summaryrefslogtreecommitdiff
path: root/30983.txt
diff options
context:
space:
mode:
authorRoger Frank <rfrank@pglaf.org>2025-10-14 19:54:53 -0700
committerRoger Frank <rfrank@pglaf.org>2025-10-14 19:54:53 -0700
commitba263ad415cc9e1aa459ba05a47366940742435b (patch)
tree6ce456fb58abf2ffce6db5cb3db11d98f1c3f511 /30983.txt
initial commit of ebook 30983HEADmain
Diffstat (limited to '30983.txt')
-rw-r--r--30983.txt2061
1 files changed, 2061 insertions, 0 deletions
diff --git a/30983.txt b/30983.txt
new file mode 100644
index 0000000..60f619c
--- /dev/null
+++ b/30983.txt
@@ -0,0 +1,2061 @@
+Project Gutenberg's Knots, Bends, Splices, by J. Netherclift Jutsum
+
+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: Knots, Bends, Splices
+ With tables of strengths of ropes, etc. and wire rigging
+
+Author: J. Netherclift Jutsum
+
+Release Date: January 16, 2010 [EBook #30983]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK KNOTS, BENDS, SPLICES ***
+
+
+
+
+Produced by Al Haines
+
+
+
+
+
+
+
+
+[Illustration: Cover]
+
+
+
+KNOTS,
+
+BENDS, SPLICES,
+
+
+WITH TABLES OF STRENGTHS OF ROPES, ETC.,
+
+AND WIRE RIGGING.
+
+
+
+BY CAPTAIN JUTSUM, CARDIFF.
+
+
+_Revised and Enlarged._
+
+
+
+[COPYRIGHT.
+
+
+
+GLASGOW:
+
+The Nautical Press,
+
+JAMES BROWN & SON,
+
+NAUTICAL AND ENGINEERING PUBLISHERS.
+
+1914
+
+
+
+
+INTRODUCTION.
+
+The object of this little work is to present in a compact form and
+systematic order a complete list of all the most useful and important
+workings connected with Cordage, and a lucid explanation of their
+various formations.
+
+The explanations of some of the elementary knots have been gone into
+with what a practical seaman of even short experience may consider
+almost unnecessary minuteness, but the aim throughout has been to
+render the work of value to those who approach the subject for the
+first time.
+
+To attain this end, diagrams are introduced at every stage, and if
+followed closely step by step, in conjunction with the text referring
+to them, the learner should have no difficulty in following their
+construction.
+
+At the same time he must remember that proficiency in what is really
+skilled workmanship, amounting almost to an art, can only be gained by
+much practice and perseverance, and should gladly avail himself of any
+advice or help he may be able to obtain from his more experienced
+ship-mates.
+
+J. NETHERCLIFT JUTSUM.
+
+
+
+
+{v}
+
+CONTENTS.
+
+ PAGE
+
+The Construction of Ropes . . . . . . . . . . . . . . . . . . . 1
+
+Common Whipping, . . . . . . . . . . . . . . . . . . . . . . . . 3
+
+Knots, etc., formed by a Single Rope's-end--
+ Overhand Knot . . . . . . . . . . . . . . . . . . . . . . . . 5
+ Figure of 8 . . . . . . . . . . . . . . . . . . . . . . . . . 5
+ Simple Clinch . . . . . . . . . . . . . . . . . . . . . . . . 5
+ Running or Inside Clinch . . . . . . . . . . . . . . . . . . . 6
+ Outside Clinch . . . . . . . . . . . . . . . . . . . . . . . . 7
+ Buntline Hitch . . . . . . . . . . . . . . . . . . . . . . . . 7
+ Bowline . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
+ Running Bowline . . . . . . . . . . . . . . . . . . . . . . . 9
+ Half Hitch . . . . . . . . . . . . . . . . . . . . . . . . . . 10
+ Round Turn and Two Half Hitches . . . . . . . . . . . . . . . 11
+ Clove Hitch . . . . . . . . . . . . . . . . . . . . . . . . . 12
+ Rolling Hitch . . . . . . . . . . . . . . . . . . . . . . . . 13
+ Timber Hitch . . . . . . . . . . . . . . . . . . . . . . . . . 14
+ Fisherman's Bend . . . . . . . . . . . . . . . . . . . . . . . 15
+ Topsail Halliard Bend . . . . . . . . . . . . . . . . . . . . 16
+ Stun'sail Bend . . . . . . . . . . . . . . . . . . . . . . . . 17
+ Blackwall Hitch . . . . . . . . . . . . . . . . . . . . . . . 17
+ Midshipman's Hitch . . . . . . . . . . . . . . . . . . . . . . 18
+ Double Blackwall Hitch . . . . . . . . . . . . . . . . . . . . 19
+
+Knots, etc., made on the Bight of a Rope--
+ A Bowline on the Bight . . . . . . . . . . . . . . . . . . . . 20
+ Marlinespike Hitch . . . . . . . . . . . . . . . . . . . . . . 21
+ Sheepshank . . . . . . . . . . . . . . . . . . . . . . . . . . 22
+ Catspaw . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
+
+Knots, Bends, etc., for Uniting Ropes--
+ Reef Knot . . . . . . . . . . . . . . . . . . . . . . . . . . 24
+ Common or Sheet Bend . . . . . . . . . . . . . . . . . . . . . 24
+ Single Carrick Bend . . . . . . . . . . . . . . . . . . . . . 26
+ Double Carrick Bend . . . . . . . . . . . . . . . . . . . . . 27
+ Diamond Knot . . . . . . . . . . . . . . . . . . . . . . . . . 27
+
+Knots formed on Ropes by their own Strands--
+ Wall Knot . . . . . . . . . . . . . . . . . . . . . . . . . . 30-33
+ Double Wall Knot . . . . . . . . . . . . . . . . . . . . . . . 33
+ Crown Knot . . . . . . . . . . . . . . . . . . . . . . . . . . 33
+ Manrope Knot . . . . . . . . . . . . . . . . . . . . . . . . . 34
+ Stopper Knot . . . . . . . . . . . . . . . . . . . . . . . . . 34
+ Single Matthew Walker . . . . . . . . . . . . . . . . . . . . 35
+ Double Matthew Walker . . . . . . . . . . . . . . . . . . . . 36
+ Another form of Diamond Knot (Single) . . . . . . . . . . . . 38
+ Double Diamond Knot . . . . . . . . . . . . . . . . . . . . . 39
+ Shroud Knot . . . . . . . . . . . . . . . . . . . . . . . . . 40
+ Spritsail Sheet Knot . . . . . . . . . . . . . . . . . . . . . 41
+
+Splices--
+ Eye Splice . . . . . . . . . . . . . . . . . . . . . . . . . . 43
+ Short Splice . . . . . . . . . . . . . . . . . . . . . . . . . 44
+ Cut Splice . . . . . . . . . . . . . . . . . . . . . . . . . . 45
+ Long Splice . . . . . . . . . . . . . . . . . . . . . . . . . 45
+ Grommet . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
+
+Wire Splicing--
+ Eye Splice . . . . . . . . . . . . . . . . . . . . . . . . . . 47
+ Long Splice . . . . . . . . . . . . . . . . . . . . . . . . . 48
+
+Purchases--
+ Single Whip . . . . . . . . . . . . . . . . . . . . . . . . . 49
+ Double Whip . . . . . . . . . . . . . . . . . . . . . . . . . 49
+ Runner . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
+ Gun Tackle . . . . . . . . . . . . . . . . . . . . . . . . . . 50
+ Handy Billy or Jigger . . . . . . . . . . . . . . . . . . . . 51
+ Watch or Luff Tackle . . . . . . . . . . . . . . . . . . . . . 51
+ Double Luff . . . . . . . . . . . . . . . . . . . . . . . . . 52
+ Three-fold Purchase . . . . . . . . . . . . . . . . . . . . . 52
+ Four-fold Purchase . . . . . . . . . . . . . . . . . . . . . . 53
+ Single Spanish Burton . . . . . . . . . . . . . . . . . . . . 53
+ Double Spanish Burton (two forms) . . . . . . . . . . . . . . 54
+ Spanish Windlass . . . . . . . . . . . . . . . . . . . . . . . 55
+
+Miscellaneous Odds and Ends--
+ Palm and Needle Whipping . . . . . . . . . . . . . . . . . . . 56
+ West Country Whipping . . . . . . . . . . . . . . . . . . . . 56
+ American Whipping . . . . . . . . . . . . . . . . . . . . . . 57
+ To Point a Rope End . . . . . . . . . . . . . . . . . . . . . 57
+ Turk's Head . . . . . . . . . . . . . . . . . . . . . . . . . 58-60
+ Mousing a Hook . . . . . . . . . . . . . . . . . . . . . . . . 60
+ Securing Lead Line to Lead . . . . . . . . . . . . . . . . . . 61
+ Fitting a Flag . . . . . . . . . . . . . . . . . . . . . . . . 61
+ Cringles . . . . . . . . . . . . . . . . . . . . . . . . . . . 61-64
+ Lengthening the Rope of a Sail . . . . . . . . . . . . . . . . 64
+ Jury Knot . . . . . . . . . . . . . . . . . . . . . . . . . . 65-66
+ Sling for a Barrel . . . . . . . . . . . . . . . . . . . . . . 67-68
+ Chain Knot . . . . . . . . . . . . . . . . . . . . . . . . . . 68-69
+ Double Chain . . . . . . . . . . . . . . . . . . . . . . . . . 69-70
+ Twist or Plain Knot . . . . . . . . . . . . . . . . . . . . . 71
+
+Wire Rope Splicing, etc.--
+ How to Handle Wire Rope . . . . . . . . . . . . . . . . . . . 72
+ Set of Wire Rope Splicing Tools . . . . . . . . . . . . . . . 74
+ Directions for Splicing . . . . . . . . . . . . . . . . . . . 76-78
+ Splicing Thimbles . . . . . . . . . . . . . . . . . . . . . . 78-82
+
+Tables showing the Respective Weights and Strengths of Various
+ Cordage . . . . . . . . . . . . . . . . . . . . . . . . . . . 83-86
+
+
+
+
+{1}
+
+THE CONSTRUCTION OF ROPES.
