The Project Gutenberg eBook of Keeping Down the Cost of Your Woodwork, by Anonymous

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: Keeping Down the Cost of Your Woodwork

Author: Anonymous

Release Date: December 10, 2021 [eBook #66920]

Language: English

Produced by: Charlene Taylor, Jwala Kumar Sista 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 KEEPING DOWN THE COST OF YOUR WOODWORK ***

Transcriber's Notes

1. Typographical errors and hyphenation inconsistencies were silently corrected.

2. For the Content, Topic-wise navigation hyper-links added at the beginning of the eBook.

3. Some images appearng "side by side in a row" in the Original, are placed to look like "one after another in serial" in the e-Book.

Keeping Down the Cost of Your Woodwork
Restful Rooms
Where First Impressions Count
The Living Room That Deserves Its Name
Making the Dining Room Inviting
Lightening Kitchen Burdens
Where You Spend Over One-third of Your Life
Here and There About the House
How You Can Obtain Restful Rooms

# Keeping
Down the Cost
of Your
Woodwork

The woodwork of your home is one of the most important
parts of its very structure

Copyright, 1923
Curtis Companies Service Bureau
Clinton, Iowa

To fireside happiness, to hours of ease
Blest with that charm, the certainty to please.
—Samuel Rogers

## Keeping Down the Cost of
Your Woodwork

> The common problem, yours, mine, everyone’s, is not to fancy what were fair in life provided it could be—but finding first what may be, then find how to make it fair up to our means.—Browning

Not so many years ago, home-builders of good taste who wished to have in their homes a background of beautiful woodwork with architectural value found it almost impossible to obtain such woodwork except by special order, at necessarily great cost. The Curtis Companies have done much to change this—to make this one thing that is “fair in life,” “fair up to our means.” The object of this booklet is to tell you how it is possible for you now to obtain woodwork of excellent design and guaranteed construction at lower cost than you could have done a few years ago.

What is meant by “lower costs?” Curtis Woodwork is not the lowest priced woodwork on the market, but it is the greatest value, dollar for dollar. You may be able to buy, for less money, woodwork that looks something like Curtis material. Cheaper material cannot, of course, have the same quality as Curtis Woodwork all the way through. We do not claim to make the cheapest woodwork on the market, but only the best. You will find that woodwork bearing the Curtis trademark represents better value, rather than lower first cost.

Design

The first element of its greater value, perhaps, is superior design. Along with a higher standard of living in general, and education in better homes and interior furnishing, there has come an increasing demand for woodwork of better proportions and pattern than are found in ordinary “stock millwork.” The Curtis Companies, led by this demand, re-designed Curtis Woodwork to make it harmonize with the newer furnishings. In this work, the authoritative help of the architectural profession was sought. The present beautiful and authentic designs of Curtis Woodwork are the work of Trowbridge & Ackerman, architects, of New York City, who are acknowledged experts in interior details of homes.

This quality of good design adds nothing to the cost, for it is just as cheap to make a good design as a poor one, and often involves less material rather than more, and simpler forms rather than more ornate ones.

Your architect will not hesitate to recommend Curtis Woodwork for your home, because it is correct in every detail, and will save him and you the labor and expense and delay of specially designed items.

“But how,” you ask, “can Curtis Woodwork be beautiful and be well made without increasing the cost?” Briefly, because it has been standardized and is produced in quantities.

Standardization

By standardization, we mean that production has been limited to those designs, sizes and kinds of wood indicated in Curtis literature. These are of sufficient number and variety to cover all needs and all types of houses, but eliminate those sizes and patterns not in demand. Thus waste is eliminated by not producing and keeping in stock material that is little called for.

The woodwork items pictured in most “millwork” catalogs as stock are seldom actually on hand; they are a collection of suggested designs which have been detailed and which will be made up upon receipt of your order. The items shown in the Curtis catalog, “Architectural Interior and Exterior Woodwork, Standardized,” are made up in quantities, and an effort is made to keep a supply on hand ready for shipment upon receipt of your order.

Quantity Production

These standardized items of Curtis Woodwork are produced in large quantities. It is easily understood that a hundred sideboards, for instance, can be produced at a much lower proportionate cost than a single one. Accurate “details” must be prepared and if these can be used again and again, a large factor in the cost of production is eliminated. In making a sideboard, no less than 19 operations are necessary. For these, intricate machines must be set and adjusted, and material prepared. This can be done in practically the same time for 100 to be run through as for 1, thus distributing the cost.

