diff options
Diffstat (limited to '29285.txt')
| -rw-r--r-- | 29285.txt | 1222 |
1 files changed, 1222 insertions, 0 deletions
diff --git a/29285.txt b/29285.txt new file mode 100644 index 0000000..8ff35b5 --- /dev/null +++ b/29285.txt @@ -0,0 +1,1222 @@ +The Project Gutenberg EBook of The Migrations of an American Boat Type, by +Howard I. Chapelle + +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: The Migrations of an American Boat Type + +Author: Howard I. Chapelle + +Release Date: July 1, 2009 [EBook #29285] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK AMERICAN BOAT TYPE *** + + + + +Produced by Colin Bell, Woodie4, Joseph Cooper and the +Online Distributed Proofreading Team at http://www.pgdp.net + + + + + + + + + + + + CONTRIBUTIONS FROM + THE MUSEUM OF HISTORY AND TECHNOLOGY: + PAPER 25 + + + + THE MIGRATIONS OF + AN AMERICAN BOAT TYPE + + _Howard I. Chapelle_ + + + THE NEW HAVEN SHARPIE 136 + + THE CHESAPEAKE BAY SHARPIE 148 + + THE NORTH CAROLINA SHARPIE 149 + + SHARPIES IN OTHER AREAS 151 + + DOUBLE-ENDED SHARPIES 152 + + MODERN SHARPIE DEVELOPMENT 154 + + + THE MIGRATIONS OF AN AMERICAN BOAT TYPE + + _by Howard I. Chapelle_ + + +[Illustration: FIGURE 1.--Scale model of a New Haven sharpie of 1885, +complete with tongs. (_USNM 318023; Smithsonian photo 47033-C._)] + + + + + + + _The New Haven sharpie, a flat-bottomed sailing skiff, was + originally developed for oyster fishing, about the middle of the + last century._ + + _Very economical to build, easy to handle, maneuverable, fast and + seaworthy, the type was soon adapted for fishing along the eastern + and southeastern coasts of the United States and in other areas. + Later, because of its speed, the sharpie became popular for racing + and yachting._ + + _This study of the sharpie type--its origin, development and + spread--and the plans and descriptions of various regional types + here presented, grew out of research to provide models for the hall + of marine transportation in the Smithsonian's new Museum of History + and Technology._ + + THE AUTHOR: _Howard I. Chapelle is curator of transportation in the + U.S. National Museum, Smithsonian Institution._ + + +For a commercial boat to gain widespread popularity and use, it must be +suited to a variety of weather and water conditions and must have some +very marked economic advantages over any other boats that might be used +in the same occupation. Although there were more than 200 distinct types +of small sailing craft employed in North American fisheries and in +along-shore occupations during the last 60 years of the 19th century, +only rarely was one of these boat types found to be so well suited to a +particular occupation that its use spread to areas at any great distance +from the original locale. + +Those craft that were "production-built," generally rowing boats, were +sold along the coast or inland for a variety of uses, of course. The New +England dory, the seine boat, the Connecticut drag boat, and the yawl +were such production-built boats. + +In general, flat-bottomed rowing and sailing craft were the most widely +used of the North American boat types. The flat-bottomed hull appeared +in two basic forms: the scow, or punt, and the "flatiron," or +sharp-bowed skiff. Most scows were box-shaped with raking or curved ends +in profile; punts had their sides curved fore and aft in plan and +usually had curved ends in profile. The rigs on scows varied with the +size of the boat. A small scow might have a one-mast or two-mast +spritsail rig, or might be gaff rigged; a large scow might be sloop +rigged or schooner rigged. Flatiron skiffs were sharp-bowed, usually +with square, raked transom stern, and their rigs varied according to +their size and to suit the occupation in which they were employed. Many +were sloop rigged with gaff mainsails; others were two-mast, two-sail +boats, usually with leg-of-mutton sails, although occasionally some +other kind of sail was used. If a skiff had a two-mast rig, it was +commonly called a "sharpie"; a sloop-rigged skiff often was known as a +"flattie." Both scows and flat-bottomed skiffs existed in Colonial +times, and both probably originated in Europe. Their simple design +permitted construction with relatively little waste of materials and +labor. + +Owing to the extreme simplicity of the majority of scow types, it is +usually impossible to determine whether scows used in different areas +were directly related in design and construction. Occasionally, however, +a definite relationship between scow types may be assumed because of +certain marked similarities in fitting and construction details. The +same occasion for doubt exists with regard to the relationships of +sharp-bowed skiffs of different areas, with one exception--the large, +flat-bottomed sailing skiff known as the "sharpie." + + + + +The New Haven Sharpie + + +The sharpie was so distinctive in form, proportion, and appearance that +her movements from area to area can be traced with confidence. This boat +type was particularly well suited to oyster fishing, and during the last +four decades of the 19th century its use spread along the Atlantic coast +of North America as new oyster fisheries and markets opened. The +refinements that distinguished the sharpie from other flat-bottomed +skiffs first appeared in some boats that were built at New Haven, +Connecticut, in the late 1840's. These craft were built to be used in +the then-important New Haven oyster fishery that was carried on, for the +most part, by tonging in shallow water. + +The claims for the "invention" of a boat type are usually without the +support of contemporary testimony. In the case of the New Haven sharpie +two claims were made, both of which appeared in the sporting magazine +_Forest and Stream_. The first of these claims, undated, attributed the +invention of the New Haven sharpie to a boat carpenter named Taylor, a +native of Vermont.