+
+Rope, the term being used in its widest construction, is made from
+almost every pliable material, but is generally composed of hemp,
+manila, coir, cotton, steel, iron, or copper wire.
+
+For the present we will confine ourselves to those having their origin
+in the vegetable kingdom, and more especially to those made from hemp
+and manila.
+
+These are divided into three classes:--
+
+(1). +A Hawser-laid Rope+, which is composed of three strands laid up
+generally right-handed (that is, the direction taken by the strands in
+forming the rope runs always from left to right) (Fig. 1.)
+
+(2). +A Shroud-laid Rope+, also laid up right-handed, but consisting
+of four strands (Fig. 2) with a heart in the centre.
+
+(3). +A Cable-laid Rope+, which is composed of three right-handed
+hawser-laid ropes laid up together left-handed, so that it may be said
+to consist of nine strands (Fig. 3), or it may be formed by three
+left-handed ropes laid up right-handed (Fig. 4).
+
+{2}
+
+[Illustration: Fig. 1. Fig. 2. Fig. 3.]
+
+In Fig. 4 we show a more complete analysis of its construction (in this
+case a right-handed cable-laid rope).
+
+[Illustration: Fig. 4.]
+
+{3}
+
+First we see the cable _e_ formed by the three ropes _d_, _f_, and _g_;
+whilst the rope _g_ is dissected to show the strands forming it, _c_,
+_h_, _j_; and in the strand _h_ we see _b_, the yarn composing the
+strand, and _a_ a yarn teased out to show the original fibre.
+
+The end of a rope must always be secured in some way, or it is evident
+from its construction that it will on the slightest usage become frayed
+out. The commonest method is by placing on an ordinary whipping, which
+is done as follows:--First lay the end of a length of twine along the
+end of the rope, and then commencing at the part furthest from the
+rope's end take a half dozen or more turns around both the rope and
+twine end (Fig. 5). Then lay the twine in the form of a loop along the
+rope and over the turns already taken, as in Fig. 6. To finish off
+take that portion of the loop designated _a_, and continue taking turns
+tightly round the rope and part _b_ of the twine until the loop is
+nearly all used up; pull through the remainder snugly by part _c_, and
+cut off short when, no end of twine will be visible as in Fig. 7.
+
+[Illustration: Fig. 5. Fig. 6. Fig. 7.]
+
+{4}
+
+Considering that we now have at our disposal a small sized rope with
+the end whipped, we will at once proceed to the formation of the most
+elementary knots and hitches, namely, those formed by a single rope's
+end.
+
+Fig. 8 shows a common loop, by which most of the following knots, etc.,
+are commenced. Note exactly how the loop lies, and let us letter its
+parts clearly for future reference. The part of rope extending from 1
+to 2 is known as the standing part which we will call _a_, the portion
+included between 2 and 3 following round the loop by _y_ and _z_ is
+termed the bight which we will call _b_, and from 3 to 4 is known as
+the end _e_.
+
+[Illustration: Fig. 8.]
+
+Then starting in each case from the position shown in Fig. 8 we make
+the following knots, etc:--
+
+{5}
+
+(1). +An Overhand Knot+.--Place _e_ up through bight _b_, and draw
+taut (Fig. 9).
+
+[Illustration: Fig. 9.]
+
+(2). +A Figure of Eight Knot+.--Back _e_ round behind _a_, bring over
+part _z_ and dip down through bight _b_ and haul taut (Fig. 10).
+
+[Illustration: Fig. 10.]
+
+(3). +A Simple Clinch+ is formed by closing up the initial loop to
+form a small ring and securing by a seizing--a small lashing at _d_
+(Fig. 11).
+
+{6}
+
+[Illustration: Fig. 11]
+
+One of the preceding knots is generally put in the end of running gear
+to prevent it from coming unrove from the fair-leads or blocks.
+
+(4). +A Running or Inside Clinch+ is the foregoing, formed by the end
+of a rope on its own standing part, and is often used for securing
+buntlines to the foot of a sail (Fig. 12).
+
+[Illustration: Fig. 12.]
+
+{7}
+
+(5.) +An Outside Clinch+, as may be inferred from its name, is formed
+in a similar manner, but the end _c_ is brought round on top, that is,
+away from the bight (Fig. 13). It is used in cases where it is
+essential that the end should not be in a position to jam, but always
+ready for slipping at a moment's notice, as in securing cable ends, etc.
+
+[Illustration: Fig. 13.]
+
+(6). +A Buntline Hitch+ (an alternative method of securing buntlines
+to a sail) is commenced as in making an outside clinch, but instead of
+putting on a seizing, take a longer end _c_, pass it over _y_, bring up
+through bight _b_, and tuck the end again over part _y_ and through the
+last loop formed, so that the end _c_ lies close to the commencement of
+part _z_ (Fig. 14).
+
+{8}
+
+[Illustration: Fig. 14.]
+
+(7). +A Bowline+.--Reverting to our original loop (Fig. 8), first
+taking part _z_ in the right hand with _y_ in the left, throw a loop
+over _c_, the end, as in Fig. 15.
+
+[Illustration: Fig. 15.]
+
+{9}
+
+Secondly, lead _c_ round behind part _a_ and pass it down through the
+last made loop, as indicated by the dotted line, and haul taut as in
+Fig. 16.
+
+[Illustration: Fig. 16.]
+
+(8). +A Running Bowline+.--Form a loop with a long end _c_ lying
+underneath the standing part _a_ (Fig. 17).
+
+[Illustration: Fig. 17.]
+
+{10}
+
+Now bring end _c_ over part _y_ and with it form the bowline knot on
+part _z_ just as in the previous case we formed it on its own part,
+when it will appear as in Fig. 18. It is used whenever a running noose
+is required.
+
+[Illustration: Fig. 18.]
+
+(9). The formation of a half hitch (Fig. 19), and two half hitches
+(Fig. 20) is sufficiently indicated by those diagrams.
+
+[Illustration: Fig. 19.]
+
+{11}
+
+[Illustration: Fig. 20.]
+
+The commonest method of making a rope's end fast to a bollard, etc., is
+by taking a round turn and two half hitches, and stopping the end back
+for further security (Fig. 21).
+
+[Illustration: Fig. 21.]
+
+{12}
+
+(10). +A Clove Hitch+ is really a jamming form of two half hitches,
+and is principally used when a small rope has to be secured to a larger
+one and the end still kept free to pass along for further purposes, as
+in securing ratlines to the shrouds. Its formation is shown in three
+successive stages (Figs. 22, 23, 24).