Construction

Wood is the only building material that grows. For that reason it is seldom perfect and is more subject to the action of heat or moisture than any other building material. It must be protected against damage from these elements from the time the tree is felled—during the time it is being made into woodwork in the factory, while in storage, in transit, in the hands of your painter and finisher, and even during the years that it is in your home. The construction of Curtis Woodwork takes account of these factors and minimizes the chances of your woodwork “going wrong” after it leaves our hands.

There is not space here to tell about the special construction features which distinguish Curtis Woodwork from ordinary “millwork.” Some of them are shown, however, on the following pages, in diagrams showing details of Curtis stairs, cabinet work and doors.

Workmen making more than one piece of a kind at a time soon find better ways of doing the work, and therefore make a product of better quality. Many of the special Curtis construction features have been worked out by the men in the Curtis factories because they were interested in making Curtis Woodwork the best you can buy. If they made each piece but once, the purchaser could not profit from their experience.

Deliveries

Curtis Woodwork is made in quantities and kept in stock, not only by the various Curtis factories, but by Curtis dealers throughout the East and Middle West. With this wide distribution, your order can be delivered promptly, so that your workmen need not be held up waiting for your woodwork to be made at the mill.

Guarantee

Every piece of Curtis Woodwork that you buy carries, as a final pledge of its better value, the guarantee: “The makers of Curtis Woodwork guarantee complete satisfaction to its users. ‘We’re not satisfied unless you are.’” If you believe with us that economy does not refer to money hoarded, but to money wisely spent, ask your lumber dealer to furnish Curtis Woodwork for your house, and look for the Curtis trademark upon it.

## Restful Rooms

Home is a place of rest. We seek for comfort in our homes. We mean something more than bodily ease when we speak of comfort—we must have mental rest too. And there can be no mental rest without beauty.

Beauty in the home is of two kinds, architectural and decorative. They are supplementary, and neither can be successful without the other. Rugs, lamps, furniture, pictures—these are decorative elements. Much can be done with them to make a room homelike; but to make a room truly restful it is necessary to have, also, good architectural details to form a background or setting for the decorative features. These architectural details are, in the main, articles of woodwork.

Naturally, the best source of information on the design of interior woodwork is the architectural profession. It was for that reason that the Curtis Companies sought the help of Trowbridge & Ackerman, a firm of architects nationally known for their work in interior details. They re-designed the entire line of Curtis Woodwork, giving it the benefit of their knowledge of design. The Curtis Companies give to it their six decades’ experience in the construction of good woodwork. By manufacturing it in quantities, the Curtis Companies are now able to supply the builder with woodwork of architectural character at less cost than made-to-order woodwork of indifferent design and ordinary quality.

The use of standardized forms produced in quantities does not mean in any sense the sacrifice of individuality, because there are many designs from which to choose. Individuality, as one writer puts it, is nothing more than “the best expression of one’s sense of beauty and the fitness of things, and when it is guided by the laws of harmony and proportion, the result is usually one of great charm, convenience and comfort.”

On the following pages, each of the important rooms in the average house is considered separately. These pages are commended to your careful consideration, for you will find in them many suggestions that will help you to build comfort, convenience and beauty into your home—and this means restful rooms.

## Where First Impressions Count

The exterior of every house, however simple or elaborate, is nothing more than a wall punctured with openings. If it is well proportioned, and if the openings are well spaced and well proportioned, it will create a favorable impression.

Windows having small panes with the division bars between them painted white make interesting openings. Curtis sash are ovolo-molded to match the molding of the doors and woodwork on the interior. Check rails are rabbeted, and so resist seven times as much wind pressure as ordinary check rails.

Blinds contribute color and contrast to the exterior of the house, and they make the rooms within more restful because they enable you to shut out the glaring sun without shutting out the breezes.

The construction of Curtis standard frames for windows and doors reduces coal bills and makes more comfortable rooms.

Entrance C-101

Entrance C-109

Good proportions, dignity, simplicity, are characteristic of all stock Curtis entrances, for large home or small one.

Entrance C-111

Stair C-900

Starting newels and balusters on Curtis stairs like C-900 are dowel-pinned to the solid, built-up starting tread. On stairs like C-913, the newel is tenoned to fit into a mortise in the tread. The result of such forms of construction is balustrades that are strong and stable.

Stair C-913

As the entrance is usually the focal center of the main elevation, it should be selected with care and due regard to the type of home in which it is to be used. There are more than thirty designs in the Curtis catalog.

Strangers judge your home only by those things which are seen from the outside. But you and your family have to live with the things inside. While you are pleased by favorable comment on the beauty of the exterior, you are thrilled with greater pleasure at admiration of the restful rooms within.

