete) admitted of an elastic insertion at the back, which, no doubt, added to the ease of fitting. The toe-cap is chain-stitched and appliqué.

The next is similar in hue, but of modern shape. It is very finely beaded, so fine as to readily conjure up the impression of a possible use of seed pearl. The toe is pointed, and the heel in Louis style.

No. 3 is also of a modern shape, the colour yellowish green. This shoe has only a Louis heel and general neatness to distinguish it.

Plate xviii.

Plate XIX.

The satin Oxford shoe again appears first on this plate. It is particularly small and neat indeed. Only the owner of a small foot could, with success, adopt this style. It is very finely embroidered in steel beads in a floral pattern. Louis heel, silk lace to match.

No. 2.—A deep red shoe, with closely embroidered toe in gold thread. It has plain silk bow to match and Louis heel.

Deep crimson also No. 3, with embroidery of rich gold thread picked out with white beads to emphasise the pattern. The rosette has rows of beads alternate red and gold, on every folded edge, and in the centre several rows. The toe is pointed; an ordinary heel.

Plate xix.

Plate XX.

The brocade of this first shoe is rich in colour and substance. The pattern is well manipulated, so that the effect is good. The bow is of the same material.

The next shoe stands out in originality of style. The red and white satin make a vivid contrast. The piece of red attached to the vamp is sewn to the sole only, otherwise loose, and therefore would almost make necessary an ornament to fix it at the top as well and give a finish.

This shoe, the third and last, belonged to Rosa Anderson, a fair maid of Perth, whose elopement created a great sensation in bygone days in the town, to whose Council her husband belonged. Let us hope this actual pair of shoes did not carry their fair owner away to a chimerical happiness from the path of duty which appeared prosaic in the face of flattery and attention from one whose position far exceeded that of the burgher’s wife.

Plate xx.

Finis.

Dancing sandals worn in the ballet by Madame Cerri, made of pink satin with pink satin ties. The soles very small, and the padded toes protruding considerably beyond them.

*** END OF THE PROJECT GUTENBERG EBOOK LADIES' DRESS SHOES OF THE NINETEENTH CENTURY ***

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

- Ladies’ Dress Shoes

- THE FULL PROJECT GUTENBERG LICENSE