+
+[Illustration: Fig. 22. Fig. 23. Fig. 24.]
+
+{13}
+
+(11). +A Rolling Hitch+ is commenced and finished like a clove hitch,
+but as will be seen from the three diagrams (Figs. 25, 26, 27)
+illustrating its construction, there is an intermediate round turn
+between the first and last hitches. It is principally used for
+securing the tail of a handy billy or snatch block to a larger rope, or
+when hanging off a rope with a stopper.
+
+[Illustration: Fig. 25. Fig. 26. Fig. 27.]
+
+{14}
+
+Note that the round turn in (Fig. 26) is taken round both the standing
+part _a_ and the larger rope. The great value of this hitch is its
+non-liability to slip in the direction _B_ (Fig. 27). If, however,
+owing to an extremely severe strain or other causes the hitch is
+inclined to slip, the end _e_ should be backed round part _d_ of the
+first rope, that is, twisted around it in long lays in the opposite
+direction to that in which the hitch was formed, and the end secured by
+a stop (Fig. 28).
+
+[Illustration: Fig. 28.]
+
+(12). A Timber Hitch is a useful way of securing a rope quickly to a
+plank, but when there is to be a long and continuous strain, or when it
+is required to keep the end of a piece of timber pointed steadily in
+one direction, it should be supplemented with a half hitch (Figs. 29,
+30).
+
+{15}
+
+[Illustration: Fig. 29. Fig. 30.]
+
+The timber hitch itself consists simply of a half hitch taken with a
+rather long end, which is used up by twisting it back around its own
+part of the hitch. In Fig. 29 the hitch is purposely left very loose
+so that its formation may be the more easily seen.
+
+(13) +A Fisherman's Bend+ is formed by taking two round turns around
+the object to which the rope is to be secured, and then backing the end
+round in the form of a half hitch under both the standing part and
+second round turn. The end may be further secured by taking a half
+hitch {16} around its own part or by stopping it to it (Figs. 31, 32),
+the dotted line showing the next direction the end _c_ must take.
+
+[Illustration: Fig. 31. Fig. 32.]
+
+It is used when securing a hauling line to the ring of the kedge, or
+for bending a rope to a bucket, etc., and is often called a bucket
+hitch.
+
+(14). +A Topsail Halyard Bend+.--This bend is never seen in deep water
+ships, but is sometimes used on board yachts. It is commenced in a
+similar manner to a fisherman's bend, but three round turns are first
+taken around the spar, the end being backed around the standing part
+_a_ and then led under all three turns as in Fig. 33, and then again
+backed over the last two round turns and under the first, as shown in
+Fig. 34.
+
+{17}
+
+[Illustration: Fig. 33. Fig. 34.]
+
+(14). +A Stun'sail Halyard Bend+ is simply a Fisherman's bend with the
+end backed again over the last round turn and under the first (Fig. 35).
+
+[Illustration: Fig. 35.]
+
+(15). +A Blackwall Hitch+ is a quick way of temporarily securing a
+rope to a hook. As will be seen from the illustration (Fig. 36) it
+consists of a half hitch, the standing part _a_ as soon as it receives
+the strain jamming {18} the end part _c_. It holds much more firmly
+than would be imagined at first sight. By taking another round turn at
+_b_ before passing the end _c_ under _a_, it will hold more securely.
+
+[Illustration: Fig. 36.]
+
+(17). +A Midshipman's Hitch+ is sometimes used instead of a Blackwall
+hitch, and will hold better if the rope is at all greasy. It is made
+by first forming a Blackwall hitch and then taking the underneath part
+and placing it over the bill of the hook (Fig. 37).
+
+[Illustration: Fig. 37.]
+
+{19}
+
+(18). +A Double Blackwall Hitch+ is made by taking the bight of the
+rope and placing it across the neck of the strop of the block, crossing
+it behind, then placing the under part over the hook and crossing the
+upper part on top of it (Fig. 38). It holds better than either of the
+two preceding hitches.
+
+[Illustration: Fig. 38.]
+
+
+
+
+{20}
+
+KNOTS, Etc., MADE ON THE BIGHT OF A ROPE, THAT IS, WITHOUT UTILISING
+THE ENDS.
+
+(1). +A Bowline on the Bight+--Using both parts of the rope together,
+commence as in making an ordinary bowline (Fig. 39). To finish off,
+open out bight _c_, and taking it in the direction indicated by the
+dotted line, pass the whole knot through it and haul taut, when it will
+appear as in Fig. 40.
+
+[Illustration: Fig. 39. Fig. 40.]
+
+{21}
+
+(2). +A Marline-Spike Hitch+ is used for getting a purchase with a
+marline-spike, capstan bar, etc., when putting on a seizing or lashing.
+By Fig. 41 it will be seen to consist of the standing part picked
+through a loop laid over it, so that the spike lies under the standing
+part and over the sides of the loop.
+
+[Illustration: Fig. 41.]
+
+(3). +A Sheep Shank+ is used for shortening a rope. Gather up the
+amount desired in the form of Fig. 42.
+
+[Illustration: Fig. 42.]
+
+Then with parts _a_ and _b_ form a half hitch round the two parts of
+the bight as in Fig. 43.
+
+[Illustration: Fig. 43.]
+
+{22}
+
+To render it still more dependable, the bight _a_ and _b_ may be seized
+or toggled to the standing parts as in Figs. 44 and 45.
+
+[Illustration: Fig. 44. Fig. 45.]
+
+(4). +A Catspaw+ is formed in a rope to make a temporary loop for
+hooking on the block of a tackle. First throw back a bight as in Fig.
+46.
+
+[Illustration: Fig. 46.]
+
+{23}
+
+Then taking hold of _a_ and _b_ in either hand twist them up as in Fig.
+47; bring together the two eyes _a_ and _b_ and hook in the tackle.
+
+[Illustration: Fig. 47.]
+
+
+
+
+{24}
+
+KNOTS, BENDS, AND HITCHES FOR UNITING ROPES.
+
+(1). +A Reef Knot+.--The simplest of all knots, and is always used
+when a common tie is required. Its formation may be easily traced in
+Figs. 48, 49, 50. Having constructed the knot as far as Fig. 48, be
+sure part _a_ is kept in front of part _b_ as here shown, and the end
+_c_ led in according to the direction of the dotted line.
+
+[Illustration: Fig. 48. Fig. 49. Fig. 50.]
+
+(2). +A Common Bend or Sheet Bend+.--In making a bend the ends of the
+two ropes are not used simultaneously as in forming a reef knot, but an
+eye or loop is first formed in the end of one of the ropes as in Fig.
+51, and the other rope's end is then rove through it in various ways
+according to the bend desired.
+
+{25}
+
+[Illustration: Fig. 51.]
+
+To form a Sheet Bend, pass the second rope's end underneath the eye at
+point _a_ and bring up through the loop, then form with it a half hitch
+round _c_ and _b_ (Fig. 52).
+
+[Illustration: Fig. 52.]
+
+It will hold still better and is less likely to jamb if the end _c_ is
+passed round again as in Fig. 53.
+
+[Illustration: Fig. 53.]
+
+{26}
+
+(3). For bending two hauling lines together use a +Carrick Bend+.
+First form with hawser No. 1 a loop as in Fig. 54.
+
+[Illustration: Fig. 54.]
+
+Pass the second hawser under the first at _a_, bring up through the eye
+_b_, back it over the cross at _c_, and bring up again towards you
+through the eye _b_, and then stop the ends of each hawser to their own
+respective parts (Fig. 55).
+
+[Illustration: Fig. 55.]
+
+{27}
+
+(4). _A Double Carrick Bend_ is formed in precisely a similar manner,
+but a complete round turn is taken around the cross of the first hawser
+at _c_, and then led up again through the eye _b_ and finished off as
+before (Fig. 56).
+
+[Illustration: Fig. 56.]
+
+(5). +A Diamond Knot+ formed by the two ends of a rope is really a
+fancy knot. It is often made with Hambro' line in forming lanyards for
+marline-spikes, knives, etc. It is a pretty knot and very easily made.
+
+First lay one of the cords in a loop shaped as in Fig. 57.
+
+{28}
+
+Notice carefully how this loop is lettered, and then, taking up the
+second cord, lay it under the loop at _a_, straight along also under
+the loop at _b_, now bring it over the first cord at _c_ and under it
+at _d_ and over it at _e_, then dip it under its own part now lying
+between _a_ and _b_, and lead it over the first cord at _f_.