First impressions of the interior are usually made by the hall. In the two-story house the stair may make or mar these first impressions. On account of its size, its utility, its construction as a part of the house, and its possibilities for beauty, the stairway is of both structural and architectural importance. Beauty depends not upon large-sized members, but upon graceful lines, good proportions and finely molded parts. In the entrance hall, French doors also add to the favorable impression which your home makes. They keep out sounds and drafts but do not shut out light between rooms.

A feature of Curtis stair construction which saves time for the carpenter is the “housing” of the wall stringers. The treads and risers, which are tongued-and-grooved together as shown above, on the right, are WEDGED into the housing, not nailed. This is the most satisfactory stair construction that has so far been devised to eliminate creaking and “giving.” This picture is taken from the under side of the stair.

Inter-Room Opening C-535]

Face stringers (top picture) are tenoned to fit into mortises in corner and angle newels, and are secured on the inside by means of cleats. Balusters (bottom pictures) are dovetailed to the treads, then the nosing and molding are applied.

## The Living Room That Deserves Its Name

With such Curtis Woodwork as mantels, bookcases, inter-room openings, wall paneling and ceiling beams as a background for the living room, its furnishing is greatly simplified and it is easy to make it a room deserving of its name.

Don’t consider for a minute doing without a fireplace. The cheer it brings to the family circle, especially at Christmas time, is in itself quite worth its cost. A hearth fire takes the dampness out of the atmosphere in early spring and late fall, when the furnace is not going, and so saves coal bills. The fireplace is valuable as a means of ventilation, too. It is the center of interest in the living room, and should be dignified and beautiful. Many beautiful mantels of architectural merit are shown in the Curtis catalog, for houses of all types.

Bookcases in the living room and library combine both architectural and decorative value to a greater degree, perhaps, than does any other one detail. The decorative value of books can hardly be overstated. Curtis bookcases are designed as an integral part of the house. They may be had in various sizes to fit your needs. There are some with beautifully fluted pilasters and others of plainer design but fine proportions. Either type may be had with or without a drawer-pedestal.

Sometimes bookcases are used in combination with a permanent seat, as for example around a window, and the recess thus produced can be made very alluring. Permanent seats also utilize many otherwise unused corners and nooks. They have hinged tops and so can be used for storing miscellaneous household articles.

Paneling is an attractive wall treatment for many homes. The wall may be entirely covered with well proportioned and carefully molded wood panels, or it may be marked off into rectangles with a simple molding—which is known as “French paneling.” Paneling may be used in other rooms of the house also. Often it is accompanied by beamed ceiling, but ceiling beams can also be used without paneling, if you wish, and give character to a room. They can be used to modify the proportions of the room. They lend an interest to the interior that it might not otherwise have. The Curtis catalog shows wall panelings and ceiling beams of various designs.

In a small house, the rooms can be given the appearance of greater size if inter-room openings are used instead of doors. These wide portals throw the rooms together and permit larger vistas. They may have simple paneled buttresses, or they may contain bookcases, desks, or cabinets that take up very little more floor space than would the partition. In either case the newest and best Curtis designs have columns extending all the way from floor to ceiling.

In permanent furniture the tongue-and-groove mitred joint is used wherever practical. Note the differences between this construction and the common butt joint. With the former, no nails are used that mar the finished surface of the cabinet, and there is no incongruous contrast between edge and flat grain wood at the corners. Such a joint cannot open up as a result of humidity and temperature changes in the rooms.

All but the smallest drawers in Curtis permanent furniture are made with dovetailed corners that cannot pull apart. They operate on slides (A), which prevent wobbling and binding. The laminated drawer bottoms are set into grooves in the sides and ends of the drawers. The bottoms cannot shift about.

The mortise-and-tenon joint is used in the face of cabinet work and in the stiles and rails of doors.

## Making the Dining Room Inviting

In no room of the well-planned home is there greater opportunity for good taste in woodwork than in the dining room. The room itself may be attractive before furniture or drapery or carpet has been put in place.

There must be, of course, a sideboard or buffet or perhaps a corner china closet or a pair of them, in which to keep the china and silver and linens. All of these may be had in Curtis built-in furniture of excellent design and proportions, decorative in themselves and as a display of handsome table-ware. They may be built into a recess, or set out into the room. They come in different woods, suitable for the finish that will best harmonize with your other woodwork or furniture. There is a wide variety of sizes and types.

Sideboard C-710

“Built-in furniture is very good in a small room, because it takes and keeps its place as a part of the wall and increases the floor space. It is advantageous in a room of great size, because it then becomes of architectural importance, and may be of great decorative value in mass and color.”

