Aboriginal American Weaving

By Mary Lois Kissell

Project Gutenberg's Aboriginal American Weaving, by Mary Lois Kissell

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: Aboriginal American Weaving

Author: Mary Lois Kissell

Release Date: February 11, 2008 [EBook #24568]

Language: English


*** START OF THIS PROJECT GUTENBERG EBOOK ABORIGINAL AMERICAN WEAVING ***




Produced by Irma Spehar 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.)





                      Aboriginal American Weaving

                             ---- BY ----

                        MISS MARY LOIS KISSELL,

                  American Museum of Natural History,

                            NEW YORK CITY.

 A Paper Read before The National Association of Cotton Manufacturers
  at their Eighty-eighth Meeting at Mechanics Fair Building, Boston,
                       Mass., April 27th, 1910.

                            [Illustration]




                     ABORIGINAL AMERICAN WEAVING.

 MISS MARY LOIS KISSELL, American Museum of Natural History, New York
                                 City.


Wonderful as is the development of modern machinery for the
manufacture of American textiles--machinery which seems almost human
in the way it converts raw materials into finished cloth; just as
surprising are the most primitive looms of the American aborigines,
who without the aid of machinery make interesting weavings with only a
bar upon which to suspend the warp threads while the human hand
completes all the processes of manufacture. Modern man's inventive
genius in the textile art has been expended upon perfecting the
machinery, while primitive man's ingenuity has resulted in making a
beautiful weaving with very simple means.

No doubt could we know the history of primitive loom work in America
prior to the coming of the white man, we would find an extended
distribution of weaving, but all early textiles have been lost owing
to the destructability of the material and the lack of climatic and
other conditions suitable for their preservation--conditions such as
are present in the hot desert lands of the Southwest and the coast
region of Peru. However, so many impressions of weavings have been
found on early pottery as to assure us that beautiful work of this
kind was made in eastern, middle and southern United States. In
western British Columbia at the present time there are tribes carrying
on certain forms of weaving which show four interesting types.

    [Illustration: FIGURE 1.--KWAKIUTL SQUAW, WEAVING.]

The simplest type is the cedar bark mat woven of flat strips in
horizontal and vertical lines. In beginning wide strips of the inner
bark are hung from their centre over a crossbar of wood which is
supported at either end by an upright beam. The halves of the strips
hanging in front are then split into strands of the desired width and
a line of fine twining woven across to hold them securely. The checker
weaving of the mat is now begun at the left edge by doubling the weft
element over the last warp and then weaving with the doubled element
over and under one warp until the right edge is reached where it is
turned back and slipped under an inch of the weaving just completed.
Figure 1 shows a squaw at work on such a mat, and when she has
completed this half of the mat the second half will be undertaken. She
finishes the edge by turning up the warp ends below the last line of
weft and binds them with a row of twining just above this last weft.

    [Illustration: FIGURE 2.--MAT WITH CHECKED DESIGN.]

In their industries, primitive people always utilize the materials
found in their environment, because no means is afforded them, as in
modern life, for the transportation of materials from a distance.
British Columbia is rich in cedar trees, so it is not strange that
material from this tree enters so largely into the weaving of this
region. Cedar bark lends itself very delightfully to the technic of
these mats, and its golden brown checked surface is at times crossed
by black lines or broken by a group of black checks in simple designs.
These vary greatly, but only one example (Figure 2) can be shown here.

    [Illustration: FIGURE 3.--PRIMITIVE LOOM WITH PLAITED MAT.]

The second type of weaving, also of cedar bark, is begun like the last
mat, but the elements are so placed as to cross the surface
diagonally--alternate strips passing diagonally downward to the right
and left as in Figure 3. These strips are not woven but plaited over
and under each other without the addition of a weft element as in
weaving. When the side edge is reached the strips turn over at right
angles and continue to plait in the changed oblique direction. The
lower edges are finished by bending the elements at right angles and
plaiting them obliquely back for an inch into the completed surface.
Checked weaving and plaiting is employed in a variety of ways, for
aside from mattings it enter into the construction of baskets,
pouches, bags, sails, raincoats, baby's hoods, and a number of other
articles.

    [Illustration: FIGURE 4.--ANOTHER TYPE OF LOOM.]

Cedar bark which has been softened and shredded plays an important
part in the clothing of this region, especially in blankets like that
in Figure 4. The blanket here, however, is not of cedar bark but of
goat's hair for a number of materials are made use of by this technic.
In this weaving the warps are not thrown over the crossbeam as in the
other loom but are supported on a cord which itself is bound to the
beam by another cord. Neither are the warps united by a strip of weft
running over and under but by a two strand weft element which twines
about the warps. To my knowledge this form of weaving has never been
reproduced by machinery as no machine can make threads twine. The
blankets of cedar bark are undecorated, but those of wool frequently
have strands of another color passed across the surface and caught
into the weaving from time to time, producing similar designs to that
in Figure 4. As observed in the illustration the lines of weft are not
driven home but are set some distance apart, the space between varying
on different garments. At the lower edge, however, there is frequently
found a band of closely woven twining, at other times a band of fur,
or a long fringe may complete the edge.

    [Illustration: FIGURE 5.--UNFINISHED CHILKAT BLANKET.]

The most beautiful weaving of western British Columbia is the Chilkat
blanket, Figures 5 and 6, a weaving which is unique in technic and
design, both in primitive and modern textile art. It is a ceremonial
garment and the gorgeous designs in white, blue, yellow and black are
of totemic significance and relate to the ceremonial life of the
Indian. In earliest times this blanket was undecorated, a plain field
of white; then color was introduced on the white field in stripes of
herring-bone pattern typifying raven's tail, because similar to the
vanes of the tail feathers; and later the elaborate geometric designs
of present day blankets developed. These designs are first painted
upon a pattern board the size and shape of those which are to appear
upon the blanket, and it is from this pattern board that the squaw
weaves her pattern. But although the woman (Figure 7) does weave the
blanket, the man also has his part in the process as he furnishes the
loom, the pattern board and the skin of the goat. The squaw prepares
all the materials and collects the bark, for the warp is of shredded
two-ply cedar bark wrapped with a thread of wool, while the weft is
entirely of the soft wool of the mountain goat.

    [Illustration: FIGURE 6.--OLD CHILKAT BLANKET.]

    [Illustration: FIGURE 7.--SQUAW WEAVING CHILKAT BLANKET.]

Lieut. G. T. EMMONS tells us that the goat of this region abounds in
the rugged coast mountains from Puget Sound to Cook's Inlet, but is
unknown on the outlying islands. Its preference is the glacial belt
and snow-fields of the most broken country and the terraced sides of
the precipitous cliffs. It is gregarious in habit being found in bands
of from ten to fifty or more. From September until April the skin is
in prime condition with an abundance of soft wool under a heavy
covering of long coarse hair; but the hunting is only done in the
autumn. To prepare for the plucking, the skin must be kept wet on the
underside so it is moistened and rolled up for several days, thus
loosening the hold of the fleece. With thumb and fingers of both
hands the squaw, seated upon the ground, pushes the fleece from her,
procuring by this process great patches of wool and hair. Then the
hairs are plucked out and thrown away and the wool is ready to be
spun. During the spinning the woman also sits upon the ground with
legs outstretched, with the crude wool by her left side within easy
reach. This she draws out with her left hand and feeds to her right,
in the amount necessary to form the required size of thread. As it is
received between the palm of the right hand and the right thigh, it is
rolled from the body and falls to the side in loose, connected thread.
This soft thread is next spun between the palm of the hand and the
thigh to form a single tightly twisted strand; and by the same process
two of these strands are rolled together to form the weft thread for
the blanket. In technic the blanket is related to the last one
described for it is a twine weaving, but a twilled twine as the two
strand weft encloses two warps at a move and with each succeeding line
of weft advances one warp giving the surface a twilled effect. It is
interesting that the small blocks of design are woven separately
something as a tapestry, and later the blocks are sewed together with
a thread of sinew from the caribou or whale.

    [Illustration: FIGURE 8.--A THIRD TYPE OF LOOM.]

    [Illustration: FIGURE 9.--NAVAJO LOOM.]

The weaving from this region which most nearly approaches machine work
in process of making is the dog-hair and goat's wool blanket. It is
woven upon a loom of two revolving cylindrical beams, supported by
upright posts at either end (Figure 8). The end of the warp thread is
attached to a staying cord stretched from post to post about midway
between the revolving beams. The warp then encircles the loom, catches
under the staying cord, then turns and travels back to its starting
point, there to catch under the staying cord and repeat the operation.
The weft moves across the warps as in twilled cloth, over two, under
two, with an advance of one warp at each line of weft. Dog's hair,
duck down and goat's wool are the materials used, especially the
latter. These materials are spun in two-ply thread twisted partly upon
the thigh of the weaver and finished on a spindle.

Leaving this weaving area in western British Columbia we pass to the
other locality of note in North America where primitive weaving is
practised,--in southwestern United States and northern Mexico. Here
the loom work is at a more advanced stage of development than that of
the northern area, the weavers making use of a loom frame, sheds,
healds, batten and an improvised shuttle. The Navajo Indians are the
most skilled weavers north of Mexico and a description of their
weaving is fairly typical of this area. As the warps are of soft
pliable threads they must of necessity be stretched between two beams.
These are suspended vertically if the weaving is to be of any great
size, the distance between them being that of the proposed length of
the blanket (Figure 9). The warp threads are not stretched across the
beams with an oval movement but are laced over them, forming two
sheds, the upper of which is held intact by means of the shed-rod, and
the lower by a set of healds passing over a heald-rod. A wooden fork
serves as a reed and a slender twig as a shuttle. Upon this twig is
loosely wound from end to end the weft thread. The shuttle at one move
crosses less than half of the warps as the batten--a flat stick of
hard oak--is too short to open more than that length of the shed for
the passage of the shuttle.

    [Illustration: FIGURE 10.--HOPI BLANKET.]

    [Illustration: FIGURE 11.--HOPI WEAVING.]

    [Illustration: FIGURE 12.--MEXICAN SERAPE.]

In Figure 10 only a portion of a blanket from the Hopi Indians is
shown, that the delicate design may be better seen. A number of Hopi
patterns have this fine white line of tracery upon the dark background
and it is this play of the fine line pattern on the fabric which is
one of the chief beauties of Hopi weavings. The sparkle of white is
even more brilliant in Figure 11, another smaller weaving from the
same people. They make constant use of the diagonal or twilled
technic, a weave which requires that the warps be divided into four
sheds, the upper supplied with a shed stick, the three lower with
healds. The sheds are shifted in a variety of orders for the
construction of different patterns.

    [Illustration: FIGURE 13.--HUICHOL WEAVING.]

One of the most beautiful weavings the writer has ever seen from the
southwest is that pictured in Figure 12, which is, however, only a
small center portion of the beautiful sirape from Mexico. The pattern
in two colors of indigo upon a tan colored ground is especially
effective, while the tiny blue dots sprinkled upon the tan surface and
the tan dots over the blue design add a subtle and delightful charm
not frequently met with.

The last two examples, Figures 13 and 14, are also from Mexico, the
first a bit of weaving with animal designs from the Huichol Indians,
and the last a belt loom from the same people. In making belts and
other narrow fabrics the loom is either horizontal or oblique in
position, stretching from some post or tree to the weaver and there
attached to a loop which passes either about the waist or under the
thighs and rendered tense by the weight of the weaver. These belts may
be woven with two or four sheds according to the style of weaving
desired, while another method of pattern work on two shed weaving has
the addition of a round stick run into the warps so as to raise
certain threads while the weft passes two or three times underneath
producing a variety of damask weaving.

The stretch between these simple methods of primitive peoples and
machine methods of modern life is great indeed and we will long
continue to wonder that with such crude devices these people could
produce results which compare favorably with our modern weavings.

    [Illustration: FIGURE 14.--MEXICAN BELT LOOM.]





End of Project Gutenberg's Aboriginal American Weaving, by Mary Lois Kissell

*** END OF THIS PROJECT GUTENBERG EBOOK ABORIGINAL AMERICAN WEAVING ***

***** This file should be named 24568.txt or 24568.zip *****
This and all associated files of various formats will be found in:
        https://www.gutenberg.org/2/4/5/6/24568/

Produced by Irma Spehar 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 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, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at 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
[email protected].  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
     [email protected]


Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment.  Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States.  Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements.  We do not solicit donations in locations
where we have not received written confirmation of compliance.  To
SEND DONATIONS or determine the status of compliance for any
particular state visit 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.