+
+[Illustration: Fig. 57.]
+
+The knot, still in an unfinished state, will now appear as in Fig. 58.
+
+[Illustration: Fig. 58.]
+
+{29}
+
+Now lead the ends in the direction indicated by the dotted lines
+(taking care beforehand that you have them sufficiently long for the
+purpose), and bring them both up through the opening _a_. Bring the
+two standing parts _b_ and _c_ together, and gradually render all parts
+in turn to work up the knot as tight as possible, when it will appear
+as in Fig. 59.
+
+[Illustration: Fig. 59.]
+
+
+
+
+{30}
+
+KNOTS FORMED ON ROPES BY THEIR OWN STRANDS.
+
+Although our next series of knots are generally known as "fancy knots"
+they are by no means merely ornamental, many of them playing important
+parts in the standing rigging of a ship.
+
+(1). +To Form a Wall Knot+.--First unlay the rope so that the strands
+appear as in Fig. 60.
+
+[Illustration: Fig. 60.]
+
+{31}
+
+Holding the rope with the left hand, with the right lead strand _a_ in
+the direction indicated by the dotted line, viz., under strand _b_ and
+up between strands _b_ and _c_ (Fig. 61).
+
+[Illustration: Fig. 61.]
+
+Then with strand _b_ form a similar loop, enclosing strands _a_ and
+_c_, and bringing the end of strand _b_ up between _a_ and _d_ (Fig.
+62).
+
+[Illustration: Fig. 62.]
+
+{32}
+
+Now with strand _c_ form a similar loop, enclosing strands _b_ and _a_
+by leading the end of strand _c_ up through the loop _e_ in strand _a_
+(Fig. 63).
+
+[Illustration: Fig. 63.]
+
+Finally, work all parts well taut, whip the ends of the strands
+together and cut off short (Fig. 64).
+
+[Illustration: Fig. 64.]
+
+{33}
+
+(2). +A Double Wall Knot+ is formed by allowing each strand to again
+follow its lead as given in a single wall knot, opening out the first
+loops again with a pricker sufficiently for the purpose. The three
+strands are as before brought up in the centre and cut off short after
+whipping them together. This knot is also known as a stopper knot.
+
+(3). +A Crown Knot+ is formed by interlacing the strands in a similar
+manner to a wall knot, but the strands are successively led _over_ each
+other instead of under. Its construction will be easily followed in
+Fig. 65.
+
+[Illustration: Fig. 65.]
+
+Double crowning is done by following round each strand again alongside
+its first lead.
+
+
+Our next two knots are but combinations of the wall and crown.
+
+{34}
+
+(4). +A Manrope Knot+ is made by first forming a wall and then
+crowning it (Fig. 66.)
+
+[Illustration: Fig. 66.]
+
+Then follow round the wall again, and lastly, follow round the crown,
+when the finished knot will appear as in Fig. 67.
+
+[Illustration: Fig. 67.]
+
+A knot formed by making a crown first and then a wall, and afterwards
+following round the crown and wall again is another form of the Stopper
+Knot. It is very similar in appearance when finished to a Manrope Knot.
+
+{35}
+
+(5). +A Single Matthew Walker+.--To make this knot commence similarly
+to a wall, but pass the first strand _a_ under both _b_ and _c_, as in
+Fig. 68.
+
+[Illustration: Fig. 68.]
+
+Then pass _b_ under both strands _c_ and _a_, and bring up through the
+loop first formed by _a_ (Fig. 69).
+
+[Illustration: Fig. 69.]
+
+{36}
+
+Similarly pass _c_ under _a_ and _b_, and bring up through the loop
+first formed by _b_ (Fig. 70).
+
+[Illustration: Fig. 70.]
+
+(6). +A Double Matthew Walker+ will be easily learnt if you notice the
+difference between a single Matthew Walker and a Wall Knot.
+
+In the Wall Knot you will have noticed that each strand is simply
+interlaced with the strand immediately on its right coming up through
+the loop formed by this second strand.
+
+In the single Matthew Walker each strand interlaces the two strands to
+its right, coming up through the loop of the third strand.
+
+{37}
+
+Another evolution in the same order brings us to the double Matthew
+Walker. It is formed, as will be seen by carefully following diagram
+71, by making each strand contain in its own loop, the other two
+strands, and _its own_ end, that is, each strand leads up through its
+own bight after interlacing the other two.
+
+[Illustration: Fig. 71. Fig. 72.]
+
+When worked taut and finished off, it will appear as in Fig. 72.
+
+{38}
+
+(7). +A Single Diamond Knot+.--This is another method of forming the
+knot shown in Fig. 59, which in that case was formed by the two ends of
+the same rope.
+
+To form it on a rope by its own strands, unlay the rope to the place
+where it is desired to form the knot, and as after the knot is made the
+strands will have to be laid up again, try to preserve the original lay
+in the strands as much as possible. Now bring each of the three
+strands down alongside the standing part of the rope, thus forming
+three bights, and hold them thus with the left hand. Take the first
+strand _a_ (Fig. 73) and, putting it over the next, _b_, bring it up
+through the bight of the third strand _c_.
+
+[Illustration: Fig. 73.]
+
+{39}
+
+Take the end of the second strand over the third and up the bight of
+the first. The last strand is brought through over the first and up
+through the bight of the second. Haul taut, and lay the rope up again.
+Fig. 74 shows the loops in their places with the ends through them
+before they are hauled taut. Fig. 75 gives the knot finished.
+
+[Illustration: Fig. 74. Fig. 75.]
+
+For a double diamond we first make a single diamond, the ends are then
+made to follow the lead of the single knot through two single bights,
+the ends coming out on top of the knot. The last strand passes through
+two double bights. The ends are then hauled taut and laid up as before
+(Fig. 76).
+
+{40}
+
+[Illustration: Fig. 76.]
+
+(8). +A Shroud Knot+ is a method of joining two ropes. Each is unlaid
+the necessary length, and they are then brought close together. A Wall
+Knot is formed on each rope with the strands of the other (Fig. 77).
+
+The completed knot is shown in Fig. 78, but to make a neat job the ends
+should be marled and served as in Fig. 79.
+
+[Illustration: Fig. 77. Fig. 78. Fig. 79.]
+
+{41}
+
+(9). +A Spritsail Sheet Knot+.--Unlay both ends of the rope and bring
+the two standing parts of the rope together as in Fig. 80.
+
+[Illustration: Fig. 80.]
+
+Grasping both parts of the rope at _a_, with the six strands form a
+Wall Knot, that is, by passing 1 under 2, 2 under 3, 3 under 4, 4 under
+5, 5 under 6, and 6 under the loop formed by 1.
+
+This would appear too confusing if shown in a diagram, but the knot is
+very easily made in practice.
+
+Now lay any opposite two of the strands across the top {42} in an
+_opposite direction_, and crown by passing the other four, each in
+turn, alternately over and under these two.
+
+Each of the six strands will then come out leading in a downward
+direction alongside the strands forming the first walling.
+
+Now follow round the walling again, when the strands will come through
+in an upward direction, each alongside a strand of the first crowning.
+
+Follow through the crowning once more, and cut off the ends short, when
+a handsome and useful Stopper Knot will result, as shown in Fig. 81.
+
+[Illustration: Fig. 81.]
+
+
+
+
+{43}
+
+SPLICES.
+
+(1). +An Eye Splice+ is formed by unlaying the end of a rope for a
+short distance, and then, after closing up the end, to form an eye of
+the desired size. Lay the three strands upon the standing part, now
+tuck the middle strand through the strand of the standing part of the
+rope next to it (against the lay of the rope), then pass the strand on
+the left over the strand under which No. 1 strand is tucked, and tuck
+it under the next, and lastly, put the remaining strand through the
+third strand on the other side of the rope (Fig. 82.)
+
+[Illustration: Fig. 82.]
+
+{44}
+
+Now tuck each strand again alternately over a strand and under a strand
+of the rope, and then taper off by halving the strands before tucking
+the third time, and again halve them before the fourth tuck.
+
+If the strands are tucked with the lay of the rope it is termed a
+Sailmaker's Splice.
+
+(2). +A Short Splice+ is used to join two ropes when it is not
+required to pass through a block. Unlay the two ropes the required
+distance, and clutch them together as in Fig. 83, that is, so that the
+strands of one rope go alternately between the strands of the other.