[1] In the January 30, 1879, issue of _Forest and +Stream_ there appeared a letter from Mr. M. Goodsell stating that the +boat built by Taylor, which was named _Trotter_, was not the first +sharpie.[2] Mr. Goodsell claimed that he and his brother had built the +first New Haven sharpie in 1848 and that, because of her speed, she had +been named _Telegraph_. The Goodsell claim was never contested in +_Forest and Stream_, and it is reasonable to suppose, in the +circumstances, that had there been any question concerning the +authenticity of this claim it would have been challenged. + +[1] _Forest and Stream_, January 23, 1879, vol. 11, no. 25, p. 504. + +[2] _Forest and Stream_, January 30, 1879, vol. 11, no. 26, p. 500. + +No contemporary description of these early New Haven sharpies seems to +be available. However, judging by records made in the 1870's, we may +assume that the first boats of this type were long, rather narrow, open, +flat-bottomed skiffs with a square stern and a centerboard; they were +rigged with two masts and two leg-of-mutton sails. Until the appearance +of the early sharpies, dugout canoes built of a single white pine log +had been used at New Haven for tonging. The pine logs used for these +canoes came mostly from inland Connecticut, but they were obtainable +also in northern New England and New York. The canoes ranged from 28 to +35 feet in length, 15 to 20 inches in depth, and 3 feet to 3 feet 6 +inches in beam. They were built to float on about 3 or 4 inches of +water. The bottoms of these canoes were about 3 inches thick, giving a +low center of gravity and the power to carry sail in a breeze. The +canoes were rigged with one or two pole masts with leg-of-mutton sails +stepped in thwarts. A single leeboard was fitted and secured to the hull +with a short piece of line made fast to the centerline of the boat. With +this arrangement the leeboard could be raised and lowered and also +shifted to the lee side on each tack. This took the strain off the sides +of the canoe that would have been created by the usual leeboard +fitting.[3] Construction of such canoes ceased in the 1870's, but some +remained in use into the present century. + +The first New Haven sharpies were 28 to 30 feet long--about the same +length as most of the log canoes. Although the early sharpie probably +resembled the flatiron skiff in her hull shape, she was primarily a +sailing boat rather than a rowing or combination rowing-sailing craft. +The New Haven sharpie's development[4] was rapid, and by 1880 her +ultimate form had been taken as to shape of hull, rig, construction +fittings, and size. Some changes were made afterwards, but they were in +minor details, such as finish and small fittings. + +[3] Henry Hall, Special Agent, 10th U.S. Census, _Report on the +Shipbuilding Industry of the United States_, Washington, 1880-1885, pp. +29-32. + +[4] Howard I. Chapelle, _American Small Sailing Craft_, New York, 1951, +pp. 100-133, figs. 38-48. + +The New Haven sharpie was built in two sizes for the oyster fishery. One +carried 75 to 100 bushels of oysters and was 26 to 28 feet in length; +the other carried 150 to 175 bushels and was 35 to 36 feet in length. +The smaller sharpie was usually rigged with a single mast and sail, +though some small boats were fitted for two sails. The larger boat was +always fitted to carry two masts, but by shifting the foremast to a +second step more nearly amidships she could be worked with one mast and +sail. The New Haven sharpie retained its original proportions. It was +long, narrow, and low in freeboard and was fitted with a centerboard. In +its development it became half-decked. There was enough fore-and-aft +camber in the flat bottom so that, if the boat was not carrying much +weight, the heel of her straight and upright stem was an inch or two +above the water. The stern, usually round, was planked with vertical +staving that produced a thin counter. The sheer was usually marked and +well proportioned. The New Haven sharpie was a handsome and graceful +craft, her straight-line sections being hidden to some extent by the +flare of her sides and the longitudinal curves of her hull. + +[Illustration: FIGURE 2.--A New Haven sharpie and dugouts on the +Quinnipiac River, New Haven, Connecticut, about the turn of the +century.] + +The structure of New Haven sharpies was strong and rather heavy, +consisting of white pine plank and oak framing. The sides were commonly +wide plank. Each side had two or three strakes that were pieced up at +the ends to form the sheer. The sides of large sharpies were commonly +1-1/2 inches thick before finishing, while those of the smaller sharpies +were 1-1/4 inches thick. The sharpie's bottom was planked athwartships +with planking of the same thickness as the sides and of 6 to 8 inches in +width. That part of the bottom that cleared the water, at the bow and +under the stern, was often made of tongue-and-groove planking, or else +the seams athwartship would be splined. Inside the boat there was a +keelson made