—The Honest House

China Closet C-703

Buffet C-717

Curtis veneered doors have stiles and rails built-up as shown in the section above. “C” are blocks of California white pine which are tongued-and-grooved and glued together. They will not warp and they are light. “B” are strips of hardwood which form the edges of the stiles and rails and into which the molding is cut on Curtis ovolo-molded doors. “A” are strips of veneer which are secured to the white pine core by means of waterproof glue. Thus a door is produced with all the beauty of grain of hardwood, combined with the lightness, non-warping, non-checking characteristics of solid softwood doors.

Curtis Standard Trim C-1620

A fireplace here is less essential than in the living room, but if you can include one, it contributes to the spirit of hospitality and cheerfulness which should characterize the room. Choose for it, from among the Curtis standard designs, a simpler mantel than that in the living room.

In a large room, beamed ceiling and wall paneling are impressive. In a dining room of any size, wainscoting is always appropriate and effective, and when you consider how easy it is to clean, and the fact that it never needs renewal, it is an economical wall treatment as well.

One of the important things about the background of the dining room—as of every other room in the house—is the choice of doors, windows and trim. These you must have, and on account of their number, they may do much to improve or to destroy the effect of the whole interior scheme. If you choose Curtis doors—whether they be veneered or solid, whether with raised panels or flat ones, whether with delicate moldings or of Puritanical simplicity—you will have doors of correct proportions and guaranteed construction. The same is true of Curtis windows and casements. The trim around windows and doors offers a splendid opportunity for a choice between molded or plainer Curtis patterns.

Interior Door C-300]

Above are shown the two different kinds and patterns of standard moldings on Curtis doors, the “ovolo” and the “flush”. The former is cut on the stile or rail; the latter is a separate piece that is applied, being nailed to a spline, not to the panel, with the result that when the panel shrinks the molding will not be pulled away from the stile or rail. Note the panel thicknesses, too. Solid raised panels are shown. In doors 1-3/4-inch thick these panels are 1-1/8-inch thick, while on 1-3/8-inch thick doors the solid raised panels are 9/16-inch thick. The same depth of “reveal” is therefore presented in every door. Solid flat panels in 1-3/4-inch doors are 7/16-inch thick; in 1-3/8-inch doors, 5/16-inch thick. Laminated or 3-ply panels are always 5/16-inch thick.

Interior Door C-305

## Lightening Kitchen Burdens

Combination Kitchen Dresser and Worktable C-760

Much can be done toward lightening kitchen burdens by proper placing of the furniture and equipment. The character and location of dresser, worktable and ironing board must be carefully considered. In the illustration above, one end of the kitchen is so arranged that most of the work can be done there, within a few steps. Regardless of the width of the kitchen, there are units of Curtis permanent furniture for this room that can be employed to form a similar arrangement. Some Curtis dressers are two doors wide, others three; some have a top section extending clear to the ceiling; others do not. Any cabinet can be supplied with either glass or panel doors in C-718, shown here, the kitchen dresser is combined with the dining room sideboard, with sliding doors between.

Kitchen Worktable C-763 (at left)

Hingeless, removable flour bins are used in Curtis kitchen dressers and worktables. They will not fall out. Beneath the front lower edge of worktables space is left for the toes of the person working at the table, enabling one to get up close without discomfort or scuffing the shoes.

Combination Sideboard

Sliding doors separate the countershelves in design C-718. The doors slide on rollers and are guided by a pin which operates in a groove in the bottom edge.

and Kitchen Dresser C-718

There are several different types of worktables in the Curtis catalog. One of them is shown in the large illustration on page 12; another is shown at the bottom of that page. Bins, drawers and cabinets utilize the space beneath the table top. Like Curtis dressers, they are made with “toe-room” for the convenience of the worker. Perhaps a corner of your kitchen can be used for a dining alcove, or a breakfast table that folds into a wall cabinet when not in use, such as are shown on page 15.

There should be a built-in ironing board in every kitchen. It is protected from dust, is completely out of the way and is always ready for use. This board is as easily installed in an old home as it is in a new house.

Any item of Curtis permanent furniture can be installed in a house already built with practically as little trouble as in a new house.

Curtis permanent furniture in the kitchen does much to shorten the working hours of the women of the household. It saves time, steps and a great deal of hard work, leaving the housewife better able to enjoy her family than when she is tired out from heavy kitchen burdens.