+
+[Illustration: Fig. 83.]
+
+Then tuck the strands of rope a into the rope _b_ in a similar manner
+to that described in an eye splice, and similarly tuck the strands of
+_b_ into _a_ (Figs. 84 and 85).
+
+[Illustration: Fig. 84. Fig. 85.]
+
+{45}
+
+(3). +A Cut Splice+ is made by laying two ropes in the position
+indicated in Fig. 86.
+
+[Illustration: Fig. 86.]
+
+Leaving the ropes between _a a_ to form an oblong loop, tuck the
+strands of one rope into the other as done in the eye splice. Splices
+are often wormed, parcelled, and served. Fig. 87 shows the cut splice
+after this treatment.
+
+A log-line splice is a cut splice, but instead of allowing the loop to
+appear, the two lines are twisted together.
+
+[Illustration: Fig. 87.]
+
+(4). +A Long Splice+ is one of the most useful of splices, as it
+permits the rope to run through a block just the same as an unspliced
+rope.
+
+Unlay the ends of two ropes to a distance about four times the length
+used in a short splice, and then clutch them together as if about to
+commence a short splice. Now unlay one strand for a considerable
+distance and fill {46} up the gap thus caused by twisting in the strand
+opposite to it of the other rope. Then do the same with two more
+strands. Let the remaining two strands stay as they were first placed.
+The ropes will now appear as in Fig. 88.
+
+[Illustration: Fig. 88.]
+
+To finish off, tuck the ends as in a short splice, but _with_ the lay
+of the rope, that is, so that the tuck will continually take place
+around the same strand, and taper off gradually by reducing the yarns
+in the strand.
+
+(5). +To Make a Grommet+, cut a strand about three and a half times
+the length of the grommet required. Unlay the rope carefully and keep
+the turns of the strand in. Close up the strand in the form of a ring
+(Fig. 89), and then pass the ends round and round in their original lay
+until all the intervals are filled up (Fig. 90), and then finish off
+the two ends as in a long splice (Fig. 91).
+
+[Illustration: Fig. 89. Fig. 90. Fig. 91.]
+
+
+
+
+{47}
+
+WIRE SPLICING.
+
+In splicing wire, great care should be taken to prevent kinks getting
+in the rope or strands.
+
+With steel wire, always before working it, put a stop on at the place
+to which you intend to unlay, and also put a good whipping of twine at
+the end of each strand.
+
+Steel wire is six-stranded right-handed, and has a heart of hemp.
+Flexible wire has a heart of hemp in each strand.
+
+Crucible wire is made in the same manner, except that the strands are
+wire throughout.
+
+Crucible wire is used for standing rigging and flexible wire for
+purchases, etc.
+
+In splicing wire all tucks are made with the lay of the rope.
+
+In making an eye splice the rope is handled better if hung up in a
+convenient position so that when standing up the eye will be at about
+the level of the chest of the person working.
+
+A long tapering steel marline-spike is required, and after placing it
+under a strand do not withdraw it until the tuck is made and all the
+slack of the strand drawn through.
+
+{48}
+
+There are several methods in vogue for tucking the strand, but the
+following is as good as any:--Tuck the first strand under two strands
+and all the rest under one strand respectively. Tuck whole again, and
+this time each strand under one strand, then halve the strands and tuck
+again.
+
+To make a neat splice do not haul the part of the rope that has not
+been unlaid too close to the neck of the splice, and in tucking the
+strands never take a short nip but take long lays.
+
+In unlaying for a long splice, always unlay two strands simultaneously,
+to keep the rope in its original lay. For a fair-sized rope unlay
+about 9 ft. of each end.
+
+Proceed as in rope splicing, and after the three pairs of strands are
+in their places, single them, and continue to unlay and lay-in until
+the six meeting places of the strands are equi-distant.
+
+To finish off the ends properly can only be learnt by observation and
+actual practice. By using two marline-spikes, the hempen heart is
+removed and the ends of the wire strands forced into the place it
+occupied, making a very neat job when finished.
+
+Wire splices should be parcelled with oily canvas and served with
+Hambro' line.
+
+
+
+
+{49}
+
+PURCHASES.
+
+(1) +Single Whip+.--A rope rove through a single block fixed in any
+position. No power is gained (Fig. 92).
+
+[Illustration: Fig. 92.]
+
+(2). +Double Whip+.--A rope rove through two single blocks--upper
+block a tail block, lower one a movable hook block. Power
+gained--double (Fig. 93).
+
+[Illustration: Fig. 93.]
+
+{50}
+
+(3). +A Runner+ adds an additional power to the purchase it is used
+with (Fig. 94).
+
+[Illustration: Fig. 94.]
+
+(4). +Gun Tackle+.--single blocks. Power gained--twice or thrice,
+according to which is the movable block (Fig. 95).
+
+[Illustration: Fig. 95.]
+
+{51}
+
+(5). +Handy Billy or Jigger+.--A small tackle for general use; a
+double block with a tail and single block with hook (Fig. 96).
+
+[Illustration: Fig. 96.]
+
+(6). +Watch Tackle or Luff Tackle+.--Double hook block and single hook
+block (Fig. 97).
+
+[Illustration: Fig. 97.]
+
+{52}
+
+(7). +Double Luff+.--Two double blocks (Fig. 98).
+
+[Illustration: Fig. 98.]
+
+(8). +Three-Fold Purchase+.--Two three-fold blocks. Power gained--six
+or seven times (Fig. 99).
+
+[Illustration: Fig. 99.]
+
+{53}
+
+(9). +Four-Fold Purchase+.--Two four-fold blocks. Power gained--eight
+or nine times (Fig. 100).
+
+[Illustration: Fig. 100.]
+
+(10). +A Single Spanish Burton+.--Two single blocks and a hook. Power
+gained--three times (Fig. 101).
+
+[Illustration: Fig. 101.]
+
+{54}
+
+[Illustration: Fig. 102.]
+
+(11). +A Double Spanish Burton+.--There are two forms of this
+purchase--Fig. 102, by using three single blocks; Fig. 103, by using
+one double block and two single blocks. Power gained--five times.
+
+[Illustration: Fig. 103.]
+
+{55}
+
+(12). +A Spanish Windlass+.--To rig a Spanish Windlass take a good
+strand well greased in the centre. Place the strand over the two parts
+of the rope that are to be hove together, and bringing the ends of the
+strand up again, place a bolt close to the strand. Take the ends of
+the strand and lay them up with their own parts so as to form two eyes.
+Take a round turn with this round the bolt, put a marline-spike through
+each eye and heave around (Fig. 104).
+
+[Illustration: Fig. 104.]
+
+
+
+
+{56}
+
+MISCELLANEOUS ODDS AND ENDS.
+
+(1). +A Palm and Needle Whipping+ is a more permanent way of securing
+a rope's end from fraying than the common whipping put on by hand.
+First, place the needle under one of the strands and draw nearly the
+whole length of twine through. Take a considerable number of turns
+round the rope with the twine, drawing each well taut in turn, and
+finish up by following round with the needle between each strand,
+forming a series of frappings, and cut off the end of the twine short
+(Fig. 105).
+
+[Illustration: Fig. 105.]
+
+(2). +A West Country Whipping+ is formed by middling the twine around
+the part of the rope to be marked and half knotting it at every half
+turn, so that each half knot will be on opposite sides. When a
+sufficient number of turns are passed, finish it off with a reef knot.
+
+{57}
+
+(3). +An American Whipping+ is sometimes used for the ends of hawsers.
+It is commenced in the same way as a common whipping, but finished off
+by having both ends out in the middle of the whipping and forming a
+reef knot. This is done by leaving the first end out when you commence
+to pass the turns on the bight over the last end.
+
+(4). +To Point a Rope End+.--First put a stop on at twice and a half
+the circumference of the rope from the end, which will leave about the
+length for pointing, unlay the rope to the stop and then unlay the
+strands. Split a number of the outside yarns and make a nettle out of
+each yarn. (A nettle is made by laying up the yarns with the finger
+and thumb left-handed.) When the nettles are made stop them back on
+the standing part of the rope; then form the point with the rest of the
+yarns by scraping them down to a proper size with a knife, and marl
+them down together with twine; divide the nettles, taking every other
+one up and every other one down. Pass three turns with a piece of
+twine--which is called the warp--very taut round the part where the
+nettles separate, taking a hitch with the last turn. Continue to
+repeat this process by placing every alternate nettle up and down,
+passing the warp or "filling," taking a hitch each time, until the {58}
+point is to its required length. It is generally finished off by
+working a small Flemish eye in the end (Figs. 106 and 107).
