diff options
Diffstat (limited to 'old/62444.txt')
| -rw-r--r-- | old/62444.txt | 865 |
1 files changed, 0 insertions, 865 deletions
diff --git a/old/62444.txt b/old/62444.txt deleted file mode 100644 index e8ca731..0000000 --- a/old/62444.txt +++ /dev/null @@ -1,865 +0,0 @@ -The Project Gutenberg EBook of The Preservation of the Exterior of Wooden -Buildings, by Allerton S. Cushman and Henry A. Gardner - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The Preservation of the Exterior of Wooden Buildings - -Author: Allerton S. Cushman - Henry A. Gardner - -Release Date: June 21, 2020 [EBook #62444] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK PRESERVATION EXTERIOR WOODEN BUILDINGS *** - - - - -Produced by Charlene Taylor, Tom Cosmas and the Online -Distributed Proofreading Team at https://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/American Libraries.) - - - - - - - - -THE INSTITUTE OF INDUSTRIAL RESEARCH - - - Allerton S. Cushman, A. M., Ph. D., _Director, In Charge - Division Metallurgical Problems_. - - Henry A. Gardner, _Assistant Director, In Charge Division of - Paint Technology_. - - N. Monroe Hopkins, Ph. D., _In Charge Division of Electrical - Engineering and Electrochemistry_. - - Chas. A. Crampton, M. D., Ph. G., _In Charge Division of - Food and Drug Products_. - - G. W. Coggeshall, Ph. D., _In Charge Division of Mill - Problems_. - - Chas. Baskerville, Ph. D., F. C. S., _In Charge Technology - of the Rarer Elements_. - - -Copyright, 1911, The Institute of Industrial Research - - - - - THE INSTITUTE OF INDUSTRIAL RESEARCH - - - THE PRESERVATION - - OF THE - - EXTERIOR OF WOODEN BUILDINGS - - - BY - - ALLERTON S. CUSHMAN, Director - THE INSTITUTE OF INDUSTRIAL RESEARCH - - AND - - HENRY A. GARDNER, Asst. Director - IN CHARGE DIVISION OF PAINT - TECHNOLOGY, THE INSTITUTE OF INDUSTRIAL RESEARCH - - - [Illustration] - - - WASHINGTON 1911 - - - - WASHINGTON, D. C. - PRESS OF JUDD & DETWEILER, INC. - 1911 - - - - - -PREFACE. - - -For a number of years the writers have been making a study of -industrial problems and have been publishing the information which they -have acquired, regarding the value of various structural materials, -for the benefit of consumers as well as producers. The Institute -of Industrial Research has received so many requests recently for -information in regard to just what paints should be selected for the -protection and decoration of houses and other buildings that it has -seemed best to sum up the subject in the form of a special pamphlet -or bulletin. It is only after years of investigation work carried on -by the authors, both separately and in co-operation, that any review -of the work has seemed possible, for only recently have the results -of tests carried on in a number of different localities seemed to -justify a definite opinion in regard to the best selection of exterior -paints. No attack on any one paint material is here included, but the -value of each has been carefully weighed, and the attempt is made -to discuss them in the light of experience and knowledge. It is the -authors' intention in this bulletin to put into the hands of architects -and paint users who may not be thoroughly familiar with the technical -properties of paint materials, information which will enable them to -make a proper and intelligent selection of paints for the preservation -and decoration of the exterior of wooden buildings. - - - - -The Preservation of the Exterior of Wooden Buildings - - -_Lumber and its Relation to Paints_: The proper choice and treatment of -lumber is one of the most important problems which the builder as well -as the painter has to face. When about to build a dwelling, barn, or -other structure made principally of wood, the question is sure to arise -in regard to what variety to select so as to get the maximum service -and money value. The locality in which the structure is to be built -must often have a bearing upon this question. While it is true that the -painting of each type of wood demands the special consideration of the -painter, it is also true that the study of paints for wood protection -points toward the production of a paint that will give satisfactory -results under all conditions and on all grades. It is the writers' -opinion that a paint may be made that will be perfectly well suited -for the preservation of every species of wood, provided the paint is -properly treated in the hands of the skillful and intelligent painter, -who can produce lasting results on almost every type by varying the -proportion of thinners and oil in the various coats. The painter who -uses the same paint on soft pine, and again on hard pine, without -making a special study of how to reduce the priming coat for the hard -pine, will be likely to get inferior results on the latter. In case -of failure, the natural impulse is often to place the blame upon the -paint, whereas the real responsibility may rest upon the painter's lack -of knowledge. - - Note.