Ironing Board C-770. Above you see the construction of the Curtis built-in ironing board, which makes it adjustable in height. At the extreme left is the board in place; at the immediate left, the board in use; at the right the board is shown sustaining a weight of 365 pounds. The sturdy construction of the board and its leg makes a stable ironing board. The above construction is such that the board cannot shift endwise with the motion of the iron.

## Where You Spend Over One-third of Your Life

Did you ever stop to realize that you spend more than one-third of your life in your bedroom? This, indeed, should be a restful room! Curtis hanging closets, dressing tables, window seats, tray cases afford compact, accessible places to put away personal belongings, and economize floor space, making even a small bedroom spacious. There are dressing tables of two sizes, both with adjustable side mirrors and a fascinating little bench. The tray cases have sliding, open-end trays of various sizes and are enclosed by one of the regular interior doors, so that the room may always be neat. The hanging closet includes shelf, hanger-rod and shoe rack, and has a raised floor that makes it unusually easy to clean. The dressing table, tray case and hanging closet may be used in any combination, and may be installed in a house already built, if you wish.

Bedroom slat doors are invaluable, especially in warm weather, to increase ventilation while maintaining strict privacy.

Near the bedrooms and bathroom, a Curtis linen case is indispensable.

Bedroom Slat Door C-330]

Dressing Table C-810, with Hanging Closet and Tray Case

Linen Case C-813

## Here and There About the House

Dining Alcove C-740. If you are planning a small house, a dining alcove will save you the space of a larger dining room; or it can serve as the family dining room in the larger house, when it will save housework and make the serving of simple meals a great deal easier.

Many an old house can be made more livable and many a new one insured greater appreciation by adding one or two features here and there that may perhaps not be necessities, but which will make the home more beautiful, cheerful or convenient—make it more of a home. Such things as a bay window, a dormer, a dining alcove, built-in tables, radiator enclosures, hanging china closets, and medicine cabinets are among these.

A bay window is a delightful addition to any room. It affords a view up and down the street that an ordinary window does not allow, and also takes advantage of sunlight and breezes from three directions. A dormer may supply light and air for some unused space in the attic and add interest to the roof lines.

Curtis radiator enclosures with iron grills solve a perplexing problem in an attractive manner. A hanging china closet takes up no floor space, and is more appropriate and decorative than a picture.

Medicine Cabinet C-816

Hanging China Closet C-731

A built-in table (shown in the two middle pictures) is the very thing for the apartment kitchenette, because it affords a table for dining and so leaves the regular living room table undisturbed. A table such as this will also make an excellent supplementary work place in the larger kitchen.]

Built-in Table C-741

Radiator Enclosure C-819

## How You Can Obtain Restful Rooms

Not long ago, the only way the builder of the small house could obtain such things of beauty and comfort as those described on the foregoing pages was to have his lumber dealer order them from his manufacturer, made to the architect’s special details. This was a very expensive process, so expensive, in fact, that as a result of it architects’ services were largely slighted, and consequently, builders obtained uninteresting, ill-proportioned woodwork that could not possibly produce restful rooms.

The Curtis Companies have changed all this. Architectural authorities have designed practically every item of Curtis Woodwork. You can buy this architectural woodwork for what you would have to pay for mediocre designs made-to-order.

Go to your dealer and ask him to show you his Curtis catalog. It will give you specific information concerning sizes and other details. Selecting your designs of woodwork from the Curtis catalog is one of the safest steps you can take toward obtaining restful rooms. Look for this trademark

It identifies every genuine piece of Curtis Woodwork. You will find many imitations of Curtis designs and some that are claimed to be just as good. But without this trademark you do not receive Curtis quality—an intrinsic value that unites appearance, utility and Curtis intent.

CURTIS COMPANIES SERVICE BUREAU CLINTON, IOWA

Representing the following manufacturing and distributing plants:

Curtis Bros. & Co. |  | Clinton, Iowa
Curtis & Yale Co. |  | Wausau, Wis.
Curtis-Yale-Holland Co. |  | Minneapolis, Minn.
Curtis Sash & Door Co. |  | Sioux City, Iowa
Curtis, Towle & Paine Co. |  | Lincoln, Neb.
Curtis, Towle & Paine Co. |  | Topeka, Kans.
Curtis Door & Sash Co. |  | Chicago, Ill.
Curtis Detroit Co. |  | Detroit, Mich.
Curtis Companies Incorporated |  | Clinton, Iowa

Sales offices of Curtis Companies Incorporated located in

Pittsburgh, Pa. New York, N. Y. Baltimore, Md.

Rogers & Company, Chicago and New York

*** END OF THE PROJECT GUTENBERG EBOOK KEEPING DOWN THE COST OF YOUR WOODWORK ***
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.