The Project Gutenberg EBook of How to Make a Shoe, by Jno. P.  Headley

This eBook is for the use of anyone anywhere 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


Title: How to Make a Shoe

Author: Jno. P.  Headley

Release Date: April 7, 2008 [EBook #25013]

Language: English

Character set encoding: ISO-8859-1

*** START OF THIS PROJECT GUTENBERG EBOOK HOW TO MAKE A SHOE ***




Produced by David Wilson and the Online Distributed
Proofreading Team at http://www.pgdp.net (This file was
produced from images generously made available by The
Internet Archive/American Libraries.)







[p1]
How to Make a Shoe.

BY
JNO. P. HEADLEY, Jr.

WASHINGTON, D. C.


ALL RIGHTS RESERVED.


GIBSON BROTHERS, PRINTERS.
1882.

[p2]
Entered according to act of Congress, in the year 1882, by
Jno. P. Headley, Jr.,
in the Office of the Librarian of Congress, at Washington, D. C.


[p3]
Shoemakers are known both far and wide,
As men who always cut up side
Horse sometimes, also cow leather,
To meet the changes in the weather.
Sheep and goats are often slain;
Both unite to make it plain
That sheep is used for lining nice,
When goat alone would not suffice;
Just so with calf as well as kid.
Some use these linen-lined,
And think it quite the best, for those
Who feel themselves refined.
Refined or not, we think it true
Our feet need some protection;
To do whate’er they have to do,
We make our own selection.
Select at all times the best we can,
Both of shoemakers as well as shoes,
This is much the better plan,
And learns us how to choose.

[p5]
INTRODUCTION.

The Author of the book in hand, having passed through the various scenes through which he would accompany his readers, was prompted to make this offering to the craft and the public in order to relieve his mind of the thoughts had upon the subject of making shoes, as well as to contribute something of a literary character which, in the broad range of possibilities, may become useful as a text-book, or family-book, for those who may feel interested in making or wearing shoes, and perhaps lead to something better. Realizing the imperfections and shortcomings of the human family, to some extent at least, no claim beyond that which you are disposed to put upon it is held, so that any communication will be gladly received and noted. This opportunity is also taken to express thanks for some valuable suggestions from the U. S. Bureau of Education, and others, concerning the publication of this little volume, and in its present shape you are invited to read and make the best use of it you can.

Author.

[p6]
Measuring the length of the foot


[p7]
The subject, seated on a chair,
One knee the other to rest,
Has his measure taken fair,
The foot at ease is best.
The Artist views the foot,
And straightway takes the length,
By measuring it from heel to toe,
His size brings content.
From twelve to eighteen inches long—
This stick has many sizes;
Three to the inch is now our song,
Subject to compromises.
Some feet have long toes behind—
In the language of the craft;
These are not so hard to find,
And oft to us been waft.
Our Artist here will best succeed,
If a little head he can measure,
For out of that comes very much
To make the feet a treasure.

[p8]
Measuring around the heel


[p9]
Next, around the heel a strap we bring,
To the centre of the curve,
A leather or linen strap is used,
And don’t affect the nerve.

The marks on this an inch represents,
Also fractions of inch preserved;
When made complete it then presents
An appearance well deserved.

Around the heel, I’ve already said,
But that is not quite so;
For around in part and through instead
Will make it more the go.

Now let us here make up our minds,
If this trade we would study,
That the craft is subject to many fines
If the subject gets very muddy.

[p10]
Measuring the instep


[p11]
With strap in hand the instep measure—
Be sure you get it right;
For at this place some have a treasure,
Which prompts them oft to fight.

A little lump we will it now call,
Not knowing the exact name of it;
Nor let our strap the least bit fall,
But measure just above it.

When we’ve done this, and done quite well,
Another move will follow,
Which takes us nearly on the ball,
And brings us from the hollow.

[p12]
Measuring the ball of the foot


[p13]
From the hollow now we’ve just come out,
With strap in hand to take
The measure neat, near on the ball,
So that our fits won’t shake.

If they should shake the remedy comes,
A false sole we do make,
To please our subjects at their homes
The soles we there do take.

Onward now the way we press,
And move along just so,
Until we reach the part well known
To be the toe, the toe.

[p14]
Measuring across the toes


[p15]
This is the place of which folks do talk,
If there is any pressure,
Because they cannot easy walk,
The shoey missed the measure.

Just below the ball, across the toes,
Is where we next are found;
For there is nothing worn like shoes
When used upon the ground.