--For a more detailed account of the lumber question, - see "Modern Lumber as a Problem for the Painter," read by - John Dewar, at the Convention of Master House Painters' and - Decorators' Association of Pennsylvania, January, 1911, - Pittsburg, Pa. - - - Photographs Showing Different Forms of - Decay Exhibited by Improperly - Made Paints - -[Illustration: Blistering] - -[Illustration: Chalking] - -[Illustration: Checking] - -[Illustration: Cracking] - -[Illustration: Scaling] - -[Illustration: General Disintegration] - -_Signs of Paint Failure_: Those who are responsible for the care and -maintenance of property are familiar with the condition of surface -presented by almost all wooden buildings or structures which have been -improperly painted with inferior paints. "Chalking" or "flouring" -are terms used to describe the condition of a paint surface which -has deteriorated within the paint film. The formation of minute -fissures, generally spoken of as "checking," as well as the effects -best described as cracking, scaling, peeling, and blistering, are -other signs of failure which cause paint coatings to present an -unsightly appearance, and which point inevitably either to the use of -improperly made paints or to improper application. The cause of these -conditions is not difficult to understand when even a brief study of -the character of the materials entering into the composition of a paint -has been made. It is, however, a fortunate circumstance that the proper -admixture of different types of pigments enables us to correct the -strong tendency exhibited by special pigments to rapidly deteriorate -in an oil film. This point will be more fully discussed in a later -paragraph. - - -_Requisites of a Good Paint_: Progressive manufacturers are aiming to -produce a paint which will show, under the widest range of conditions, -good hiding power, adhesiveness, freedom from internal strains, -permanency of color, relatively high imperviousness to moisture, -sufficient elasticity to prevent scaling or cracking when subjected -to expansion or contraction, and freedom from the chemical action -which results in deep checking or excessive chalking. Such a product -as this cannot be attained, in the writers' opinion, by the use of -any one pigment in linseed oil. In order to meet all the demands as -stated above, there should be in an economical and durable paint a -proper percentage of the various pigments which, united, will tend to -correct each other's faults, and thus produce a durable paint coating -of maximum efficiency. - - -_The Composition of Paints_: As is well known, a paint is a mixture of -one or more pigments and a vehicle which acts the part of the spreading -and binding medium. Up to the present time the vehicle portion of -paints has generally been made of linseed oil, admixed with some -volatile thinner, such as turpentine. The subject of oils and paint -vehicles will be discussed more fully later on. - - -_Physical Properties of Pigments_: The pigment portion of a paint -for use on barns and farm buildings may, if desired, be composed -of properly selected iron oxides or other colored pigments, even -containing in some cases a moderately high percentage of silica, clay, -or other inert materials, and give perfectly satisfactory results. For -the preservation and decoration of dwellings, however, the pigment -portion of paints is generally made as a whole or in part of the more -expensive white pigments, such as white lead and zinc oxide. The -relative values and properties of these white base pigments will now be -taken up. - - -_White Leads_: White lead, either of the corroded or sublimed type, is -perhaps the most generally used of all the white pigments as a paint -base. Corroded white lead is a basic carbonate of lead, while sublimed -white lead is a basic sulphate of the same metal. Both of these types -are white, and admirably adapted as painting materials. They take -relatively the same amount of oil and spread easily, producing paint -films which are highly opaque and which, therefore, hide efficiently -the surface upon which they are placed. Sublimed white lead is a -relatively finer pigment than corroded white lead, and seems to show -a tendency to chalk to a greater extent upon exposure to the weather. -Corroded white lead is more alkaline, however, than sublimed white -lead, and when used alone with linseed oil generally shows a tendency -to chalk to a considerable extent in a short time and to show deep -checking, thus permitting the admission of moisture. The alkaline -nature of this pigment produces considerable action upon certain -tinting colors and results in fading or darkening, when mixed with -delicate greens or blues. - -The use of white lead has been condemned in some parts of this country -as well as abroad, because of its alleged poisonous properties. While -it is true that lead poisoning may occasionally occur in some factories -where the workman and his conditions are not properly safeguarded, it -is, nevertheless, a fact that lead poisoning very seldom occurs among -painters of experience and cleanly habits. Carelessness in mixing -white lead is, fortunately, a practice almost obsolete among modern -painters. The use of paints already ground in oil by means of machinery -to a pasty condition, allowing easy working and reducing, obviates the -danger of lead poisoning from any such cause as this, even though the -percentage of lead in such paints is in preponderance. Recent efforts -that have been made by the legislatures of certain States to brand -lead paints as poisonous are not only unnecessary, but show a complete -ignorance of the problem. - - -_Zinc Pigments_: Another pigment which has proved itself of great -value to the painter is zinc oxide. The use of this pigment may be -said to have almost revolutionized the paint industry of the world, -and its increased consumption during the last ten years is sufficient -evidence of its value as a painting material. Zinc oxide is produced -by oxidation and sublimation of zinc ores and is not only extremely -fine, but of great whiteness. It has good hiding power, although not -quite so great as that shown by the white leads. It tends to produce -a glossy surface, making it especially valuable for use on interior -work and in enamels. When used alone it has the effect of hardening -the oil film in which it is enveloped, and upon long exposure causes -cracking and scaling. However, when the sublimed or corroded white -leads are properly combined with zinc oxide, a more durable surface is -produced, the shortcomings of each pigment being overbalanced by the -good properties of the other. The proper combining properties of zinc -oxide with white lead may be said to vary between 20 to 55 per cent -of zinc oxide for paints designed for exterior use. In the opinion of -the authors, lead and zinc pigments in the above percentage, properly -blended and ground, make paints of far better wearing value than can be -produced with either white lead or zinc oxide used alone. - - -_Zinc Lead_: Zinc lead, a pigment sublimed from mixed lead and zinc -ores and containing about equal proportions of zinc oxide and lead -sulphate intimately combined, as well as leaded zinc, a produce -similarly produced, but with the zinc oxide running about 75 per cent, -are white base pigments of value, which are used to a considerable -extent. They are generally slightly off color, however, and are -therefore used most largely in paints which are to be tinted in various -colors. - - -_Lithopone_: Lithopone, a pigment produced by precipitation, and -consisting of zinc sulphide and barium sulphate, is of great value in -the manufacture of interior paints. On account of its liability to -darken and disintegrate, however, it is seldom used on exterior work, -although recent tests have shown that when used in combination with -zinc oxide and whiting, it gives very promising results. - - -_Crystalline Pigments and Their Use_: Barytes (barium sulphate), silex -(silica), whiting (calcium carbonate), gypsum (calcium sulphate), -asbestine (silicate of magnesia), and China clay (silicate of -alumina) are white crystalline pigments which, when ground in oil, -become transparent. All of these pigments possess the property of -strengthening a paint film made of white lead and zinc oxide, and often -increase the durability of such a paint. Barytes, silica, and China -clay are especially valuable for this purpose. Asbestine, because of -its needle-like structure and low gravity, prevents settling and acts -as a reinforcer of paint films. Whiting or calcium carbonate should be -used when zinc oxide is in excess in a paint, so that the hardness of -the paint may be overcome. - -A white paint must be possessed of sufficient opacity to efficiently -hide the surface upon which it is placed, when three coats are applied -for new work or two coats for repainting work. Mixtures of the white -leads and zinc oxide, with the latter pigment running not over 55 per -cent, will easily produce such a result and wear well. It is generally -deemed advisable, however, by most manufacturers to take advantage of -the excessive opacity of such mixtures, which allows the introduction -of moderate percentages of those inert pigments which give greater -strength and other desirable features to a paint. The percentage of -natural crystalline inert pigments to add to a white paint made of -lead and zinc must, however, be moderate and insufficient to detract -materially from the hiding power of the paint. - - Note.--Pigments such as silica, barytes, China clay, and - asbestine are thoroughly inert. Recent investigations have - proved that they accelerate the drying of linseed oil, but - this is not due to any chemical action they exert, but rather - to their physical action in distributing the mass of oil in - which they are ground, and thus allowing a greater surface to be - exposed to the oxygen of the air. - - It is also possible that some of the inert pigments may stimulate - oxidation by catalytic or contact action, although they are not - chemically active in themselves. - - -_White-Paint Formulas_: From these conclusions which have come -from wide experience in the testing of paints under actual service -conditions, there can be recommended to the buyer of paints and to the -manufacturer and master painter those machine-mixed paints in white, -made by reputable manufacturers, the composition of which will show a -mixture of white lead and zinc oxide, with