The Project Gutenberg eBook, How to Fold Napkins, by Anonymous

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

Title: How to Fold Napkins

Abundantly Illustrated with Many Handsome Styles and Diagrams Which Show How It is Done

Author: Anonymous

Release Date: May 23, 2020 [eBook #62208]

Language: English

Character set encoding: UTF-8

***START OF THE PROJECT GUTENBERG EBOOK HOW TO FOLD NAPKINS***

E-text prepared by Charlene Taylor, Paul Marshall,
and the Online Distributed Proofreading Team
(http://www.pgdp.net)
from page images generously made available by
Internet Archive
(https://archive.org)

APPENDIX TO THE STEWARD’S HANDBOOK.

How to Fold Napkins.

ABUNDANTLY ILLUSTRATED

With Many Handsome Styles and Diagrams
Which Show How it is Done.

CHICAGO, ILL.

Jessup Whitehead,

PUBLISHER HOTEL COOK BOOKS,
183 NORTH PEORIA STREET.

1888.

JOHN ANDERSON & CO.
Printers,
183-187 N. Peoria St., Chicago, Ill.

CONTENTS.

[Pg 5]

The folding of the serviette may often be made complimentary to the guest. Not only does “the Bridal” point out its special application; but “the Crown,” “the Prince of Wales’s Feather,” and “the Mitre.” “The Boat” is appropriate when a naval chief is the honored guest; “the Colonne de Triomphe,” for the entertainment of a hero fresh from a new victory; “the Victoria Regia” for a distinguished botanist, and “the Fan” for a reigning belle, so may “the Cocked Hat” be made available when a military hero is entertained, and “the Heraldic Rose” for a guest whose hobby is with things that appertain to the board.

In the days of our forefathers the quantity and quality of the viands were thought of more consideration than the appointments of the table. Provided the hospitable board groaned beneath the combined weight of substantial food and a silver service, the banquet was pronounced magnificent. Now we have changed all that. The contents of the dishes have become secondary in importance to the decorations. The eye must be feasted as well as the palate. Heavy silver ornaments have given place, or at least are associated with, vases of crystal and abundance of flowers, with scent fountains and the choice fruit selected for dessert. The folding of the serviette, or table napkin, was always a matter of attention; at the present moment it is doubly so, when the luxury of table decorations are carried to such an extent that ingenuity is constantly on the strain, not only to produce every possible variety of cartes de menu, but even fanciful stands to hold them or the guests’ name-cards in a prominent position. The parlor maid or the waiter, or the dainty mistress of the house herself, must look to their laurels in the matter of folding serviettes, or the other showy trifles placed on the board will cast the attractions of the table napkin completely into the shade. To fold them well in the more elaborate styles, it is necessary that they should be made of very fine, but rather stout damask, starched more or less, quite fresh and nearly new. Old damask, that is soft, will not take the more elaborate forms. Each serviette, previous to folding it, should be laid on the ironing-board damped with (raw) starch, smoothed with a hot iron, and immediately folded whilst crisp and steaming. It not only folds better, but preserves the form longer by such means; and unless this is attended to designs like “the Fan,” “the Victoria Regia,” “the Bridal,” and “the Colonne de Triomphe,” could not effectually be made. “The Boat” and “the Basket” also require very stiff serviettes. The serviettes must be exactly square, and pains taken to make the sides perfectly even and true. [Pg 6]

[Pg 7]

THE ESCUTCHEON.

Fig. 1.

Fig. 2.

This is one of the easiest methods possible of ornamentally folding a serviette, and we recommend a novice to commence with it. Indeed, we have arranged the folding as progressively as possible. Although it will sit more crisp and fresh in appearance if made with a fine new well starched material, the Escutcheon can be made very well with old or even crumpled damask, though, of course, serviettes should always be scrupulously clean and smooth. First, fold the serviette in half lengthwise; and then fold it in half again lengthwise, keeping the edges to the lower end, which comes where in the diagram A A and B B are marked (see fig. 1). It is necessary to be always very precise in making the folds, bringing the edges and corners exactly to meet, a rule which applies to all the designs; but without strict attention to which, the more elaborate patterns cannot be represented.

Now turn over each end of the serviette (which you have already folded in four), in the manner shown in fig. 1, creasing it quite flat. Then take one of the ends and roll it up in the manner shown in fig. 2, from C to D. Take the other end, E, and roll it in the same way. It is to be observed that these rolls are brought exactly to meet (not to overlap) the triangle formed at the top. It is, however, necessary to remark that the napkin is to be rolled in the reverse way from that apparent in the illustration; that is, to be rolled under and not over, a difference which must not be neglected. Keep the rolls one in each hand, and with a twist of the wrist bring over the roll C, to the point F (causing the fold marked by the dotted line), and with a twist of the other wrist bring the roll up to the same point to match it. Then lay it flat on the table, the rolls underneath (see fig. 3), and keeping them down with the hand, raise the other part and shape it as shown in fig. 4, and slip the dinner roll in the hollow at the back.