of three planks, in lamination, standing on edge side by +side, sawn to the profile of the bottom, and running about three-fourths +to seven-eighths the length of the boat. The middle one of these three +planks was omitted at the centerboard case to form a slot. Afore and +abaft the slot the keelson members were cross-bolted and spiked. The +ends of the keelson were usually extended to the stem and to the stern +by flat planks that were scarphed into the bottom of the built-up +keelson. + +The chines of the sharpie were of oak planks that were of about the same +thickness as the side planks and 4 to 7 inches deep when finished. The +chine logs were sawn to the profile of the bottom and sprung to the +sweep of the sides in plan view. The side frames were mere cleats, 1-1/2 +by 3 inches. In the 1880's these cleats were shaped so that the inboard +face was 2 inches wide and the outboard face 3 inches wide, but later +this shaping was generally omitted. + +[Illustration: FIGURE 3.--Plan of typical New Haven sharpie showing +design and construction characteristics.] + +[Illustration: FIGURE 4.--Plan of a large Chesapeake Bay sharpie taken +from remains of boat.] + +At the fore end of the sharpie's centerboard case there was an +edge-bolted bulkhead of solid white pine, 1-1/4 or 1-1/2 inches thick, +with scuppers cut in the bottom edge. A step about halfway up in this +bulkhead gave easy access to the foredeck. In the 1880's that part of +the bulkhead above the step was made of vertical staving that curved +athwartships, but this feature was later eliminated. In the upper +portion of the bulkhead there was often a small rectangular opening for +ventilation. + +The decking of the sharpie was made of white pine planks 1-1/4 inches +thick and 7 to 10 inches wide. The stem was a triangular-sectioned piece +of oak measuring 6 by 9 inches before it was finished. The side plank +ran past the forward edge of the stem and was mitered to form a sharp +cutwater. The miter was covered by a brass bar stemband to which was +brazed two side plates 3/32 or 1/4 inch thick. This stemband, which was +tacked to the side plank, usually measured 1/2 or 5/8 inch by 3/4 inch +and it turned under the stem, running under the bottom for a foot or +two. The band also passed over a stemhead and ran to the deck, having +been shaped over the head of the stem by heating and molding over a +pattern. + +The sharpie's stern was composed of two horizontal oak frames, one at +chine and one at sheer; each was about 1-1/2 inches thick. The outer +faces of these frames were beveled. The planking around the stern on +these frames was vertical staving that had been tapered, hollowed, and +shaped to fit the flare of the stern. This vertical staving was usually +1-3/4 inches thick before it was finished. The raw edges of the deck +plank were covered by a false wale 1/2 to 3/4 inch thick and 3 or 4 +inches deep, and by an oak guard strip that was half-oval in section and +tapered toward the ends. Vertical staving was used to carry the wale +around the stern. The guard around the stern was usually of stemmed oak. + +The cockpit ran from the bulkhead at the centerboard case to within 4 or +5 feet of the stern, where there was a light joiner bulkhead. A low +coaming was fitted around the cockpit and a finger rail ran along the +sides of the deck. The boat had a small square hatch in the foredeck and +two mast holes, one at the stem and one at the forward bulkhead. A tie +rod, 3/8 inch in diameter, passed through the hull athwartships, just +forward of the forward bulkhead; the ends of the tie rod were "up-set" +or headed over clench rings on the outside of the wale. The hull was +usually painted white or gray, and the interior color usually buff or +gray. + +[Illustration: FIGURE 5.--Chesapeake Bay sharpie with daggerboard, about +1885. (Photo courtesy Wirth Munroe.)] + +The two working masts of a 35-to 36-foot sharpie were made of spruce or +white pine and had a diameter of 4-1/2 to 5 inches at deck and 1-1/2 +inches at head. Their sail hoists were 28 to 30 feet, and the sail +spread was about 65 yards. Instead of booms, sprits were used; these +were set up at the heels with tackles to the masts. In most sharpies the +sails were hoisted to a single-sheave block at the mast heads and were +fitted with wood or metal mast hoops. Because of the use of the sprit +and heel tackle, the conventional method of reefing was not possible. +The reef bands of the sails were parallel to the masts, and reefing was +accomplished by lowering a sail and tying the reef points while +rehoisting. The mast revolved in tacking in order to prevent binding of +the sprit under the tension of the heel tackle. The tenon at the foot of +the mast was round, and to the shoulder of the tenon a brass ring was +nailed or screwed. Another brass ring was fastened around the mast step. +These rings acted as bearings on which the mast could revolve. + +Because there was no standing rigging and the masts revolved, the sheets +could be let go when the boat was running downwind, so that the sails +would swing forward. In this way the power of the rig could be reduced +without the bother of reefing or furling. Sometimes, when the wind was +light, tonging was performed while the boat drifted slowly downwind with +sails fluttering. The tonger, standing on the side deck or on the stern, +could tong or "nip" oysters from a thin bed without having to pole or +row the sharpie. + +The unstayed masts of the sharpie were flexible and in heavy weather +spilled some wind, relieving the heeling moment of the sails to some +degree. In summer the 35-to 36-foot boats carried both masts, but in +winter, or in squally weather, it was usual to leave the mainmast ashore +and step the foremast in the hole just forward of the bulkhead at the +centerboard case, thereby balancing the rig in relation to the +centerboard. New Haven sharpies usually had excellent balance, and +tongers could sail them into a slip, drop the board so that it touched +bottom, and, using the large rudders, bring the boats into the wind by +spinning them almost within their length. This could be done because +there was no skeg. When sharpies had skegs, as they did in some +localities, they were not so sensitive as the New Haven boats. If a +sharpie had a skeg, it was possible to use one sail without shifting the +mast, but at a great sacrifice in general maneuverability. + +[Illustration: FIGURE 6.--North Carolina sharpie with one reef in +moderate gale, about 1885. (Photo courtesy Wirth Munroe.)] + +Kunhardt[5] writing in the mid-1880's, described the New Haven sharpie +as being 33 to 35 feet long, about 5 feet 9 inches to 6 feet wide on the +bottom, and with a depth of about 36 inches at stem, 24 inches +amidships, and 12 inches at stern. The flare increased rapidly from the +bow toward amidships, where it became 3-1/2 inches for every 12 inches +of depth. The increase of flare was more gradual toward the stern, where +the flare was equal to about 4 inches to the foot. According to +Kunhardt, a 35-foot sharpie hull weighed 2,000 to 2,500 pounds and +carried about 5 short tons in cargo. + +[5] C. P. Kunhardt, _Small Yachts: Their Design and Construction, +Exemplified by the Ruling Types of Modern Practice_, New York, 1886 +(rev. ed., 1891, pp. 287-298). + +The sharpie usually had its round stern carried out quite thin. If the +stern was square, the transom was set at a rake of not less than 45 deg.. +Although it cost about $15 more than the transom stern, the round stern +was favored because tonging from it was easier; also, when the boat was +tacked, the round stern did not foul the main sheet and was also less +likely to ship a sea than was the square stern. Kunhardt remarks that +sharpies lay quiet when anchored by the stern, making the ground tackle +easier to handle. + +[Illustration: FIGURE 7.--Plan of a Chesapeake Bay terrapin smack based +on sketches and dimensions given by C. P. Kunhardt in _Small Yachts: +Their Design and Construction, Exemplified by the Ruling Types of Modern +Practice_, New York, 1886.] + +[Illustration: FIGURE 8.--Plan of North Carolina sharpie schooner taken +from remains of boat.] + +[Illustration: FIGURE 9.--Plan of North Carolina sharpie of the +1880's.] + +The cost of the New Haven sharpie was very low. Hall stated that in +1880-1882 oyster sharpies could be built for as little as $200, and that +large sharpies, 40 feet long, cost less than $400.[6] In 1886 a sharpie +with a capacity for 150 to 175 bushels of oysters cost about $250, +including spars and sails.[7] In 1880 it was not uncommon to see nearly +200 sharpies longside the wharves at Fairhaven, Connecticut, at +nightfall. + +[6] Hall, _op. cit._ (footnote 3), pp. 30, 32. + +[7] Kunhardt, _op. cit._ (footnote 5), pp. 225, 295. + +The speed of the oyster sharpies attracted attention in the 1870's, and +in the next decade many yachts were built on sharpie lines, being rigged +either as standard sharpies or as sloops, schooners, or yawls. + +Oyster tonging sharpies were raced, and often a sharpie of this type was +built especially for racing. One example of a racing sharpie had the +following dimensions: + + + Length: 35' + Width on deck: 8' + Flare, to 1' of depth: 4' + Width of stern: 4-1/2' + Depth of stern: 10" + Depth at bow: 36" + Sheer: 14" + Centerboard: 11' + Width of washboards or sidedecks: 12" + Length of rudder: 6' + Depth of rudder: 1'2" + Height of foremast: 45' + Diameter of foremast: 6" + Head of foremast: 1-1/2" + Height of mainmast: 40' + Diameter of mainmast: 5-1/2" + Head of mainmast: 1-1/2" + + +The sharpie with the above dimensions was decked-over 10 feet foreward +and 4 feet aft. She carried a 17-foot plank bowsprit, to the ends of +which were fitted vertical clubs 8 to 10 feet long. When racing, this +sharpie carried a 75-yard foresail, a 60-yard mainsail, a 30-yard jib, a +40-yard squaresail, and a 45-yard main staysail; two 16-foot planks were +run out to windward and 11 members of the 12-man crew sat on them to +hold the boat from capsizing. + +[Illustration: FIGURE 10.--North Carolina sharpie under sail.] + +Figure 3 shows a plan of a sharpie built at the highest point in the +development of this type boat. This plan makes evident the very distinct +character of the sharpie in model, proportion, arrangement, +construction, and rig.[8] The sharpie represented by the plan is +somewhat narrower and has more flare in the sides than indicated by the +dimensions given by Kunhardt. The boatmen at New Haven were convinced +that a narrow sharpie was faster than a wide one, and some preferred +strongly flaring sides, though others thought the upright-sided sharpie +was faster. These boatmen also believed that the shape of the bottom +camber fore and aft was important, that the heel of the stem should not +be immersed, and that the bottom should run aft in a straight line to +about the fore end of the centerboard case and then fair in a long sweep +into the run, which straightened out before it passed the after end of +the waterline. Some racing sharpies had deeper sterns than tonging +boats, a feature that produced a faster boat by reducing the amount of +bottom camber. + +[8] Full-scale examples of sharpies may be seen at the Mariners' Museum, +Newport News, Virginia, and at the Mystic Marine Museum, Mystic, +Connecticut. + +The use of the sharpie began to spread to other areas almost immediately +after its appearance at New Haven. As early as 1855 sharpies of the +100-bushel class were being built on Long Island across the Sound from +New Haven and Bridgeport, and by 1857 there were two-masted, 150-bushel +sharpies in lower New York Harbor. Sloop-rigged sharpies 24 to 28 feet +long and retaining the characteristics of the New Haven sharpies in +construction and most of its basic design features, but with some +increase in proportionate beam, were extensively used in the small +oyster fisheries west of New Haven. There were also a few sloop-type +sharpies in the eastern Sound. In some areas this modification of the +sharpie eventually developed its own characteristics and became known as +the "flattie," a type that was popular on the north shore of Long +Island, on the Chesapeake Bay, and in Florida at Key West and Tampa. + +[Illustration: FIGURE 11.--North Carolina sharpie schooner hauled up for +painting.] + +The sharpie's rapid spread in use can be accounted for by its low cost, +light draft, speed, handiness under sail, graceful appearance, and +rather astonishing seaworthiness. Since oyster tonging was never carried +on in heavy weather, it was by chance rather than intent that the +seaworthiness of this New Haven tonging boat was discovered. There is a +case on record in which a tonging sharpie rescued the crew of a coasting +schooner at Branford, Connecticut, during a severe gale, after other +boats had proved unable to approach the wreck. + +However, efforts to improve on the sharpie resulted in the construction +of boats that had neither the beauty nor the other advantages of the +original type. This was particularly true of sharpies built as yachts +with large cabins and heavy rigs. Because the stability of the sharpie's +shoal hull was limited, the added weight of high, long cabin trunks and +attendant furniture reduced the boat's safety potential. Windage of the +topside structures necessary on sharpie yachts also affected speed, +particularly in sailing to windward. Hence, there was an immediate trend +toward the addition of deadrise in the bottom of the yachts, a feature +that sufficiently increased displacement and draft so that the +superstructure and rig could be better carried. Because of its large +cabin, the sharpie yacht when under sail was generally less workable +than the fishing sharpie. Although it was harmful to the sailing of the +boat, many of the sharpie yachts had markedly increased beam. The first +sharpie yacht of any size was the _Lucky_, a half-model of which is in +the Model Room of the New York Yacht Club. The _Lucky_, built in 1855 +from a model by Robert Fish, was 51 feet long with a 13-foot beam; she +drew 2 feet 10 inches with her centerboard raised. According to +firsthand reports, she was a satisfactory cruiser, except that she was +not very weatherly because her centerboard was too small. + +[Illustration: FIGURE 12.--North Carolina sharpie schooner converted to +yacht, 1937.] + +Kunhardt mentions the extraordinary sailing speed of some sharpies, as +does certain correspondence in _Forest and Stream_. A large sharpie was +reported to have run 11 nautical miles in 34 minutes, and a big sharpie +schooner is said to have averaged 16 knots in 3 consecutive hours of +sailing. Tonging sharpies with racing rigs were said to have sailed in +smooth water at speeds of 15 and 16 knots. Although such reports may be +exaggerations, there is no doubt that sharpies of the New Haven type +were among the fastest of American sailing fishing boats. + +[Illustration: FIGURE 13.--Bow of North Carolina sharpie schooner +showing head rigging.] + +Sharpie builders in New Haven very early developed a "production" +method. In the initial stages of building, the hull was upside down. +First, the sides were assembled and the planking and frames secured; +then the inner stem was built, and the sides nailed to it, after which +the bulkhead and a few rough temporary molds were made and put in place +and the boat's sides bent to the desired curve in plain view. For +bending the sides a "Spanish windlass" of rope or chain was used. The +chine pieces were inserted in notches in the molds inside the side +planking and fastened, then the keelson was made and placed in notches +in the molds and bulkhead along the centerline. Next, the upper and +lower stern frames were made and secured, and the stern staved +vertically. Plank extensions of the keelson were fitted, the bottom +laid, and the boat turned over. Sometimes the case was made and fitted +with the keelson structure, but sometimes this was not done until the +deck and inboard works were finished. + +[Illustration: FIGURE 14.--The entrance of a North Carolina sharpie +schooner and details of her sharp lines and planking. Note scarphs in +plank.] + +The son of Lester Rowe, a noted sharpie builder at New Haven, told me, +in 1925, that it was not uncommon for his father and two helpers to +build a sharpie, hull and spars, in 6 working days, and that one year +his father and two helpers built 31 sharpies. This was at a time after +power saws and planers had come into use, and the heavy cutting and +finishing of timber was done at a mill, from patterns. + +In spite of Barnegat Bay's extensive oyster beds and its proximity to +New Haven, the sharpie never became popular in that region, where a +small sailing scow known as the "garvey" was already in favor. The +garvey was punt-shaped, with its bow narrower than the stern; it had a +sledlike profile with moderately flaring sides and a half-deck; and it +was rigged with two spritsails, each with a moderate peak to the head +and the usual diagonal sprit.[9] The garvey was as fast and as well +suited to oyster tonging as the sharpie, if not so handsome; also, it +had an economic advantage over the New Haven boat because it was a +little cheaper to build and could carry the same load on shorter +length. Probably it was the garvey's relative unattractiveness and the +fact that it was a "scow" that prevented it from competing with the +sharpie in areas outside of New Jersey. + +[9] The foremast of the garvey was the taller and carried the larger +sail. At one time garveys had leeboards, but by 1850 they commonly had +centerboards and either a skeg aft with a rudder outboard or an +iron-stocked rudder, with the stock passing through the stern overhang +just foreward of the raking transom. The garvey was commonly 24 to 26 +feet long with a beam on deck of 6 feet 4 inches to 6 feet 6 inches and +a bottom of 5 feet to 5 feet 3 inches. + +[Illustration: FIGURE 15.--Midbody and stern of a North Carolina sharpie +schooner showing planking, molding, and other details.] + + + + +The Chesapeake Bay Sharpie + + +The sharpie appeared on the Chesapeake Bay in the early 1870's, but she +did not retain her New Haven characteristics very long. Prior to her +appearance on the Bay, the oyster fishery there had used several boats, +of which the log canoe appears to have been the most popular. Some +flat-bottomed skiffs had also been used for tonging. There is a +tradition that sometime in the early 1870's a New Haven sharpie named +_Frolic_ was found adrift on the Bay near Tangier Island. Some copies of +the _Frolic_ were made locally, and modifications were added later. This +tradition is supported by certain circumstantial evidence. + +Until 20 years ago Tangier Island skiffs certainly resembled the sharpie +above the waterline, being long, rather narrow, straight-stem, +round-stern, two-masted craft, although their bottoms were V-shaped +rather than flat. The large number of boat types suitable for oyster +fishery on the Bay probably prevented the adoption of the New Haven +sharpie in a recognizable form. After the Civil War, however, a large +sailing skiff did become popular in many parts of the Chesapeake. Boats +of this type had a square stern, a curved stem in profile, a strong +flare, a flat bottom, a sharply raking transom, and a center board of +the "daggerboard" form. They were rigged with two leg-of-mutton sails. +Sprits were used instead of booms, and there was sometimes a short +bowsprit, carrying a jib. The rudder was outboard on a skeg. These +skiffs ranged in length from about 18 feet to 28 feet. Those in the +24-to 28-foot range were half-decked; the smaller ones were entirely +open. + +In the late 1880's or early 1890's the V-bottomed hull became extremely +popular on the Chesapeake, replacing the flat-bottom almost entirely, as +at Tangier Island. Hence, very few flat-bottomed boats or their remains +survive, although a few 18-foot skiffs are still in use. + +Characteristics of the large flat-bottomed Chesapeake Bay skiff are +shown in figure 4. While it is possible that the narrow beam of this +skiff, the straightness of both ends of its bottom camber, and its rig +show some New Haven sharpie influence, these characteristics are so +similar to those of the flatiron skiff that it is doubtful that many of +the Bay sharpies had any real relation to the New Haven boats. As +indicated by figures 5 and 7, the Chesapeake flat-bottoms constituted a +distinct type of skiff. Except for those skiffs used in the Tangier +Island area, it is not evident that the Bay skiffs were influenced by +the New Haven sharpie to any great degree, in form at least. + +[Illustration: FIGURE 16.--Stern of a North Carolina sharpie schooner +showing planking, staving, molding, and balanced rudder.] + +Schooner-rigged sharpies developed on Long Island Sound as early as +1870, and their hulls were only slightly modified versions of the New +Haven hull in basic design and construction. These boats were, however, +larger than New Haven sharpies, and a few were employed as oyster +dredges. After a time it was found that sharpie construction proved weak +in boats much over 50 feet. However, strong sharpie hulls of great +length eventually were produced by edge-fastening the sides and by using +more tie rods than were required by a smaller sharpie. Transverse tie +rods set up with turnbuckles were first used on the New Haven sharpie, +and they were retained on boats that were patterned after her in other +areas. Because of this influence, such tie rods finally appeared on the +large V-bottomed sailing craft on Chesapeake Bay. + +The sharpie schooner seems to have been more popular on the Chesapeake +Bay than on Long Island Sound. The rig alone appealed to Bay sailors, +who were experienced with schooners. Of all the flat-bottomed skiffs +employed on the Bay, only the schooner can be said to have retained much +of the appearance of the Connecticut sharpies. Bay sharpie schooners +often were fitted with wells and used as terrapin smacks (fig. 7). As a +schooner, the sharpie was relatively small, usually being about 30 to 38 +feet over-all. + +Since the 1880's the magazine _Forest and Stream_ and, later, magazines +such as _Outing_, _Rudder_, and _Yachting_ have been the media by which +ideas concerning all kinds of watercraft from pleasure boats to work +boats have been transmitted. By studying such periodicals, Chesapeake +Bay boatbuilders managed to keep abreast of the progress in boat design +being made in new yachts. In fact, it may have been because of articles +in these publications that the daggerboard came to replace the pivoted +centerboard in Chesapeake Bay skiffs and that the whole V-bottom design +became popular so rapidly in the Bay area. + + + + +The North Carolina Sharpie + + +In the 1870's the heavily populated oyster beds of the North Carolina +Sounds began to be exploited. Following the Civil War that region had +become a depressed area with little boatbuilding industry. The small +boat predominating in the area was a modified yawl that had sprits for +mainsail and topsail, a jib set up to the stem head, a centerboard, and +waterways along the sides. This type of craft, known as the "Albemarle +Sound boat" or "Croatan boat," had been developed in the vicinity of +Roanoke Island for the local shad fishery. Although it was seaworthy and +fast under sail, this boat was not particularly well suited for the +oyster fishery because of its high freeboard and lack of working deck +for tonging. + +[Illustration: FIGURE 17.--Deck of a North Carolina sharpie schooner +showing U-shaped main hatch typical of sharpies used in the Carolina +Sounds.] + +Because the oyster grounds in the Carolina Sounds were some distance +from the market ports, boats larger than the standard 34-to 36-foot New +Haven sharpie were desirable; and by 1881 the Carolina Sounds sharpie +had begun to develop characteristics of its own. These large sharpies +could be decked and, when necessary, fitted with a cabin. In all other +respects the North Carolina sharpie closely resembled the New Haven +boat. Some of the Carolina boats were square-sterned, but, as at New +Haven, the round stern apparently was more popular. + +Most Carolina sharpies were from 40 to 45 feet long. Some had a cramped +forecastle under the foredeck, others had a cuddy or trunk cabin aft, +and a few had trunk cabins forward and aft. Figure 6 is a drawing of a +rigged model that was built to test the design before the construction +of a full-sized boat was attempted.[10] The 1884 North Carolina sharpie +shown in this plan has two small cuddies; it also has the U-shaped main +hatch typical of the Carolina sharpie. It appears that the clubs shown +at the ends of the sprits were very often used on the Carolina sharpies, +but they were rarely used on the New Haven tongers except when the craft +were rigged for racing. The Carolina Sounds sharpie shown under sail in +figure 8 is from 42 to 45 feet long and has no cuddy. + +[10] In building shoal draft sailing vessels, this practice was usually +possible and often proved helpful. In the National Watercraft Collection +at the United States National Museum there is a rigged model of a +Piscataqua gundalow that was built for testing under sail before +construction of the full-scale vessel. + +The Carolina Sounds sharpies retained the excellent sailing qualities of +the New Haven type and were well finished. The two-sail, two-mast New +Haven rig was popular with tongers, but the schooner-rigged sharpie that +soon developed (figs. 9, 11-18) was preferred for dredging. It was +thought that a schooner rig allowed more adjustment of sail area and +thus would give better handling of the boat under all weather +conditions. This was important because oyster dredging could be carried +on in rough weather when tonging would be impractical. Like the Maryland +terrapin smack, the Carolina sharpie schooner adhered closely to New +Haven principles of design and construction. However, Carolina sharpie +schooners were larger than terrapin smacks, having an over-all length of +from 40 to 52 feet. These schooners remained in use well into the 20th +century and, in fact, did not go out of use entirely until about 1938. +In the 1920's and 1930's many such boats were converted to yachts. They +were fast under sail and very stiff, and with auxiliary engines they +were equally as fast and required a relatively small amount of power. +Large Carolina sharpie schooners often made long coasting voyages, such +as between New York and the West Indies. + +[Illustration: FIGURE 18.--Deck of a North Carolina sharpie schooner +under sail showing pump box near rail and portion of afterhouse.] + + + + +Sharpies in Other Areas + + +The Carolina Sounds area was the last place in which the sharpie was +extensively employed. However, in 1876 the sharpie was introduced into +Florida by the late R. M. Munroe when he took to Biscayne Bay a sharpie +yacht that had been built for him by Brown of Tottenville, Staten +Island. Afterwards various types of modified sharpies were introduced in +Florida. On the Gulf Coast at Tampa two-masted sharpies and sharpie +schooners were used to carry fish to market, but they had only very +faint resemblance to the original New Haven boat. + +[Illustration: FIGURE 19.--Sharpie yacht _Pelican_ built in 1885 for +Florida waters. She was a successful shoal-draft sailing cruiser. (Photo +courtesy Wirth Munroe.)] + +The sharpie also appeared in the Great Lakes area, but here its +development seems to have been entirely independent of the New Haven +type. It is possible that the Great Lakes sharpie devolved from the +common flatiron skiff. + +The sharpie yacht was introduced on Lake Champlain in the late 1870's by +Rev. W. H. H. Murray, who wrote for _Forest and Stream_ under the pen +name of "Adirondack Murray." The hull of the Champlain sharpie retained +most of the characteristics of the New Haven hull, but the Champlain +boats were fitted with a wide variety of rigs, some highly experimental. +A few commercial sharpies were built at Burlington, Vermont, for hauling +produce on the lake, but most of the sharpies built there were yachts. + + + + +Double-Ended Sharpies + + +The use of the principles of flatiron skiff design in sharp-stern, or +"double-ended," boats has been common. On the Chesapeake Bay a number of +small, double-ended sailing skiffs, usually fitted with a centerboard +and a single leg-of-mutton sail, were in use in the 1880's. It is +doubtful, however, that these skiffs had any real relationship to the +New Haven sharpie. They may have developed from the "three-plank" +canoe[11] used on the Bay in colonial times. + +[11] A primitive craft made of three wide planks, one of which formed +the entire bottom. + +The "cabin skiff," a double-ended, half-decked, trunk-cabin boat with a +long head and a cuddy forward, was also in use on the Bay in the 1880's. +This boat, which was rigged like a bugeye, had a bottom of planks that +were over 3 inches thick, laid fore-and-aft, and edge-bolted. The +entire bottom was made on two blocks or "sleepers" placed near the ends. +The sides were bevelled, and heavy stones were placed amidships to give +a slight fore-and-aft camber to the bottom. The sides, washboards, and +end decks were then built, the stones removed, and the centerboard case +fitted. In spite of its slightly cambered flat bottom, this boat, though +truly a flatiron skiff in midsection form, had no real relation to the +New Haven sharpie; it probably owed its origin to the Chesapeake log +canoe, for which it was an inexpensive substitute. + +[Illustration: FIGURE 20.--Florida sharpie yacht of about 1890.] + +R. M. Munroe built double-ended sharpies in Florida, and one of these +was used to carry mail between Biscayne Bay and Palm Beach. Although +Munroe's double-enders were certainly related to the New Haven sharpie, +they were markedly modified and almost all were yachts. + +A schooner-rigged, double-ended sharpie was used in the vicinity of San +Juan Island, Washington, in the 1880's, but since the heels of the stem +and stern posts were immersed it is very doubtful that this sharpie was +related in any way to the New Haven boats. + + + + +Modern Sharpie Development + + +The story of the New Haven sharpie presents an interesting case in the +history of the development of small commercial boats in America. As has +been shown, the New Haven sharpie took only about 40 years to reach a +very efficient stage of development as a fishing sailboat. It was +economical to build, well suited to its work, a fast sailer, and +attractive in appearance. + +When sailing vessels ceased to be used by the fishing industry, the +sharpie was almost forgotten, but some slight evidence of its influence +on construction remains. For instance, transverse tie rods are used in +the large Chesapeake Bay "skipjacks," and Chesapeake motorboats still +have round, vertically staved sterns, as do the "Hatteras boats" used on +the Carolina Sounds. But the sharpie hull form has now almost completely +disappeared in both areas, except in a few surviving flat-bottomed +sailing skiffs. + +Recently the flat-bottomed hull has come into use in small, +outboard-powered commercial fishing skiffs, but, unfortunately, these +boats usually are modeled after the primitive flatiron skiff and are +short in length. + +The New Haven sharpie proved that a long, narrow hull is most efficient +in a flat-bottomed boat, but no utilization has yet been made of its +design as the basis for the design of a modern fishing launch. + + +U.S. GOVERNMENT PRINTING OFFICE: 1961 + +For sale by the Superintendent of Documents, +U.S. Government Printing Office +Washington 25, D.C. Price 25 cents + + + +Transcriber's note: + +Printer's errors have been corrected, all other inconsistencies are +as in the original. The author's spelling has been maintained. + + + + + + + + + + +End of the Project Gutenberg EBook of The Migrations of an American Boat Type, by +Howard I. Chapelle + +*** END OF THIS PROJECT GUTENBERG EBOOK AMERICAN BOAT TYPE *** + +***** This file should be named 29285.txt or 29285.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/9/2/8/29285/ + +Produced by Colin Bell, Woodie4, Joseph Cooper and the +Online Distributed Proofreading Team at http://www.pgdp.net + + +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 +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://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 +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://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 checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is 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: + + http://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. |