the latter pigment within -limits of between 15 to 55 per cent, and especially the same mixtures -reinforced with the moderate percentage of crystalline inert pigments -referred to above. - -Tinted paints possess greater hiding power than white paints, and -the above proportions would be somewhat changed for a tinted paint -containing any percentage of coloring material. Tinted paints are, -moreover, far more serviceable than white paints, as will be shown -later. - - -_Mill vs. Paddle_: The mixtures under consideration should be ground -in linseed oil by the manufacturer, through stone or steel mills, to -a very fine condition, as it is only through proper grinding that the -pigments can be properly blended. The mixing of paint by hand is, -fortunately, to a large extent a thing of the past. The uneven lumping -of hand-mixed paints are often the cause of their failure. Such ancient -and crude practice should be avoided by every painter, for it is more -economical to obtain semi-paste paints, properly ground by machinery, -to such a condition that they may be easily broken up and tempered. -Such paints may be reduced to the proper consistency with oil and -volatile thinner for application to any kind of wood. - -In the opinion of the writers, a majority of the paints sold by -reputable dealers and made by reputable manufacturers in this country -are not only made from the best linseed oil and highest-grade pigments -obtainable, but are put up in a form ready for the painter to thin down -with full oil or turpentine reductions, either for priming work or to -be used without reductions for finishing coats. The large metropolitan -painter who wishes to make his own tints and shades may, however, -prefer to have his mixed pigment paint ground by the manufacturer in -heavy paste form for certain purposes. - - -_Results of Field Tests_: A careful analysis of the results of field -tests which have been carried on in different parts of the country -would be far too voluminous for insertion in this bulletin. The -official findings of special committees of inspection have already been -published in special reports. Whereas there may still remain ground -for some difference of opinion in regard to the interpretation of the -results obtained on the various test fences, there can be no doubt that -considerable information of the highest value has been yielded, both -to the producers and consumers of paints. One of the principal results -obtained from these tests has led to the opinion expressed above by the -writers, that better results can be obtained by a proper mixture of -selected pigments than by the use of any one pigment in linseed oil. -This conclusion has also been reached by engineers of the United States -Navy, and, as a result, the specifications of the Bureau of Yards and -Docks for paints made of straight white lead and oil have recently been -changed to call for white lead combined with upwards of 50 per cent -of zinc oxide. Many engineers and master painters have interpreted the -results of the tests in the same way, and the attention of the authors -has been called to a number of opinions which show that the tendency -of demand among those who are properly informed is for a high-grade -combination type of paint rather than for any single pigment paint. - - -_Color_: The selection of the color for a dwelling or other structure -is a matter that depends largely upon the good judgment and taste of -the owner, combined with the advice of the painter. One point, however, -should be impressed upon the mind of both, namely, that PRACTICALLY -ALL SHADES OR TINTS MADE UPON A GOOD WHITE PAINT BASE, THROUGH THE USE -OF PERMANENT TINTING COLORS, WILL BETTER WITHSTAND EXPOSURE TO THE -ATMOSPHERE THAN THE WHITE BASE USED ALONE. Owing to the cheerful -effect produced by the use of white paint on dwellings, a very large -quantity of white will continue to be used. If these white paints are -designed in line with the suggestions brought out above--that is to -say, if the white lead bases are properly reinforced with zinc oxide -and other pigmentary materials--better results will undoubtedly be -obtained, as far as appearance and durability is concerned, than if -white lead had been used alone. The consumer should remember, however, -that more durable results will be obtained by the use of tinted paints. - - -_Reductions and Thinners_: Turpentine, with its sweet odor, high -solvent action, and wonderful oxidizing value, has always taken first -place among the volatile liquids used for thinning paints. Wood -turpentines, produced from the steam distillation of fine-cut fat -pinewood or from the destructive distillation of stumpage and sawdust, -have been refined in some cases, by elimination of odor and toxic -effects, to such purity that they are equally as good as the purest -grades of gum turpentine, and their use is bound to increase in the -paint industry. - -The painter and manufacturer have come to understand that certain -grades of asphaltum and paraffine distillates are equally as -satisfactory as turpentine for use in paints for exterior purposes. -Those volatile oils which are distilled from crude