From here we feel like soaring higher,
And soon get at the ankle,
Which must be fit to suit the buyer,
Thus avoiding any wrangle.

[p16]
Measuring the ankle


[p17]
The ankle reached, we then with care
Measure neat and true;
If anything is noticed there,
’Twill surely be the shoe.

That notice is just what we want,
From that we get our living;
And if we make a miss on that,
It might be past forgiving.

From toe to ankle we have come,
With an uncertain height,
And with the measures we’ve put down
Will now add that right.

[p18]
Measuring the height


[p19]
To have the height right is our aim;
Some like shoes high, some low;
But to have them fit is all the same,
And this we try to show.

Some in one way, some in another,
These measures have been taken,
Until we have them all together,
We should not try to shapen.

To work now by our measure marked
Will be our constant aim;
A pattern must be cut—
To start with that is plain.

But plainer still the shoe will be
From the pattern we shall cut,
Because we think you’ll all agree
What’s opened should be shut.

[p20]
Patterns


[p21]
Before our eyes the patterns come,
The shapes are clearly seen,
A vamp and quarter, with a tongue,
Worked just in between.

A stiffening of sole has found its way,
And asks that it be shown,
In order, at some future day,
Its use might be made known.

The parts, you see, stand thus alone,
But have a close relation;
Because these parts must all be shown
To keep their proper station.

One part not seen, in shape the same,
Is cut and called the lining,
Upon which each quarter must be placed—
We’ll not stop here defining—

[p22]
The lining


[p23]
But show in this cut, if you please,
The lining a little larger,
With the quarter pasted on it smooth,
If not there’ll come a charger.

The vamp, also, has been changed,
Only one-half appears,
The cause of which can be explained
In less time than number years.

When we the lower corners take,
And match them well in fact,
The centre we at once do make,
Which guides the following act—

[p24]
Joining quarter and vamp ready for sewing


[p25]
The act of uniting quarter and vamp,
With paste or cement for sewing,
Is done with care, as in this cut,
The fitness of things is showing.

The centre mark on the vamp we’ll use,
To get the quarters placed best,
By putting the vamp upon the two,
One-half inch above to rest.

One end is reached, but not the last;
This end from flax or cotton
Is made by some men very fast,
If the flax is not too rotten.

[p26]
Rolling the thread


[p27]
The work which we have now passed through
Could all be done by standing,
Having a board to cut upon,
And one the paste commanding.

But now we wish the scene to change,
And begin the ending act;
Which comes first to him who would arrange
The threads, indeed, intact.

We roll the thread upon our knee,
To untwist and break with ease,
And place the cords, one, two, and three,
So that the points are formed, if you please.

[p28]
Forming points with cords


[p29]
By having the points one below the other,
The thread kept free from a knot,
We will avoid whate’er there is to bother,
While the past may be forgot.

We will let that be just as it may,
If wrong we’ll try and mend it;
For surely there will come a day
When after awl we’ll send it.

[p30]
Twisting the thread


[p31]
With the thread arranged, as we’ve described,
Twisting is quite in order;
The figure now shows us a how
To twist it hard and harder.

When one side is twisted hard enough,
We simply take the other,
And do the same thing over again,
So that the threads are worked together.

Before the ends are entirely free,
One thing around us lingers,
We take the thread, three or two in one,
Around our left-hand fingers.

[p32]
Milling


[p33]
A large round awl is just the thing,
To do what we call milling;
Two or three trips are sure to bring
From fingers to foot the filling.

Now our thread is very smooth,
But we try to make it smoother,
By using a piece of cloth to rub,
When done, free all together.

Something now is sought that sticks,
Commonly known as wax;
And often one gets in a fix
When he finds it with the tacks.

[p34]
Waxing the thread


[p35]
But wax, not tacks, is what we want,
To make our thread quite nice;
We catch it in the middle,
And to the end wax thrice.

Each time waxing briskly,
Not stopping on the way,
For if we do we’ll miss it,
And perhaps will have to stay.

Our wax should be in season,
Soft wax in winter use—
Hard wax in summer—reason,
Holding together our shoes.

[p36]
Making a fine point


[p37]
A fine point now we’re about to make;
This part should be waxed better,
So that the bristle we may take,
Shall stick like the stamp of a letter.

We’ll stop here about the thread,
To take a little whistle,
Until we find a pair to suit,
Then begin to bristle.

[p38]
Preparing the bristles


[p39]
The bristles with care have been selected,
In keeping with the thread,
In this case we feel protected,
Because the hog is dead.

From Russia, we are told, the best bristles come,
But cannot tell you why,
The hairs upon our hogs at home
Are not so good to buy.

[p40]
Joining thread and bristle


[p41]
The union of thread and bristle, now,
Will keep us to our text,
For from this you’ll no doubt see
What is coming next.

The bristle is split a little o’er half way,
In the left hand has its place,
Between the finger and thumb to play
An important part in the race.

One-half over the forefinger you see,
Held in place by the next,
The thread and bristle both agree
To be thus placed is best.

Do not split but roll it on,
Some have said and done,
By waxing the bristle where the other is split,
And continued from sun to sun.

[p42]
Twisting the thread


[p43]
Now either way to start will do,
As much depends on twisting,
The hairy part is left for you
To make sort of whisting.

Back to the scene from whence we came,
With our end in place to hasten,
Make a hole quite through the thread,
The point pass through and fasten.

[p44]
A crooked awl


[p45]
So much about the bristle said,
No doubt you’ll think it strange
That needles are not used instead—
Some have tried the change.

They may be used with good effect,
In sewing through and through;
But when we use a crooked awl,
The bristle stands by true.

[p46]
Finding the middle


[p47]
One more remark about the end
We thus have kept in view,
To find the middle is the thing
Now left for us to do.

Not very hard, but easy quite;
In the left hand even joints—
The right hand holding the other end,
This fills up all the points.

[p48]
Clamping


[p49]
Another change in things takes place,
This time the clamps appear;
Between the knees they run their race,
And hold the upper dear.

The vamp and quarters as they were pasted,
Are seen now in their place;
The vamp extending above the clamps,
With the quarters easy to trace.

Begin to sew at extreme end;
Put left-hand bristle first in;
Across the vamp our sewing extend,
Two rows that may be seen.

[p50]
Sewing the quarter


[p51]
This nicely done, just change a little;
The position is clearly seen
When we have this quarter stitched near the back,
Say half inch in between,
Pull through one thread and tie it tight,
On the inside to be left;
Begin to sew the other quarter,
Close at the vamp is right.

[p52]
Sewing


[p53]
Sew to the back, and then begin
Another row up the front;
Sew to the top, ’twill be no sin,
But the doing of what is wont.

These rows, half an inch apart,
Will serve the present state,
Because now we have a splendid start,
And getting on first rate.

Then down the front on the other side,
To the vamp be sure to go;
Never allow your work to slide,
But take it out just so.

[p54]
Trimming the back seam


[p55]
The front is sewed, the back is not,
But it will be very soon;
This must never be forgot,
As it takes up part the room.

The out-sides together at the back are seen,
As we are about to sew
A little strip, put in between,
To make it stronger grow.

Down to the bottom we’ll sew the way,
Until it is complete;
Then trim the seam, and rub it well
With a bone found on the seat.

[p56]
Whipping down the leather


[p57]
You will observe the back is changed,
The linings are together;
This can be quite well arranged
By whipping down this leather.

Either whipping over and over, or through and through,
Just as the case may be;
Neither way is very new
As we may clearly see.

But we should do it, and rub down flat,
For now the time has come
When we have had enough of that,
And our upper is near done.

[p58]
Stitching the top of the back


[p59]
The upper has now its right side out,
“Right-side out with care;”
A little stitching at the top of the back
Will make it look quite fair.
We stopped stitching, you remember well,
Before we reached the back,
When on the quarters we did dwell,
And left a vacant track.

[p60]
Finishing the upper


[p61]
That track now is filled up well,
Yet we do hold it fast,
Knowing that a time will come
To put it on the last.

Before that time is reached, however,
The eyelets, bear in mind,
Should each be put in proper place,
So that the holes we find
Will let the strings pass easily through,
When punched and set in straight;
We have now the upper for our shoe,
Do try and make the mate.

[p62]
The completed upper


[p63]
This upper completed by the past,
Has made it much a treasure,
For we must also have a last,
And fit it up to measure.

Since we have kept our seat so long,
A change may rest our back;
So at the bench we’ll take our stand,
Close by our friend, the jack.

The Bailey jack is the name of this
One, screwed down upon the post;
For general use it will not miss,
But serve our end the most.

[p64]
At the bench, checking the last


[p65]
Lasts are made of many woods,
Of ash, of oak, and maple;
Well seasoned is this stock of goods,
Some kinds are very staple.
Some are made with iron plates,
To clinch the screw or nail,
But when we would a peg shoe make,
To use these plates would fail.
Made, also, for men and boys,
Women and girls, for each
Has on this art a special claim,
Their feet to train and teach.
To dwell here longer would not do,
The last we want’s in the hand;
We’ll measure the same as we did the foot,
And thus our trade command.
The length, you know, is measured first;
Two sizes added on
Will make the toe so comfortable,
We should like to sing a song.

[p66]
Checking the heel measurement of the last


[p67]
The heel we reach in perfect order,
And leave the measure neat;
Some shoes are made which look much broader
When put upon the feet.

[p68]
Checking the instep measurement of the last


[p69]
The instep now we see again,
And measure as before,
One-half inch off will answer us,
No less, and not much more.
For if we do we are apt to find
The place where shoes do pinch;
Across the ball we’re now inclined,
Still measuring by the inch.

[p70]
Checking the measurement of the last around the ball of the foot


[p71]
This is at times a tender spot:
Bunions develop there;
And when they do ’tis not forgot,
We may be e’er so fair.
One-quarter size we leave off here,
As on our way we go,
Travelling on, without a fear,
Until we reach the toe.

[p72]
Checking the toe measurement of the last


[p73]
Another quarter we would say,
At this point we may drop,
For we are now quite far away
From the ankle and the top.

But further yet, we are bound to go,
The bottom must be reached,
Where soles are made and often saved,
’Though the saver be impeached.

The last we put upon a side
Of white or red sole leather,
And mark with knife, or pencil wide,
The parts of sole together.

The parts are known, each one defined,
Inner and outer sole;
A middle one, when we are kind,
Lifts and shank piece make the whole.

[p74]
The inner sole pegged to the last


[p75]
The inner sole on the last is put,
The pegs just where you see
Keep the sole where it belongs,
In order to agree.

The edge is bevelled from heel to heel;
The mark across the breast
Shows us when and where we may
Take a little rest.

[p76]
Placing the upper over the last


[p77]
The upper straight upon the last,
With the seams appearing right,
The stiffening smooth just at the back,
Will draw upon our sight.

This should be done when we begin
To draw the upper over,
So that the last in all its parts
Shall have a proper cover.

[p78]
Drawing the upper over the last


[p79]
Draw steady, until we have it close
At the heel and at the toe;
If these parts should be too loose
It would nearly spoil the shoe.

Draw steady, or you’ll make a crack,
Which will there remain;
Perhaps may cause us to go back,
And do it over again.

[p80]
Fastening the upper to the sole


[p81]
The upper, in the way described,
Drawn gently at the toe,
We hold it down with our left thumb,
While a peg we try make go.

On either side of the toe now work,
And in the same way fasten
The upper down upon the sole;
To the heel we now must hasten.

[p82]
Tacking the upper at the seam


[p83]
Let the upper at the seam
Have now a secure tack;
The stiffening, all straight in between
The lining and the back.
Be sure you get the lining smooth,
The part inside the shoe;
If it is not, you may sometime
Have a thing to make you blue.

[p84]
Closing the front


[p85]
Now put the shoe upon the bench,
In the way shown in the cut;
And with a string and button
Use care to close the front.

We no doubt now do see the thing
Taking on a shape,
Which, in the end, will surely bring
Us clear out of the scrape.

[p86]
The shoe now placed on the jack


[p87]
The shoe is now placed on the jack;
A hole, for the pin in the last,
Serves to keep the same intact,
While the toe piece holds it fast.

Now at the breast, draw over outside,
Close upon the sole;
Take your time, for something’s gained,
While filling up the hole.

The awl, you see, should not be large;
In lasting use small pegs;
Just drive them through the inner sole,
No danger of your legs.

[p88]
Using the thumbs while lasting


[p89]
We will now note the difference:
The inside shank is longer;
If we would last it very smooth,
We must pull all the stronger.
The thumbs at this are very clever,
When their part is nicely played,
Serving as a splendid lever,
While working in the shade.

[p90]
Lasting the inside ball


[p91]
We are now at the inside ball
Be careful not to scratch it;
When in position we are found
We are more apt to catch it.

When this we’ve caught, and feel safe to leave
For the other side,
We’ll find the heel where the toe has been,
By this we must abide.

[p92]
Lasting the upper at the toe


[p93]
Everything quite in its place,
The future for us yet;
Let’s last the upper all around,
’Till at the toe we get.

Still using awl in pincer hand,
Alternating endly,
For at this post we’ve taken stand
To grow up very friendly.

[p94]
Crimps at toe and heel


[p95]
The toe has crimps, some in the heel;
The first is more important,
Because the toe is always seen;
If rough becomes discordant.

These crimps are made from left to right,
And right to left we go;
Then scallop them, when to be pegged,
Not so when it we sew.

[p96]
Shank piece


[p97]
The shank piece in, the bottom filled,
With crimps cut as was said,
Already for the middle sole,
Which forms an even bed,
On which we lay the outer sole;
The thing we look for next,
Is moulded near the upper close,
And comes quite near our text.

[p98]
Middle sole


[p99]
The middle sole will make us have
A better understanding,
And help protect our feet from frost,
While we the trade commanding.

A strap is used around the foot,
The shoe upon the knee;
To mould the sole, as we have said,
These parts should all agree.

[p100]
Marking the sole for pegs


[p101]
When moulded good, edge full from last,
Trim the sole prepared;
Then make a line for pegs to go,
For in this we have shared.

We to our old friend jack make haste,
With our awl and hammer bright;
Begin to peg on the line we’ve marked—
Six to the inch is right.

[p102]
Pegging the sole


[p103]
Two rows around, just in between,
Each other they are put;
Use them long enough to go clear through,
But save them from the foot.

The awl-hand picks up the pegs,
The hammer-hand now takes,
Between forefinger and the thumb,
And for the hole it makes.

By repeating this we soon shall have
Our work ready for a lift;
But first, smooth pegs and trim heel-seat,
Or we’ll move along too swift.

[p104]
Building the heel


[p105]
The first lift on, we’ll leave it full,
Making the centre level;
With our knife in hand, not very dull,
We are prepared to bevel.

In this way the heel is built,
One lift upon the other;
Pegging each will add no guilt,
But save our subject bother.

Piece by piece, until we stop
At the proper height;
A solid piece used for the top
Will make it finish right.

[p106]
Heel and sole nailed


[p107]
Nails are driven, both iron and steel,
Around the top, in mind,
And on the outside some prefer
A few more nails to find.

Hammer solid both heel and sole
Level as it can be;
Whittle the heel down to a size
Close to the nails you’ll see.

[p108]
Using the heel-shave


[p109]
The heel-shave is a tool so good,
To smooth the heel up nice;
For when around it you have gone,
Its work will here suffice.

Cut down the breast, make it square,
Sand-paper it, if you please;
Then change position very fair,
And done with perfect ease.

[p110]
Taking out the welt with a knife


[p111]
Take out the welt with a knife to suit,
Do not cut the upper;
This same thing is done to the boot,
And neither has to suffer.

These tools are bought in stores,
Known to the craft as “finding;”
Some are here from foreign shores,
Which serve us a binding.

[p112]
Trimming the edge


[p113]
A small knife take, and trim the edge
From the heel, around the toe,
Down to the heel on the other side—
Our shoe begins to show.

The bottom buffed, all but the top,
Sand-paper all, now, we think;
Just mark a place across the shank
To be blackened well with the ink.

[p114]
The finished bottom


[p115]
The bottom in this shape has come,
And looks as if we’ve parted;
But that’s not so, as we well know
We are nearer than when we started.

The ink when burnished with hot kit
A little heel ball is the thing
To use, so that it will be fit
To put upon a king.

[p116]
Burnishing the heel


[p117]
Our jack and company seen again,
The last time for the present;
To part, perhaps, will give us pain;
Perhaps be very pleasant.

A burnisher for the heel, behold!
Use briskly when we finish,
For this tale is nearly told,
Its parts seem to diminish.

Many parts have made the whole,
Some parts are much effected;
But when the parts are whole in one,
They do become respected.

[p118]
Finished shoe


[p119]
The end is reached, we trust all safe,
After quite a travel;
Though the road was rough from place to place,
The thread did not unravel.

J. P. H., Jr.







End of the Project Gutenberg EBook of How to Make a Shoe, by Jno. P.  Headley

*** END OF THIS PROJECT GUTENBERG EBOOK HOW TO MAKE A SHOE ***

***** This file should be named 25013-h.htm or 25013-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/2/5/0/1/25013/

Produced by David Wilson and the Online Distributed
Proofreading Team at http://www.pgdp.net (This file was
produced from images generously made available by The
Internet Archive/American Libraries.)


Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions 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 with public domain eBooks.  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
http://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 in the public domain 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 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

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (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 Michael
Hart, 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
public domain works 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 F3.  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 MERCHANTIBILITY 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, is 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 web page at http://www.pglaf.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.  Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising.  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 located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., 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
[email protected].  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     [email protected]


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 http://pglaf.org

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: http://pglaf.org/donate


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

Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For thirty 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 Public Domain 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:

     http://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.