+
+[Illustration: Fig. 106. Fig. 107.]
+
+(5). +Turk's Head+.--The Turk's Head is one of the most common of the
+ornamental knots used at sea, and is formed from an ordinary clove
+hitch (Fig. 108) made sufficiently slack to allow for the working of
+the other parts.
+
+[Illustration: Fig. 108.]
+
+Having formed the clove hitch, pass _b_ over _c_ and tuck _a_ under and
+up through the bight formed by _c_ as in Fig. 109. It will then be
+found that there is another twist in {60} the parts _b_ and _c_, tuck
+_a_ under _e_ and over _b_. Then go on as in Fig. 109, and put _b_
+over _c_ again and tuck _a_ as before. The number of crossings
+required depends principally on the size of the material on which the
+Turk's Head is formed. To finish off as in Fig. 110, the part _a_ is
+made to follow _d_ (Fig 108) round for three times.
+
+[Illustration: Fig. 109.]
+
+[Illustration: Fig. 110.]
+
+(6). +Mousing a Hook+.--All hooks in running gear should be moused as
+in Fig. 111.
+
+[Illustration: Fig. 111.]
+
+{61}
+
+(7). +Securing Lead Line to Lead+.--The lead is fitted with a good
+wire grommet parcelled over. The lead line should have a long eye
+spliced in it, and is secured by passing the eye through the grommet
+and over the lead (Fig. 112).
+
+[Illustration: Fig. 112.]
+
+(8). +Fitting a Flag+.--A toggle should be secured at the head of the
+hoist by an eye splice; a length of rope equal to the width of the flag
+left below the hoist, as this is the distance the flags should be
+apart, and then a running eye splice made so as to be rapidly attached
+to the next flag.
+
+(9). +To Stick a Cringle+.--First unlay a single strand from {62} the
+size of rope your cringle is required to be, whip both ends, reeve the
+strand through the left hand eyelet hole in the sail, having one end
+longer than the other--nearly a third--keeping the roping of the sail
+towards you. If a thimble is to be put in the cringle, lay up the
+parts of the strand together, counting three lays; commence with the
+short end of the strand towards you, then reeve the long strand from
+you through the right hand eyelet hole, taking it through the cringle,
+and it will be in the right position to lay up in the vacant space left
+in the cringle; when done, the one end will hang down inside the right
+hand eyelet hole and the other end outside the left hand one; the ends
+are then hitched by being rove through their respective eyelet holes
+and passed over the leech rope and under their own part, one hitch
+being towards you and the other from you; then take the ends down under
+one strand on the right and two on the left of cringle nearest to it;
+then tuck the ends under the first two strands nearest the hitch,
+heaving them well in place; the cringle is then fidded out, and the
+thimble is put in on the fore part of the sail. The ends of the strand
+are then tucked back, left-handed, under one strand, again under two,
+right-handed, as in the first place, heaving them taut in place {63} at
+each tuck, the ends are then whipped with two of their own yarns and
+cut off. If a large cringle is needed, count an extra number of
+lays--5, 7, etc., always an odd number.
+
+(10). +To Finish a Cringle off on the Crown+.--Commence as before, but
+after laying up the strand, instead of forming a hitch with each end,
+the ends are rove through their respective eyelet holes and tucked back
+under two strands of the cringles and again laid up as far as the
+crown, forming a four-stranded cringle, and finished off by tucking the
+ends under two strands and crossing them under the crown of the cringle
+and cut close off.
+
+[Illustration: Fig. 113. Fig. 114.]
+
+{64}
+
+In working a cringle in a piece of rope the only difference is there
+are no eyelet holes, therefore the strand is tucked under two strands
+of the rope it is to be worked in.
+
+(11). +To Lengthen a Rope of a Sail with a Single Strand+.--Say it is
+necessary to give a sail one cloth more spread, it would then be
+necessary to lengthen the head and foot rope. Supposing the width of
+cloth to be 2 feet and the size of the rope 3 in. After ripping the
+rope off four cloths, first of all cut the strand at the distance 2 ft.
+6 in. from each other as in Fig. 115.
+
+[Illustration: Fig. 115.]
+
+Cut one of the strands at _a_ and unlay it to _c_, then cut one of the
+strands remaining at _c_ and unlay it to _b_, laying the strand _a_ up
+again as far as _b_; then cut the only remaining strand at _b_, which
+will be the centre, when your rope will be in two parts. By following
+the plan the wrong strand cannot possibly be cut. The rope will now
+appear as in Fig. 116.
+
+[Illustration: Fig. 116.]
+
+{65}
+
+Now marry the long end _a_ to the end _b_, then lay up the long strand
+_c_ in the lays of the strand _a_, and marry it to the other strand _b_
+as in Fig. 117.
+
+[Illustration: Fig. 117.]
+
+Take a strand about 10 ft. in length of the same size rope and marry
+one end to the short strand _a_ as shown above, then fill up the space
+left from _a_ to _c_ by laying in the new strand, and marry the other
+end to the short strand _c_. You will then have four splices to finish
+off as ordinary long splices (Fig. 118).
+
+[Illustration: Fig. 118.]
+
+(11). +Jury Knot+. The jury knot is useful when a jury mast has to be
+rigged, as the loops form a means of attaching the necessary supports
+to the mast. The centre _k_ (Fig. 120) is slipped over the masthead,
+and the weight brought on the stays tightens it and holds it in its
+position on the mast.
+
+{66}
+
+It is formed by three ordinary half-hitches, each placed behind the
+other and with the loop of the last laid over the first, as in Fig. 119.
+
+[Illustration: Fig. 119.]
+
+Having done this, keep the hitches together with the right hand, and
+with the left take _a_ and dip it under _b_ and pull _c_ through _a_
+and _b_. Then, holding the knot with the left hand, place _f_ over
+_e_, and pull _d_ between _e_ and _f_. Take _g_ in the teeth and pull
+on the parts _g_, _f_, and _a_. The ends _h_ and _z_ may be either
+knotted or spliced.
+
+{67}
+
+[Illustration: Fig. 120.]
+
+(13). +Sling for a Barrel+.--The following method of slinging a barrel
+is adopted when it is desired to hoist it up end on.
+
+[Illustration: Fig. 121.]
+
+Pass the bight _a_ of the rope under the lower end of the barrel and
+bring the two parts up, and with them {68} form an overhand knot _b_,
+which is opened out so as to fit over the end of the barrel.
+
+The bight _a_ is placed under the cask, and the overhand knot _b_ is
+slipped over the head, and the two ends are brought up and knotted as
+in Fig. 122.
+
+[Illustration: Fig. 122.]
+
+(14). +Chain Knot+.--An easy and ornamental way of shortening a rope
+is that known as the chain knot.
+
+To form it proceed as though you are going to make an ordinary overhand
+knot, but instead of working with both ends use the end and a bight as
+in Fig. 123.
+
+{69}
+
+This will form the loop _a_, Fig. 123, through which pass a bight of
+_b_ and continue in this way until all the slack rope is used up, and
+it can be finished off by running the end through the last loop (Fig.
+124).
+
+[Illustration: Fig. 123. Fig. 124.]
+
+(15). +Double Chain+.--The Double Chain is a little more intricate
+than the chain knot, and is formed by taking a turn round the standing
+part and thus forming a loop {70} _c_, through which the end _a_ is
+passed, thus forming the loop _b_ (Fig. 125).
+
+[Illustration: Fig. 125.]
+
+The end _a_ is brought back and dipped down through _b_ and this is
+continued as long as required, finishing off by running the end through
+the last bight and hauling it taut (Fig. 126).
+
+[Illustration: Fig. 126.]
+
+{71}
+
+(16). +Twist Or Plait Knot+.--Another method of shortening a small
+handy rope is known as the twist or plait knot.
+
+Arrange the rope in such a manner that the amount to be taken up forms
+a bight as in Fig. 127.
+
+[Illustration: Fig. 127. Fig. 128.]
+
+Then by taking _a_ over _b_ and _c_ over _b_, and so on, taking the
+outside one on each side alternately over the middle one, the plait is
+formed. To keep the plait clear, the end has to be continually dipped
+through the first bight made (Fig. 128).
+
+
+
+
+{72}
+
+HOW TO HANDLE WIRE ROPE, ETC.
+
++The following article by a Wire Specialist will be read with
+interest+:--
+
+When uncoiling Wire Rope it is important that no kinks are allowed to
+form, as once a kink is made no amount of strain can take it out, and
+the rope is unsafe to work. If possible a turn-table should be
+employed (an old cart wheel mounted on a spindle makes an excellent
+one); the rope will then lead off perfectly straight without kinks.
+(See Fig. 129.)
+
+[Illustration: Fig. 129. Fig. 130.]
+
+If a turn-table is not available the rope may be rolled along the
+ground as shown in Fig. 130.
+
+{73}
+
+In no case must the rope be laid on the ground and the end taken over
+(as in Fig. 131), or kinks will result, and the rope will be completely
+spoiled.
+
+[Illustration: Fig. 131.]
+
+The life of Wire Rope depends principally upon the diameter of drums,
+sheaves, and pulleys; and too much importance cannot be given to the
+size of the latter. Wherever possible the size of the pulleys should
+be not less than 700 times the diameter of the largest wire in the
+rope, and never less than 300 times. The diameters of drums, sheaves,
+and pulleys should increase with the working load when the factor of
+safety is less than 5 to 1.
+
+The load should not be lifted with a jerk, as the strain may equal
+three or four times the proper load, and a sound rope may easily be
+broken.
+
+Examine ropes frequently. A new rope is cheaper than the risk of
+killing or maiming employees.
+
+{74}
+
+One-fifth of the ultimate strength of the rope should be considered a
+fair working load.
+
+In shafts and elevators where human life is constantly raised and
+lowered, the working load should not be more than one-tenth of the
+ultimate breaking strength of the rope.
+
+To increase the amount of work done, it is better to increase the
+working load than the speed of the rope. Experience has shown that the
+wear of the rope increases with the speed.
+
+Wire Rope should be greased when running or idle. Rust destroys as
+effectively as hard work.
+
+Galvanized Wire Rope should never be used for running rope. One day's
+use will wear off the coating of zinc, and the rope will soon begin to
+rust.
+
+Great care should be taken that the grooves of drums and sheaves are
+perfectly smooth, ample in diameter, and conformed to the surface of
+the rope. They should also be in perfect line with the rope, so that
+the latter may not chafe on the sides of the grooves.
+
+
++Set of Wire Rope Splicing Tools+.
+
+To produce the best work, the splicer should have at his disposal a set
+of tools similar to those in the accompanying illustration.
+
+The Tool set consists of--1 Tucker for Small Strands Splicing; 1 Marlin
+Spike, Round; 1 Marlin Spike, Flatted; 1 Pair Special Steel Wire
+Cutters; 1 Serving Mallet. All of best Cast Steel, Hand Forged.
+
+{75}
+
+[Illustration: Fig 132.]
+
+These Sets may be had at prices varying from 15/6 to 46/-.
+
+{76}
+
++Directions for Splicing+.
+
+TO MAKE AN ENDLESS SPLICE.--Clamps are applied to the rope sufficiently
+far back from the ends to allow plenty of room for the splice, and the
+men to operate in. The two ends are then drawn together by means of
+blocks and tackle, until they overlap each other for a space of twenty
+to thirty feet, according to the size of the rope. At a point from
+each end midway of the lap, the rope must be bound with a good serving
+of No. 18 or No. 20 annealed wire. The serving at the extreme ends is
+then cut off, the strands untwisted to the new serving, and the hemp
+cores also cut off so as to abut when the open bunches of strands are
+brought together, and the opposite strands interlaced regularly with
+each other, presenting the appearance as near as can be shown (Fig.
+133).
+
+[Illustration: Fig. 133.]
+
+After these are all correctly interlaced, pull the ropes tightly
+together, so that the cores abut against one another. Next take {77}
+strand No. 1, and as it is being unlaid, follow it up with strand A,
+which must be laid into its place tightly until within five feet from
+the end. Strand No. 1 is then cut off, leaving it five feet long, same
+length as A strand. The remaining strands are treated the same way,
+three alternate strands being laid towards the right hand and three to
+the left. The strands being now all laid in their places, the ends are
+cut off, as with the first strands, to five feet. The appearance of
+splice will now be the same as in Fig. 134.
+
+[Illustration: Fig. 134.]
+
+The next thing is to tuck in the ends, and this is where the skill
+comes in. Before doing this, _care should be observed to see that the
+spliced portion of the rope is perfectly limp, or free of tension,
+otherwise this operation cannot be well performed_. The core is then
+cut and pulled out on the side corresponding with the end to be tucked
+in for a distance equal to the length of the end which is to replace
+it. It is desirable, especially if the rope is composed of small
+wires, to tie the ends of the strands with soft twine or threads of
+jute yarn in order to keep the wires well bunched. A marlin spike is
+then passed over +1+ and under two of the strands, when the core is cut
+off at the proper point, and by moving the spike along the rope
+spirally with the strands, the loose end +1+ is passed into the core
+space and the spike withdrawn. {78} Then pull out the core on the
+other side, pass the marlin spike over A and under two strands as
+before, cut off the core, and tuck in the end A in precisely the same
+manner, after which the rope is twisted back again as tightly as
+possible, and the clamps or other appliances that may be used are
+removed to the next pair of projecting ends. Any slight inequality in
+the symmetrical shape of the rope may be taken out by pounding with a
+wooden mallet. Some prefer to tuck in first all the ends projecting in
+one direction, and then the ends projecting the other way; it is
+immaterial in what order they are tucked in.
+
+If these directions are implicitly followed, the spliced portion of the
+rope will be of uniform diameter with other portions, and will present
+a smooth and even appearance throughout. After running a day or two,
+the locality of the splice cannot be readily detected, and the rope
+will be quite as strong in this portion as any other.
+
+
++Splicing Thimbles+.
+
+UNDER AND OVER STYLE--Ordinary type of Wire Rope. Serve the rope with
+wire or tarred yarn to suit the circumference of the thimble, bend
+round thimble and tie securely in place with temporary lashing till
+splice is finished (as in Fig. 135). Open out the strands (as in Fig.
+136), taking care to keep the loose end of the rope to the left hand
+(see Fig. 136). Now insert marlin spike, lifting two strands (as shown
+in Fig. 137), and tuck away towards the right hand (that is inserting
+the strand at the point, and over the spike) strand No. 1, pulling the
+strand well home. Next {80} insert marlin spike through next strand to
+the left, only lifting one strand, the point of the spike coming out at
+the same place as before. Tuck away strand No. 2 as before.
+
+[Illustration: Fig. 135. Fig. 136. Fig. 137. Fig. 138.]
+
+The next tuck is the locking tuck. Insert marlin spike in next strand,
+and, missing No. 3, tuck away strand No. 4 from the point of the spike
+towards the right hand. Now, without taking out the spike, tuck away
+strand No. 3 behind the spike towards the left hand (as shown in Fig.
+138). Now insert spike in next strand, and tuck away strand No. 5
+behind and over the spike. No. 6 likewise. Pull all the loose strands
+well down.
+
+[Illustration: Fig. 139. Fig. 140.]
+
+This completes the first series of tucks, and the splice will, if made
+properly, be as Fig. 139. Now, starting with strand No. 1 and taking
+each strand in rotation, tuck away under one strand and over the next
+strand till all the strands have been tucked four times. If {81} it is
+intended to taper the splice, the strands may at this point be split,
+and half of the wires being tucked away as before, the other half cut
+close to the splice. Fig. 127 [Transcriber's note: 140?] shows the
+finished splice ready for serving over.
+
+[Illustration: Fig. 141.]
+
+{82}
+
+It will be noticed that this style of splice possesses a plaited
+appearance, and the more strain applied to the rope, the tighter the
+splice will grip, and there is no fear of the splice drawing owing to
+rotation of the rope.
+
+LIVERPOOL OR SPIRAL STYLE (See Fig. 141).--Hawsers, or any ropes not
+hanging free and liable to spin, may be spliced in this style, in which
+the strands, instead of being interlocked together, are merely tucked
+round and round one particular strand in the rope. Each loose strand
+is of course tucked round a different strand in the rope. This is
+sometimes called the "Liverpool" style (See Fig. 141).
+
+[Illustration: Fig. 141.]