oil with either -a paraffine or asphaltum base and possessed of boiling point, flash -point, color, and evaporative value approximating similar constants of -turpentine, are excellently suited to partly, and in some cases wholly, -replace turpentine in exterior paints. A little additional drier added -to paints thinned with these materials will cause oxidation to take -place in the proper time. - - * * * * * - -Prominent master painters[A] have shown that benzol, a product obtained -from the distillation of coal tar, differing from benzine, a product -obtained from the distillation of petroleum, is a valuable thinner to -use in the reduction of paints for the priming of resinous lumber such -as cypress and yellow pitch pine. The penetrating and solvent value of -benzol is high, and it often furnishes a unison between paint and wood -that is a prime foundation to subsequent coatings, preventing the usual -scaling and sap exudations, which often appear on a painted surface. -Because of the great solvent action of benzol, however, this material -should never be used in the second and third coatings. These facts will -doubtless interest the Southern painter, who has so much wood of a -refractory nature to paint. - -[A] Dewar, Titzel _et al._ - - -_Oils_: The increasing cost of linseed oil has raised the interesting -question as to whether or not it is good practice to use an admixture -of other oils in connection with it, in high grade paint coatings. -Strong differences of opinion will probably be found in regard to this -question, and undoubtedly further investigation work is necessary in -order to decide it. A number of different oils have been proposed for -the purpose, of which, perhaps, soya bean oil is the one which has been -most prominently discussed. No definite formulas, however, should be -recommended until the results of investigations which are now being -carried on are in hand. A systematic series of test panels is now -being erected in Washington, D. C., on the grounds of The Institute of -Industrial Research, which are designed to gather data covering just -this point. - -The flax crop conditions have been most discouraging during the past -two years, and the natural shortage of seed has caused a rise in the -price of linseed oil, which has necessitated a rise in the price -of paint. The added protection to be secured, however, through the -frequent application of paint far outweighs any increased cost which -has been caused by the rise in price of the raw commodities entering -into the composition of paint. - - * * * * * - - - - - - - - - -End of the Project Gutenberg EBook of The Preservation of the Exterior of -Wooden Buildings, by Allerton S. Cushman and Henry A. Gardner - -*** END OF THIS PROJECT GUTENBERG EBOOK PRESERVATION EXTERIOR WOODEN BUILDINGS *** - -***** This file should be named 62444.txt or 62444.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/2/4/4/62444/ - -Produced by Charlene Taylor, Tom Cosmas and the Online -Distributed Proofreading Team at https://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/American Libraries.) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for the eBooks, unless you receive -specific permission. If you do not charge anything for copies of this -eBook, complying with the rules is very easy. You may use this eBook -for nearly any purpose such as creation of derivative works, reports, -performances and research. They may be modified and printed and given -away--you may do practically ANYTHING in the United States with eBooks -not protected by U.S. copyright law. Redistribution is subject to the -trademark license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country outside the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - This eBook is for the use of anyone anywhere in the United States and - most other parts of the world at no cost and with almost no - restrictions whatsoever. You may copy it, give it away or re-use it - under the terms of the Project Gutenberg License included with this - eBook or online at www.gutenberg.org. If you are not located in the - United States, you'll have to check the laws of the country where you - are located before using this ebook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm web site -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from both the Project Gutenberg Literary Archive Foundation and The -Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm -trademark. Contact the Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - - - -Section 3. Information about the Project Gutenberg Literary Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's principal office is in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, but its -volunteers and employees are scattered throughout numerous -locations. Its business office is located at 809 North 1500 West, Salt -Lake City, UT 84116, (801) 596-1887. Email contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -For additional contact information: - - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our Web site which has the main PG search -facility: www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - |