## The Project Gutenberg eBook of The steeple-jack's instructor

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: The steeple-jack's instructor

Author: Clarence James Murray

Release date: November 15, 2022 [eBook #69360]
Most recently updated: October 19, 2024

Language: English

Original publication: United States: The S. J. Lee Publishing Co, 1921

Credits: deaurider and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)

*** START OF THE PROJECT GUTENBERG EBOOK THE STEEPLE-JACK'S INSTRUCTOR ***

[1]

The Steeple-Jack’s Instructor

The S. J. Lee Publishing Co. Chicago, U. S. A.

[2]

[3]

# THE
STEEPLE-JACK’S
INSTRUCTOR

Showing the Modern Methods Used
by Successful Steeple-Jacks

Price $2.00

By CLARENCE JAMES MURRAY

Published by
THE S. J. LEE PUBLISHING CO.
160 NORTH WELLS STREET
CHICAGO, U. S. A.

[4]

[5]

Copyrighted 1921
by
The S. J. Lee Publishing Co.
Chicago, U. S. A.

[6]

[7]

## CONTENTS

| Page
Introduction | 9
How to Become a Steeple-Jack | 9
The Smokestack | 16
To Rig a Stack Without a Gimblet Wire | 31
How to Change the Riggings | 39
Steel Stacks with Brick Lining | 40
Smokestacks with Ladders | 42
Steel Stacks Decay at Band | 43
Reguying | 44
Tripping the Riggings | 50
Self-supporters | 55
Knots | 58[8]
Square Knot | 60
Bow-line Knot | 62
Half-hitches | 64
The Black Wall | 66
Tanks, Towers and Standpipes | 67
Standpipes | 69
Water Towers | 71
Church Spires | 74
The Flagstaff | 78
Tops of Poles | 85
Names of Knots, Bends, Bights and Hitches | 93

[9]

## How to Become a Steeple-Jack

In this book I am placing before you the secrets of a trade I have followed for fourteen years. I have made as high as $170 a day. It is a poor Steeple-Jack who cannot make at least $25 a day. If you have the ability, the appearance, and can approach a business man, you need not worry about getting his work.

He is aware of the chances you are taking. He has work that must be done, and has an admiration for the man with nerve enough to accomplish what he would not undertake himself.

Steeple-Jacks are always in demand. When I speak of Steeple-Jacks, I refer to men who comprehend that a certain thing up in the air needs attention, whether it is the reaving of halyards on a flagpole, the adjustment of a cross on a steeple, the replacing of a guy wire on a stack, the repairing of the hands of a clock on a tower, or the mere painting of any of[10] these lofty objects which ordinary workmen are not courageous enough to attempt.

I know a great deal of this fascinating game, but I do not want to convey to you the thought that I know it ALL, for that is not the truth. Bear in mind the old adage: “We are never too old to learn.”

I call this work a game, because it appeals to me as a great game, although it is difficult work. People will gather in crowds on the street to watch a Steeple-Jack at his perilous duty. I use the word “perilous” because that is what it would look like to the man on the sidewalk, but to one in the air it is just a trick to the trade, and he would not exchange places with the man who is so eagerly watching every move he makes for fear that he may make a wrong move.

While he is thus busily engaged watching you, the following questions run thru his mind: “How in the world did he ever get up there?” “How can he stay up there so long?” His thoughts finally[11] run something like this: “My, but he certainly is brave.”

From my experience with Steeple-Jacks I am convinced that they never like to be called “brave,” because stunts that are pulled are all in the game, and it is no more dangerous for a Steeple-Jack to climb to the top of a flagpole or smokestack than for the individual to ride in an elevator, a motor car or train, for when we consider the number of people who are trusting to the safety of the above mentioned conveyances, and the proportion of accidents in comparison to the number of Steeple-Jacks and the accidents in connection with this trade, the Steeple-Jacks are not at a disadvantage in respect to casualties.

It is to the credit of the Steeple-Jack, however, that he is less careless regarding the dangers of his profession than the thoughtless traveling public.

The Steeple-Jack considers it no more irksome to go out on a job than the book-keeper to go to his desk or a bank teller to enter his cage. The only difference[12] between the Steeple-Jack and the book-keeper or bank teller is in regard to working hours. The Steeple-Jack’s hours range from two to four a day, while those of the tradesman are from six to ten hours a day. The Steeple-Jack, whose day comprises about four hours (often less and seldom more) makes more money in his day than the average man makes in a week.

As before stated, I have had considerable experience in the line about which I write, and I therefore feel safe in saying that no man is worthy of the title of Steeple-Jack unless he can make at least $20 a day in days when he chooses to work less than the customary two to four hours.

From my past experiences I have come to the conclusion that “time is money,” and therefore my advice to any man who entertains the idea of going into the great game of a Steeple-Jack is to always bear that slogan in mind and never perform for the audience which you will undoubtedly have watching you from the street.[13] Remember it is your time that is being taken up by the performance of whatever daring stunts you may be able to “show off,” and no matter how large an audience you may have, there are no benefits derived therefrom.

The work of a Steeple-Jack has a great many assets besides that of being able to earn a great amount of money. With the exception of the money question, here are two that will appeal to every man: First, it is healthful work, because you are always in the open air. Second, you have no boss. You are your own boss and may come and go when you please. However, I would not advise any man who is following this work to assume too great an air of independence. We all concede that it helps to be a little independent at times, but always bear in mind that it is the privilege of the “other fellow” to assume an air of independence also, and, after all, YOU are dependent upon his work. By that I do not mean just one individual, but I am taking your trade as a whole.[14] In business we must give and take. Remember that.

The Steeple-Jack’s work is ordinarily performed on smokestacks, flagpoles and church spires. You will agree with me that there are very few who follow this line of work. Just to prove this to you, allow me to ask you a question: “How many Steeple-Jacks do you know?” Perhaps the answer will be “One,” “Two,” or “Three,” and, again, it may be “Not any.” I have worked in this business in every large city in the United States and I can candidly say that I have had very little competition and, in a great many cities, not any.

Another important factor of this work is always to endeavor to please the man whose work you are doing and never to do cheap or skimpy work, for I have been convinced that cheap and skimpy workmanship gains nothing for you. However, on the other hand, if you put forth your best and succeed in pleasing the man who is to be considered, you can always count on a renewed order the following[15] year. REMEMBER: Satisfy the other fellow first and you cannot help but satisfy yourself.

[16]

## THE SMOKESTACK

To a Steeple-Jack any stack, regardless of whether it is composed of brick, steel or concrete, is a smokestack. Undoubtedly you have heard these stacks referred to as chimneys; nevertheless, from now on we will call them smokestacks.

Steel smokestacks are supported by guy wires. As a general rule two sets of guy wires support a steel stack, but I have often found a smokestack supported by three sets of guy wires. These guy wires consist of four wires to a set.

There is supposed to be a wire which runs through a sheave from the top of the stock to enable the stack man to rig up. This wire is flexible and is called a gimblet wire. Above all things, do not use this gimblet wire for ascending purposes; by that I mean in such a manner as to cause the weight of your body to rest upon this wire, as there is often great danger in an act of this kind.

Read carefully the following few lines[17] and you will be convinced of the risk you are taking by endeavoring to ascend on the gimblet wire.

If the gimblet wire in question has been in that position for a year, in all probability it is rotten at the point where it runs through the hook at the top of the stack, and it would not take much weight to loosen it. So bear in mind, no matter how light or heavy in weight you may be, do not climb up on the gimblet wire.

The following is a more simple and far more safe way of getting to the top:

First of all, get a board from six to nine feet in length and two to three inches in depth. Take one end of the gimblet wire and tie it to the end of your board, and fasten the other end of the wire to the board about three feet from the end. Take your stack hook—a hook of good ⅝-inch steel. This hook should be about fourteen inches long, the hook being six inches long; a five-inch opening with an eye opening of about two inches, so that you can hook your block and tackle to it. Attach your stack hook to the board on the side opposite to where your gimblet wire is fastened. Be sure the hook is turned towards the stack.

[18]

Ready to Pull the Rigging Up

The Boatswain Chair

[19]

When this is done, pull on the wire; that will draw up your riggings, reaving your block and falls out to the size of the stack, so as to enable you to keep them from twisting with the gimblet wire. Now, then, should this board be weak and break while you have your riggings near the top, to prevent them from falling down and one end of the gimblet wire from running to the top, tie a heavy piece of cord to the end of the gimblet wire, running it to the other end of the wire, then fasten to your blocks.

This will prevent a hard day’s work untangling your riggings from the guy wires, should the board break.

[20]

Tripping Riggings on Top of Stack

After drawing your rigging to the top, the board drawn tight up to the block on top of the stack, pull on the gimblet wire that is attached to the end of the board. This motion brings the end of your board bearing the hook and rigging up. In some cases, the stack being small in diameter[21] and the board being too long, the hook will stick far out from the stack, and with all hard efforts will not lodge it over the top. When you have this proposition to contend with, leave the stack about three or four inches on the gimblet wire that holds the board tight to the block on the stack. In some cases you have to drop the board as far as from two to three feet below the block, in order to get your hook in a position where it will settle over the top of the stack with the hooked part inside of the stack.

This is very important. Be sure that the hook is not only setting on top. This can be determined by twisting all four lines, making them one bundle; then by giving the lines a few switchings back and forth in all directions. When this is done and you have fully convinced yourself that the hook is properly over the top, then your next move is to start for the top.

If it is your first time in a boatswain chair, I would suggest that you sound[22] yourself first as to dizziness. This can very easily be done by the following method:

Stand along the side of the stack, throwing your head to one side and looking up, allowing your eyes to follow the stack and the clouds, shaking the head at different times. This brings on dizziness. Then stand erect, so as to clear your head. After getting into the boatswain chair, you place the fall line of your riggings—that is, the line with which you draw yourself up—between your legs. This enables you and your helper to pull more steadily together, and you get to the top much quicker.

I have noticed that the majority of stack men regard this as the most difficult part of the job—drawing to the top. Once up, the job is half done.

After you reach the top of the stack, the first thing to be done is to cut away the string that holds the stack hook to the board. You then lower the board to the ground. Still tied by the wire to the board for further use in case you want[23] to trip off with it when the job is finished.

There is still an easier way, which I will explain later. Now we will say the work you are to do is paint. For your information I will say that oil paint is preferred by Steeple-Jacks for several reasons, some of which are: It is easy to apply in all kinds of weather; you are bound to get plenty of it in the face, and it is easier to wash off than tar. From my personal experience I have found that graphite and oil preserve a steel smokestack better than any other. You will come in contact with people who will differ with you as to this point; however, when you meet with a difficulty of this nature, give the man what he asks for. If he wants water, give him water; if he desires to have tar, give it to him, but if he wants something good, then suggest an oil paint. Graphite and oil—the preservable.

A great number of men with whom you deal will say: “I want tar on my stack.” I have learned from my own personal experience that the answer which will in[24] nine cases out of ten take with the man with whom you are dealing is something on this order: “If you want tar, all right, but it will cost you more money.” He will immediately confront you with a question similar to this: “Why is that?” Your reply should be: “If I put tar on your smokestack and come back next year for your work, you will refuse me, because tar blisters in places and rust forms under the blisters, which prevent the rust from being seen, and in a few years there are holes in the stack, whereas an oil paint wears off, showing the rust spots.”

[25]

Changing Positions on Top of Stack

However, I am running away from my story. We will go back to the top of the stack. You look down, getting straight above a guy wire, reach over as far as you can and paint, leaving the space directly in front clear; drop down about ten feet, painting as you go; draw up to the top again, switching the stack hook over and directly above the next nearest guy wire. In order to accomplish this, take an extra hook similar to your stack hook and about seven feet of ½-inch line. Place[26] the extra hook over the top; tie the other end of the sling to the rope of your boatswain chair, making it good and secure. Then lower your weight from your rigging until it rests on the extra hook and sling. You then draw your regular stack hook up to the extra hook. When this is done you pull your weight again to your riggings and push the extra hook around. Do this until you get to the position you want, just above the next nearest guy wire, repeating the same as you did above the other guy wire, painting about ten feet down. When this is done, draw back to the top, using the same method to get over to the middle of the two spaces you have painted.

Then start to paint between the two spaces already completed. By so doing you are able to make a larger sweep on your way down. In order to make time on a stack it pays to have a helper on the ground, so as to take the end of the fall line or handy line and pull you around and by doing this also help to keep you in to the stack, which enables one to work[27] to a better advantage and much quicker. Remember, “Time is money,” and there is lots of it to be made.

The opportunity is there. Tradesmen of all walks of life say: “Gee, business is dull in my trade. If I only had the opportunity that some people have.” A Steeple-Jack should never say that, because there is always work to be done on a smokestack the year ’round. Don’t be afraid to ask for it, and also a price. Yours is not a common trade. It takes brains, brawn and nerve, so don’t permit your nerve to fail you when you are asking a price.

Another thing to be careful of is not to allow your rope to get caught and tangled in the end of a guy wire attached to the stack at the band. Should this happen, it may put you in a very hazardous position. Give this a glance now and then and, should such a thing happen, do not get excited and start tugging. The more you tug, the tighter it gets. Have someone to switch it out from the ground. It is possible to do this from the air.

[28]

Showing Falls Caught in Guy Wire

[29]

High wind is the Steeple-Jack’s greatest enemy. It is only a fool who would attempt to rig a smokestack when the wind is blowing a gale; in fact, it is almost impossible to work in a high wind. More work can be accomplished in one-fifth of the time on a calm day. “Time is money,” but always take time when your life is at stake. Always keep in mind the motto: “Safety First.”

When tying up your riggings for the night, and it might be calm at the close of the day. Weather changes in a very few minutes at times. To safeguard against the rope from wearing against the stack and guy wires, walk out about fifteen feet from the stack, taking a piece of extra sling. Tie the sling to some object that is solid, throw two half-hitches with your fall line around the riggings just above the single block. When this is done, pass the sling which you have tied to some object through the hook of the block, making it fastened to the block. Then pull the slack out of your riggings with the fall line, at the same time keeping[30] the two half-hitches just above the block. Do not take up all the slack; leave some play in your lines, using your own judgment as to whether the lines will come in contact with the guy wires. The weather will shrink the line more or less.

[31]

## TO RIG A STACK WITHOUT A GIMBLET WIRE

When this proposition confronts you it may look to you like a job not worth fooling with. It can be done and, on some stacks, almost as quickly as with a gimblet wire.

There are a number of ways to rig without the aid of a gimblet, of which I will show you two of the quickest and most simple.

Look over your guy wires and pick out the most solid of the lot running to the top band. Make sure of its anchorage. There are supposed to be two clips at each end of a guy wire where it is connected to the turn-buckle, and at the band place the double block without the stack hook on the guy wire.

Tie a long and heavy line to the block. Take this line, passing it around all the guy wires with the exception of the one the block and falls are attached to. Then reave out your line to what you would figure the length of the stack to be.[32] You then take hold of the line that is around the guys, pulling on it and at the same time switching on your rigging. Unless the guy wire is slanting at about 45 degrees down, your rigging will slide up very easily.

With this system it is possible to get your rigging to within a very few feet of the top band, then tie off your tug line, be sure to some object that is good and solid. Remember your weight will be on that, and also your life.

SAFETY FIRST always. You only fall once. Use every safety device available. Remember this book only tells you how to rig, but it takes common sense while following these methods, and that is, take no chances where you think a thing will hold. Be sure it holds.

The first thing to do when getting into the boatswain chair is to see that your lines are not twisted. Have your helper walk out some fifteen or twenty feet from the stack. Take the fall line with you on your way up. The stack hook, extra[33] hook, sling string, small stick, hang line, and you are ready.

Quite a load going up! After placing the line between your legs and your helper stands away out, this helps to avoid the twisting of your line. While going up remember this: A very steady pull, the two pulling together. Long grabs and jerks are liable to prove disastrous, as it may cause the line to snap. Half-inch line has tremendous straining power; nevertheless, there are flaws in rope and rope also rots.

My first experience on a stack I remember I wanted to buy 1½-inch line. Now wouldn’t I have had a wonderful time trying to get that ton of rope to the top of a smokestack! Since then I have used ¼-inch rope, but that is too small. At any rate I had the correct idea of “Safety First” at the beginning. However, ½-inch is the proper size for a job not over two hundred (200) feet high.

Now, when nearing the top guy wire, have your helper slack up, allowing you to continue the pull alone. When the two[34] blocks are together tie a safety line to the wire. Tie the extra hook to the stick and the end of the sling to your chair, then in the hook, passing the hook over and in the eye of the band. Pull the stick away from the hook. You then tie the stick to the block attached to the guy wire. After this is done, lower yourself until your weight rests on the line hooked in at the band.

Make sure when lifting the riggings away from the wire that they don’t fall, leaving you up there in a great predicament. If this should happen, you will agree with me on that point.

Experience is a great teacher. I have had this experience: On lifting the block away from the wire, place it in the eye of the band; also draw yourself up close to the band. Untie the sling, tying it closer to the hook, then draw up a long pole—the size you figure you will need to reach the top with. Tie the stack hook to the pole; put the block and falls in the hook; push it to the top.

[35]

Poling to the Top of a Smokestack

[36]

Now, not in all cases is this as easy to do as to say. If the top is only fifteen or twenty feet from the band, it can be done without much effort, but should it be a reach of thirty or thirty-five feet, I would suggest the following method:

Tie a hook to the pole just so it will stay on. A light hook is required for this. Place your handy line through the eye of the hook. Tie the handy line end down about eight feet from the top of the pole, then lash yourself to the band, pull yourself up and stand in the chair, throwing one leg over the guy wire. Make yourself good and solid, spread your feet out in the chair. Do not have them together. This sometimes prevents the chair from sliding to one side. Above all remember never to let your riggings get away from you. You are in a mighty tiresome position. Always be sure to have a handy line with you in making a reach of thirty or thirty-five feet. Figure your pole, which is only two by two or so, is easily broken in a little wind. I have had poles break eight or ten times before reaching the top of a stack.

[37]

Now, in pushing the pole up with a handy line, always wait until the wind ceases for a second, then up with it. This has to be done quickly. With the pole leaning against the stack once over the top, pull the pole away from the light hook, lower the pole until the top end is at the band. Tie on the hook and block, then, with the handy line now over the top, pull on it and at the same time push on the pole with a steady push and pull. The rest is very simple. After this is accomplished, undo yourself from the band, lowering yourself into the boatswain chair. Hook up the riggings to the chair, start for the top, cut away the pole, lower it down and start your work.

[38]

Climbing Guy Wire with Slings and Chair

[39]

## HOW TO CHANGE THE RIGGINGS

When completing one side of a stack and in order to get the tackle to another position on the stack, twist the rope, making it all in one; then leave a little slack to make a snake whip movement towards the top, and you will have the satisfaction of seeing your rigging move around on the top. If the wind is blowing hard, perhaps you will have to do several of the switching movements before getting the hook to start to move. Then take the line around the guy wire and you are ready for the next set.

[40]

## STEEL STACKS WITH BRICK LINING

You will encounter a little difficulty in the shifting of your riggings from the ground when you are working on steel stacks with brick linings. In fact, you will save time by not trying to shift from the ground. If the brick extends all the way to the top, you will have to have a hook large enough to spread over the steel and brick.

It is wise to go to the top, whether you have to tow it over fresh paint or not. In doing this you have your helper walk out some fifteen or twenty feet. You then place your legs around the fall line; after this is done both you and your helper pull together.

In this movement you are going up backwards with your back towards the stack, until about half way up; then turn with your face towards the stack. Daub the tips of your shoes with paint; this helps to cover up the prints of your shoes on the fresh paint. If you do not comply[41] with this rule, the print of your shoes on the fresh paint will look from the ground as if those spots had never been painted, and would tend to leave a bad impression as to your workmanship with the man for whom you are doing this work. Neat and impressive work draws more returns. On reaching the top an equal size hook is required, as aforesaid, with the sling, afterward having your helper take the fall line over the guy wires and you are ready to do another set.

[42]

## SMOKESTACKS WITH LADDERS

There is no use of going into detail about rigging a stack that has a ladder on it. This can be answered in a very few words: Walk up the ladder and hook the rigging over the top. But there is this much about it—Watch your step! These ladders after a few years become very rusty and the bolts where connected from the inside are sometimes eaten away by the gas from the coal, and just a little weight on them might cause the handles to give way. So always remember to be very careful when climbing a smokestack that has a ladder connected to it.

[43]

## STEEL STACKS DECAY AT BAND

You will notice that as a general rule steel stacks commence to weaken at the first half-dozen sections from the top downward, or at the band. The rain hitting the in- and outside from the top, and lying around the band, is causing the rust to form more quickly than on any other part of the stack. This accounts for the aforesaid parts weakening the quickest.

It is always wise to sound a stack at the top and band so as to determine whether it will stand much tugging or bouncing upon. If it looks weak and you make up your mind that you will go through with what you are doing, I would suggest that you do all the pulling and take just what tools you can possibly get along with.

[44]

## REGUYING

To reguy a smokestack it is necessary to have these parts before the job is really called complete: Turn-buckles for the bottom ends of the guys and clips for both ends. Although you can guy a smokestack without these articles, it is best to have them. Without the aid of the turn-buckle to draw the slack out of the guy wires, a device like this can be used: Lash the guy wire with a sling, using two half-hitches so as to grip the wire. Tie a bow-line knot at the opposite end so as to enable you to attach the block and fall, placing the opposite block in the eye of the guy wire anchor, then by pulling on the fall line, this takes the slack from the wire, even with the turn-buckles. Sometime you will have to resort to this method in order to take up the loose slack.

[45]

Drawing Guy Wire Tight with Block and Falls

When guying a stack the first thing to do is to place the spool that holds the wire between two boxes of equal size. Take your handy line and a small single[46] block when going up to attach the guys; hook this single block to the eye of the band at the position where you are to work; have your helper tie the handy line about three feet down from the end of the guy wire, and then bend the wire double. You then have your helper do the pulling up of the guy wire. Should you do the pulling while sitting in the chair, you would soon notice the strain from it in the stomach. As you have nothing under the feet to press the strain there, it really falls to the stomach to receive all the hard work. Always leave some slack to the guy wire.

A stack must vibrate to a certain extent, therefore if the guy wires are drawn as tight as they possibly can be, the chances are the result would be a broken wire or an anchor giving way.

[47]

Helper Pulling Guy Wire Up to Stack Band

In using clips to fasten the wire at both ends, they should be a size larger than the guy wire, and when clips are not available, allow about two feet over. After passing guy wires through the eye of the band or the eye of the anchor, take a piece[48] of gas pipe of a size that will slip down over the guy wire some foot or a foot and a half, then twist the end of the guy wire with the gas pipe around the other part of wire that extends down. This is a wonderful way to fasten the wire to the stack, and will last as long as the stack will.

[49]

Turning Guy Wire with Steel Pipe

[50]

## TRIPPING THE RIGGINGS

Tripping the riggings off the stack after the job is completed takes only the work of a few minutes. See to it before making the last trip up that you have that necessary appliance with which to save you a few unnecessary trips up and down.

Take a small steel bar about ¼-inch in size and bend it into the shape of the letter S. Judge the diameter of the band on top of the stack; make the hook so it will fit snugly on top. This hook should not be over five inches long. After placing the trip hook on the stack, take your handy line, lay it on the hook, tie the end of your line in the eye of your stack hook, then tie up about two inches above the eye in several places. The last two tie-offs will prevent the stack hook from falling to one side.

[51]

Handy Line Attached from S Hook to Stack Hook

[52]

Results of Turning Hook in Wrong Direction

[53]

Hook Turned in Proper Direction for Tripping

[54]

After leaving the stack, have your helper tie the handy line away from the stack. This flopping back and forth will annoy you while at work. After you have finished and are ready to trip, twist the rigging until it is twisted all the way to the top. In doing this twist the rope so that the stack hook will turn out and away from the trip hook. This is important. Leave slack on the riggings at the same time. Do not let it untwist. Then take the trip line, pull steady on it, until you see the stack hook raise up and over the stack. Then lower on the trip line until you see the stack hook is off and below the top of the stack. Then let go of the riggings so they will untwist; lower away; untie the handy line from the block hook; then pull one end of the handy line to the top. It will go through the small S up there and fall to the ground, leaving the small S hook on top of the stack.

[55]

## SELF-SUPPORTERS

Steel smokestacks are generally supported by guy wires, although there are some steel stacks without guy wires, which are called self-supporters.

Self-supporters taper at the base and have an extra heavy foundation and a ladder to enable you to climb to the top, although in my travels I have come in contact with one self-supporter that had neither ladder nor gimblet wire. Fortunately this self-supporter was very small in diameter.

In order to make the top of this particular stack I had to rely on an extension ladder, working my way up by degrees; first lashing the ladder to the stack, extending it as far as safety would permit, then lashing the stack again with an extra large sling about ¾-inch, making a bow-line knot and with a sling to both sides of the ladder I used the block and fall, pulling the bottom part of the ladder up as far as possible, lashing off again, then pushing the top part up.

[56]

Ladder Lashed to Self-Supporting Stack

[57]

After making the lower half of the extension ladder solid at the top and bottom so as not to permit it to sway to either side, climb the top half of the ladder, lashing the stack again, and repeat as before. Guy wires have to be replaced from time to time, as these wires rust and fall down, leaving the stack to the mercy of the winds, if not attended to before they become so badly decayed.

As stated before, stacks that are supported by guy wires have from one to three sets, and generally four wires to a set. A ½-inch galvanized wire is sufficient for any stack, although some people prefer a larger size wire for double safety.

[58]

## KNOTS

Knots are a very important factor in the Steeple-Jack’s life. Only knots that have been properly tested should be used. Many a terrible disaster has been caused by the use of a knot which was quickly invented by a man and never tested. Avoid such accidents by learning to tie knots in the proper fashion.

Slip knots are bothersome as well as dangerous to both the person working in the air and the people walking underneath. There are very few knots that are useful to the Steeple-Jack, and it is well for every man following this trade to learn to make these few knots well and thereby avoid delay when in need.

For instance, if you were on the top of a stack and saw a part of your rigging that did not look any too safe, or you were near a band and saw your hook was only sitting on top of the stack and not inside, as it should be. A sling and the knowledge of tying knots properly is[59] required. Practice until you are thoroughly familiar with this important part of your trade.

[60]

## SQUARE KNOT

As I said before, slippery knots are bothersome in many cases. When you use the slip knot the only way to get it out is to cut the line; then you are disfiguring the line or shortening it.

The square knot and the bow-line knot are the ones most commonly used.

In tying a square knot take the ends of the rope, passing the left end over and under the right, and then take the right end and pass it over and under the left.

In trying to make the square knot there often forms what is known to line men as “the granny,” which is useless for any hazardous purpose. Follow the instructions of right over and left over and you can’t go wrong in making the best-liked knot of all—the SQUARE KNOT.

In using the square knot while working in the chair, make two half hitches in each end of the line. This is used to insure double safety.

When using the square knot for the purpose of adding more line to the riggings, tie both ends of the lines (as illustrated on page 61).

[61]

Square Knot

Granny Knot

Square Knot Sized at Both Ends

[62]

## BOW-LINE

A more efficient knot than the bow-line knot was never known. This knot is used more than any five knots put together in the Steeple Jack’s work.

The bow-line knot is mostly favored in climbing a flagstaff, when making the stirrup to climb, and in many ways for the smokestack.

In making the bow-line knot follow the illustrations according to numbers. In No. 1 the rope is formed in a bight; pass No. 1 through the bight under then over and then under, as illustrated in No. 2; then over and down through the bight as illustrated in Nos. 3 and 4. Draw tight as illustrated on page 63.

As I said before, the bow-line knot is a very useful knot on the flagpole. By placing the sling around the pole, passing the end through the eye, then make your bow-line knot, leaving the loop for the size of your foot so as to slip your foot in.

[63]

How to Tie the Bow-line Knot

[64]

## HALF HITCHES

The half hitch is used very frequently by the Steeple Jack, especially in tying off the riggings for the night or pulling up a pole or paint. In making the half hitches, pass the end around the object you are tying, then over and around, standing part between the object and itself; then under and around the standing parts and between own loop and the one first formed. It is no more difficult and takes no longer to make this knot than it does for you to count three. Illustrations on page 65.

[65]

Half Hitch

[66]

## THE BLACK WALL

The Black Wall, known by many as the chair hitch, is used by the Steeple Jack while working in the chair up or down; stopping to rest or work, reach through the rope of your chair, grab the fall line by the right hand, pulling it through between yourself and the rope of your chair. At the same movement turning the rope from left to right making a loop in this movement, reach up and set it on the hook of the block at the chair; while doing this reach with the left hand and hold your four lines tight together. This prevents you from going down while making the Black Wall or chair hitch, as it is commonly known.

Black Wall Knot

[67]

## TANKS, TOWERS AND STANDPIPES

Water tanks, water towers or water standpipes are an easy matter to work on as far as the rigging is concerned, but not as much money is to be made as on smokestacks, church steeples and flagpoles. Nevertheless, they are worth soliciting.

Take, for instance, a water tank. A water tank consists of only the tank itself sitting on a flat roof or ground. Water tanks vary in size.

We will say a tank twelve (12) feet in diameter, fifteen (15) feet in height, with very little rust scales. This tank can be painted in about three hours and requires no more than three and one-half gallons of oil paint. I have received as high as Sixty ($60.00) Dollars for a few hours’ work on tanks of this kind.

[68]

Painting Water Tank

[69]

Standpipes are more on the order of smokestacks. Some have brick foundations running up a third of the way and again others have brick half of the way up and the other half steel, while you find some that are all steel from the bottom to the top.

All standpipes have ladders going to the top, therefore it is an easy matter to rig such standpipes with a set of falls and work in a boatswain chair.

For an example we will take a standpipe that is made of steel and that is one hundred and twenty-five (125) feet in height, twelve (12) feet in diameter. A standpipe of this kind would require about eighteen (18) gallons of oil paint. It would take one man working in a boatswain chair about three and one-half (3½) days. It is always safe to ask about $250.00 for a job of this nature.

[70]

Painting Standpipe

[71]

## WATER TOWERS

A chair man considers a water tower more difficult to work on than the two mentioned previously.

The majority of water towers are supported by four stiff legs. Some have more and very few less. You will find very few water towers that stand less than one hundred and fifty (150) feet high.

To paint a water tower it is best to start on the tank proper, tying a rope over the ball or pole that extends from the top of the tank, allowing enough rope so that it will extend to the edge of the roof of the tank, then attach the block and falls to same. Take the other end of the rope, which is attached to the top of the tank, running it down on the opposite side from where you are going to work, and there fasten it securely to the beam under the platform to the other side.

[72]

WATER TOWER

[73]

Attach the riggings at the top of each stiff leg to the platform while working down the leg supports.

It takes considerable time and plenty of patience when working on a water tower.

A water tower one hundred and fifty (150) feet high with four stiff legs and the tank proper about twelve (12) feet in diameter by twenty (20) feet in height will require in the neighborhood of twenty-five (25) gallons of oil paint. It will take one man approximately four days and a half (4½). It should not be difficult for you to secure about Three Hundred and Fifty ($350.00) Dollars for a job of this kind.

[74]

## CHURCH SPIRES

A tapering construction and not a hard job to rig after once tried. If you are capable of rigging a church spire, then it is an easy matter for you to rig a church dome or any other structure of that nature.

For the majority of church jobs an extension ladder is the handiest article. After drawing the extension ladder up to what is known to the Jack as the pigeon hole window in the church spire, build your platform from the window with 3×4 lumber, extending it out some six feet; lower a line down on both sides of the window, having your helper tie the two ends together around the lower section of the spire. Then by drawing it to the window you will have your first loop around the steeple. Place the extension ladder on the platform; nail two boards to the inside of the window, then attach other ends of boards to the ladder. Use all the safety devices available when going out on the ladder. Lash the ladder[76] wherever it is possible and also yourself by placing a line under the arms and tying the line that you have around the spire, working it up as far as you can go, then lash this to the ladder so as to keep the ladder from swaying to the left or right.

[75]

Showing Ladder Position from Pigeon-hole on Spire

An extension ladder will bring you within a distance from which you can easily lasso the spire. Then by using the system already mentioned in the self-supporting stacks without ladders you will be in a position to accomplish any work you are on the spire for.

[77]

Showing Where Riggings Should Be Lashed at Top of Spire

[78]

## THE FLAGSTAFF

Although the flagstaff is the most simple part of the Steeple Jack’s work, at the same time it is the most dangerous. Before climbing a wooden pole look all around it first to see if any cracks are visible. In all probability there are, as most wooden poles are cracked. If the crack runs up and down then the pole is safe, unless it is dry rot, but if the crack runs crosswise on the pole watch your step. Chances are it will hold, but again it might not. Watch your step, because no one will watch it for you. Remember, a man can only fall once.

[79]

[80]

## THE STAFF

The flagpole is composed of the following parts: The pole ball, spindle, truck, sheave, cleat, brace and halyard.

The halyard is the rope with which the flag is drawn up to the top, and it is never used for climbing purposes. The art of climbing a flagpole with ease and performing that which is to be done upon the pole will be explained in detail later on.

The ball on the top of the staff plays no important part. It is used more for ornamental purposes than anything else.

The spindle is the rod that runs from the ball through the truck into the pole.

The truck holds the sheave.

The sheave holds the halyard.

The cleat is for the purpose of tying the halyard to a few feet from the base of the pole. The majority of poles have iron braces for support connected about six (6) feet up from the base of the pole.

From experience I find the steel pole the most dangerous. In my opinion it is[81] more dangerous than the wooden pole for the reason that rust forms inside of the steel pole and around the bands where it is connected, and in the winter time it is easily broken by the cold weather if any weight is put on it, whereas the wooden pole can be tested by sounding it as to its condition.

If the wooden pole has the dead sound it is in all probability dry rot, and with a pole of this kind I would advise you to be extremely careful. Never sway such a pole any more than you absolutely must, and take plenty of time in climbing it. A pole in this condition gives no warning before it breaks, but a pole with plenty of sap gives a cracking sound before it gives way, which gives the man working on it a chance to slide to a more secure position.

[82]

Climbing Flagstaff With Slings

A boatswain chair and two slings are the only tools necessary to work on a flagpole. Take two slings made of at least ½-inch line, splice an eye in the end of each sling—the eye being about two inches in diameter; place the sling[83] around the pole, drawing the end opposite from the eye through the eye; do likewise with the other sling; tie the boatswain chair to the top sling, allowing five inches from the rope of the boatswain chair to the eye of the sling; tie a loop in the end of the lower sling—tying a bow-line knot. This is called a stirrup. Leave the same distance from eye to knot as from the chair to the knot. Get into the boatswain chair.

The first thing to do is to see that the loop around the pole is as tight as it will go. Then place your foot in the stirrup, take hold of the pole to steady yourself, raise up in the stirrup, and with the right hand push the sling holding the chair up, again making the sling tight to the pole. Sit down in the chair, reach down and pull the stirrup sling up until you can get your foot in. Repeat these movements and you will see how simple it is to climb without exerting yourself.

At every movement going up and coming down make sure that the sling that holds the chair is secure and thereby prevent[84] it from slipping down. Should it be loose and slip down and your foot in the stirrup, the result would undoubtedly be that you would be dangling in the air head down. Avoid all of this by taking every precaution.

[85]

## TOP OF POLES

At any time you are working on a flagpole and the work consists of replacing a truck, ball or spindle, the only thing to do is to make sure of the pole being solid enough for a little swaying. If so, take a sling, lash yourself to the pole under the arms as a back brace, then reach up and pull yourself up and stand in the chair. Avoid shaking the pole as much as you possibly can. Then draw up the saw.

Saw off about one foot of the top, take a brace and bit, drill the holes, chip off around the edges and set your new truck on. The spindle should be set about from 8 to 10 inches down in the pole, then wedge in with small sticks to make it solid.

In painting a flagpole use the halyard to hold your paint. Twist the rope several times to keep it at the same distance as yourself. In painting a pole work down as you work up.

[86]

Working the Top of a Flagstaff

[87]

S Hook Used for Tripping Purpose

Swivel Snap

Cleat

Top of Flagstaff

Five-inch Brush Is Mostly Used by Steeple-Jacks

[88]

Come-along Used for Tightening Guy Wire

Double Steel Ball-bearing Block Is Preferred by the Stack Man

[89]

Single Steel Block

Clip

Guy Wire with Clips

[90]

Turn-buckle

Gimblet Block

Extension Ladder

[91]

## PRICES TO CHARGE FOR WORK

Prices vary in the different parts of the country, so it is really difficult for me to give you exact pointers on that, but we will take for an example a smokestack one hundred and fifty feet (150) feet high, six (6) feet in diameter, in six sections of the United States. These prices are figured on the basis as follows (the firm or individual for whom you are doing the job is to furnish the paint under these prices):

New York, N. Y. | $130.00
Chicago, Ill. | 170.00
Denver, Colo. | 170.00
San Antonio, Tex. | 140.00
New Orleans, La. | 135.00
San Francisco, Cal. | 130.00

The following prices are used as to flagstaffs sixty (60) feet high:

New York, N. Y. | $35.00
Chicago, Ill. | 40.00
Denver, Colo. | 40.00
San Antonio, Tex. | 35.00[92]
New Orleans, La. | 35.00
San Francisco, Cal. | 35.00

With reference to forty (40) foot staffs, use the following schedule:

New York, N. Y. | $25.00
Chicago, Ill. | 30.00
Denver, Colo. | 30.00
San Antonio, Tex. | 25.00
New Orleans, La. | 25.00
San Francisco, Cal. | 25.00

As above stated, these are not standard prices, but it is safe for you to quote your prices along these lines.

[93]

## NAMES OF KNOTS, BENDS, BIGHTS AND HITCHES

- Black Wall Hitch
- Bow Knots
- Bow-line
- Bow-line on bight
- Bow shortening
- Builders’ hitch
- Builders’ knot
- Butchers’ knots
- Catspaws
- Chain hitch
- Chain knots
- Clinches
- Close band
- Clove hitch
- Crown knots
- Cuckolds’ necks
- Deadeyes
- Dogshanks
- Double chain
- Double crown
- Double figure-eight
- Double knots
- Double wall
- Double wall and crown
- Eye splice
- Figure-eight knot
- Fisherman’s hitch
- Fisherman’s knot
- Fivefold knot
- Flemish eye
- Fourfold knot
- French shroud knot
- Gaff-topsail halyard bend
- Garrick bend
- Gordian knot
- Granny knot
- Gunner’s knot
- Half-hitch
- Half-hitch and seizing
- Half-hitch
- Hawser hitch
- Hawsers
- Hitches

  [94]

- Larks’ heads
- Magnus hitch
- Manrope knot
- Matthew Walker knot
- Midshipmen’s hitch
- Mooring knots
- Open-hand knot
- Ordinary knot
- Overhand knot
- Pier bend
- Reef knot
- Reefing knots
- Roband hitch
- Rolling hitch
- Running bow-line
- Running knot
- Sailors’ knots
- Sheepshanks
- Short splice
- Shroud knots
- Simple hitch
- Simple knots
- Sixfold knot
- Slip knots
- Slippery hitch
- Square knots
- Stopper knot
- Threefold knot
- Throat seizing
- Timber hitch
- Tomfool knot
- Treble knot
- Turks’ caps
- Turks’ heads
- Twist knot
- Wall knots
- Waterman’s knot
- Weavers’ knot
- Wedding knot
- Whipping
- Wind knots

[95]

THE END

*** END OF THE PROJECT GUTENBERG EBOOK THE STEEPLE-JACK'S INSTRUCTOR ***
Updated editions will replace the previous one—the old editions will be renamed.
Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.
START: FULL LICENSE

## THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.
Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works
1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

> This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.
1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.
1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.
1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”
- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.
Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.
Section 3. Information about the Project Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.
The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact
Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation
Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.
The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.
While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.
International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.
Section 5. General Information About Project Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.
Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.
Most people start at our website which has the main PG search facility: www.gutenberg.org.
This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.