+
+
+
+
+{83}
+
+TABLES
+
++Showing Weights, etc., of Various Cordage+.
+
+ KINDS. LENGTH. WEIGHT.
+
+ Reefing twine, 24 skeins 8 to 9 lbs.
+ Sewing twine, 24 " 8 to 9 lbs.
+ Marline, 12 " 4 lbs.
+ Log lines, 25 fathoms 1 to 3 lbs.
+ Samson lines, 30 " 3/4 lb.
+ Samson lines, 30 " 1 lb.
+ Samson lines, 30 " 1 1/4 lbs.
+ Samson lines, 30 " 1 1/2 lbs.
+ Fishing lines, 25 " 1/4 lb.
+ Fishing lines, 25 " 1/2 lb.
+ Fishing lines, 25 " 3/4 lb.
+ Fishing lines, 25 " 1 lb.
+ Hambro'-lines (6 threads), 23 " 1 1/2 lbs.
+ Hambro'-lines (9 threads), 23 " 2 1/4 lbs.
+ Hambro'-lines (12 threads), 23 " 3 lbs.
+ Hand lead lines, 20 " 4 lbs.
+ Deep sea lines, 120 " 28 lbs.
+ Deep sea lines, 120 " 32 lbs.
+ Deep sea lines, 120 " 34 lbs.
+ Deep sea lines, 120 " 36 lbs.
+
+
+
+
+{84}
+
+STRENGTH OF ROPES.
+
+
+ Working Breaking Ordinary
+ Hemp. Iron. Steel. Load. Strain. Chain.
+ Cwts. Tons.
+
+ 2 3/4 1 6 2 5/16
+ 1 1/2 1 9 3
+ 3 3/4 1 5/8 12 4
+ 1 3/4 1 1/2 15 5
+ 4 1/2 1 7/8 18 6
+ 2 1 5/8 21 7
+ 5 1/2 2 1/8 1 3/4 24 8 9/16
+ 2 1/4 27 9
+ 6 2 3/8 1 7/8 30 10
+ 6 1/2 2 5/8 2 36 12
+ 2 3/4 2 1/8 37 13
+ 7 2 7/8 2 1/4 42 14 11/16
+ 7 1/2 3 1/8 2 3/8 48 16
+ 8 3 3/8 2 1/2 54 18
+ 3 1/2 2 5/8 60 20
+ 8 1/2 3 5/8 2 3/4 66 22
+ 9 1/2 3 7/8 3 1/4 78 26 15/16
+ 10 4 84 28 1
+ 4 1/4 3 3/8 90 30
+ 11 4 3/8 96 32
+ 4 1/2 3 1/2 108 36
+ 12 4 5/8 3 3/4 120 40
+
+
+
+
+{85}
+
+[Transcriber's note: in the source book, the following two tables were
+a single table. It has been split into two due to space limitations.]
+
+
+
++TABLE OF WEIGHTS AND BREAKING STRAINS+.
+
+ Circum-
+ ference White Tarred
+ of Rope. Manila Rope. Hemp Rope. Coir Rope.
+
+ Weight Weight Weight
+ for 120 Breaking for 120 Breaking for 120 Breaking
+ Fathoms. Strain. Fathoms. Strain. Fathoms. Strain.
+
+
+
+ Ins. Ct. Qr. Lb. Tns. Cwts. Ct. Qr. Lb. Tns. Cwts. Ct. Qr. Lb. Tns. Cwts.
+
+ 1 -- -- -- -- -- --
+ 1 1/4 -- -- -- -- -- --
+ 1 1/2 -- -- -- -- -- --
+ 1 3/4 -- -- -- -- -- --
+
+ 2 0 3 4 1 6 1 0 0 0 19 0 2 4 0 6
+ 2 1/4 0 3 26 1 13 1 0 27 1 2 0 2 19 0 8
+ 2 1/2 1 0 20 2 0 1 2 4 1 7 0 3 9 0 10
+ 2 3/4 1 1 25 2 9 1 3 11 1 13 1 0 0 0 12
+
+ 3 1 3 2 2 18 2 0 22 2 2 1 0 22 0 14
+ 3 1/4 2 0 7 3 8 2 2 10 2 7 1 1 17 0 16
+ 3 1/2 2 1 12 3 19 3 0 2 2 17 1 2 15 0 19
+ 3 3/4 2 2 21 4 11 3 1 21 3 7 1 3 14 1 2
+
+ 4 3 0 6 5 3 4 0 0 3 17 2 0 16 1 5
+ 4 1/4 3 2 0 5 17 4 2 0 4 4 2 1 18 1 8
+ 4 1/2 3 3 20 6 11 4 3 24 4 10 2 2 20 1 12
+
+ 5 4 2 24 8 2 6 0 15 5 10 3 1 8 2 0
+ 5 1/2 5 3 16 9 16 7 1 15 6 10 4 0 0 2 8
+
+ 6 7 0 8 11 13 8 3 4 8 9 4 3 4 2 18
+ 6 1/2 8 1 0 13 14 10 1 12 9 9 5 2 12 3 6
+
+ 7 9 1 20 15 18 12 0 8 11 9 6 2 4 3 18
+
+ 8 12 0 24 20 14 16 0 0 15 9 8 2 8 5 0
+
+
+
+
+
+
+ Galvanised Galvanised
+ Circum- Galvanised Patent Steel Patent Steel
+ ference Rigging Flexible Extra Flexible
+ of Rope. Wire Rope. Wire Rope. Wire Rope.
+
+ Weight Weight Weight
+ per Breaking per Breaking per Breaking
+ Fathom. Strain Fathom. Strain Fathom. Strain
+
+ Lbs. Tons. Lbs. Tons. Lbs. Tons.
+
+ 1 1.2 1 3/4 .76 1 3/4 .88 2 1/2
+ 1 1/4 1.6 3 1.12 2 7/8 1.36 4
+ 1 1/2 2.2 4 1.44 4 2.00 7
+ 1 3/4 3.0 5 1/2 2.00 5 1/2 2.72 9
+
+ 2 3.8 7 2.40 7 3.48 11
+ 2 1/4 4.6 9 3.12 9 1/2 4.44 13 1/2
+ 2 1/2 5.8 11 4.00 12 1/2 5.44 17 1/2
+ 2 3/4 6.8 13 4.64 15 1/2 6.72 22 1/2
+
+ 3 8.0 16 5.48 18 8.00 25 1/2
+ 3 1/4 9.2 19 6.80 22 9.48 30
+ 3 1/2 11.2 22 7.80 26 11.00 36
+ 3 3/4 12.4 26 9.00 29 12.44 40
+
+ 4 14.4 30 10.00 33 14.24 44
+ 4 1/4 17.0 34 11.20 35 16.00 49
+ 4 1/2 18.4 38 12.80 39 18.00 50
+
+ 5 -- -- -- -- -- --
+ 5 1/2 -- -- -- -- -- --
+
+ 6 -- -- -- -- -- --
+ 6 1/2 -- -- -- -- -- --
+
+ 7 -- -- -- -- -- --
+
+ 8 -- -- -- -- -- --
+
+
+
+{86}
+
++Strength of Short Round-Linked Chain+.
+
+ INCHES. MEAN BREAKING STRAIN. TEST.
+ Tons.
+
+ 1 1/4 44 18.8
+ 1 29 12.0
+ 7/8 23 9.1
+ 3/4 17 6.8
+ 5/8 12 4.6
+ 1/2 7 1/2 3.0
+
+
+
+
+
+
+
+
+
+End of Project Gutenberg's Knots, Bends, Splices, by J. Netherclift Jutsum
+
+*** END OF THIS PROJECT GUTENBERG EBOOK KNOTS, BENDS, SPLICES ***
+
+***** This file should be named 30983.txt or 30983.zip *****
+This and all associated files of various formats will be found in:
+ https://www.gutenberg.org/3/0/9/8/30983/
+
+Produced by Al Haines
+
+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
+https://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 are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come. In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://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
+https://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
+business@pglaf.org. Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+ Dr. Gregory B. Newby
+ Chief Executive and Director
+ gbnewby@pglaf.org
+
+
+Section 4. Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment. Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States. Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements. We do not solicit donations in locations
+where we have not received written confirmation of compliance. To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://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 including checks, online payments and credit card
+donations. To donate, please visit: https://pglaf.org/donate
+
+
+Section 5. General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone. For 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:
+
+ https://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.