Fig. 3.

Fig. 4.

[Pg 8]

THE CHESTNUT POCKET.

Fig. 1.

Fig. 2.

Fold the serviette in half both ways, and open it again. Bring all the corners to the centre. Turn it over and again bring all the corners to the centre. Turn it back again and slip the chestnuts in the four pockets to be observed in fig. 1.

Fig. 2, the Pocket Serviette, is made in the same way; but the corners are brought three times, instead of twice, to the centre, turning it each time (see fig. 2).

THE SHIELD.

Fig. 1.

Fig. 2.

The Shield is almost identical with the Escutcheon; there is, however, a slight difference, which forms a little variety and practice in the art of napkin-folding.

Fig. 3.

Fig. 4.

First form fig. 1, as for the Escutcheon. Next roll up the two ends in the manner shown in fig. 2; that is, make the rolls outwardly, not under as in the previous direction. The serviette will now resemble fig. 3. Then set it into form, and place the bread inside. The face of it will stand perfectly upright and resemble figure 4.

THE MITRE.

The Mitre is a well-known device, and one which always looks effective. It is not unlike the Crown. Fold the damask in half, and turn down the two corners to meet at both ends, in the manner shown in fig. 1, taking care to let them meet very exactly and not overlap. Fold it in half at the line A to B, fig. 1, to ascertain the centre. Open this last fold again and bring the two points to the centre like [Pg 9] fig. 2. Fold these together at the dotted line with the points outside, let down one of these corners again, and turn in the two points A and B also, to make a triangle uniform with the others: it will now resemble fig. 3. Turn the serviette over; let down the point on that side: it will then resemble fig. 4. Turn in the corners A and B, by the line marked. Turn up the point D to its former position: it will now resemble fig. 5. Slip the hand inside the hollow to be found at the broad end, and shape it like a cap, and the Mitre is complete.

Fig. 1.

Fig. 2.

Fig. 3.

Fig. 4.

Fig. 5.

Fig. 6.

THE CORNUCOPIA.

Cornucopias are easily folded, and very effective down a long dinner table, with a single scarlet geranium flower at the apex of each. Halve the serviette lengthways; turn down the corners at the two ends to meet in the centre and form a triangle, like fig. 4, in the Crown. Take the corners at the base and bring them to the apex, like fig. 1. Then double it together with folds inside: it will now appear like fig. 2. At the side marked A, there are three folds. Set it upright over the dinner roll, with two of these folds one side and one on the other. Shape it nicely, keeping the space from B to C close.

Fig. 1.

Fig. 2.

Fig. 3.

THE CROWN.

This is a handsome design, and is one which requires very well starched damask. The bread is placed inside, underneath the crown. Now that flowers are so much used, nothing could have a more charming effect than a slight wreath of flowers round the base of it, at the part marked A to B, in fig. 1. Fig. 2 represents the serviette laid on the [Pg 10] table. Fold it exactly in half from A to B, open and fold the reverse way, from C to D. Open it again. These creases are merely made to ascertain the true centre. At it lies, turn all the points to the centre, and crease down in the manner observed in fig. 3, which forms a diamond. Take the four corners of the diamond and fold them to the centre again. The serviette will still preserve the shape shown in diagram fig. 3, but be smaller in size. Bring the top, A, to the right hand, B, and the left hand, B, to the other, A; it will now resemble Fig. 4. Fold down the corners, E F and G H, parallel to the line I J; it will now resemble fig. 5. Put the hand inside it at the broad end, and shape it like a cap, over the hand, folding one end into the other as shown at C, in fig. 5, The stiffness of the damask should be sufficient to keep these last folds in place; the corner fold should just be turned one corner within the other as an envelope, and pinched, to secure its remaining firm.

Fig. 1.

Fig. 2.

Fig. 3.

Fig. 4.

Fig. 5.

THE SCROLL.

Fig. 1.

Fig. 2.

The Scroll is simple to fold. It is represented complete (fig. 3). The bread is under the centre, on which the name card may be laid. It does not require to be stiff. First fold the serviette four times lengthways. Fold down one end in the manner shown at A, in fig. 2. Then fold the end A completely across, forming the line, B B. Roll up the end A, and produce the fig. 3. Treat the other side in the same way. Fig. 3 illustrates the process. The space in the middle, A, fig. 1, is closed over the bread. [Pg 11]

Fig. 3.

THE SLIPPERS.

Fig. 1.

Fig. 2.

Fig. 3.

The Slippers are very easy to make. Double the serviette four times lengthways. Then fold like fig. 1. The ends are simply rolled, taking the corners in the method shown in fig. 2; bringing them over as shown in fig. 3, and with another turn forming the Slippers (fig. 4). Secure the point at A, with the left hand, whilst rolling up the other side; and then hold both points together with the left hand and place the right in the top of the Slippers, setting them over the dinner roll, which should be placed underneath at B, fig. 4; and the Slippers pinched close together at the top over it. A few flowers in the hollows of the folds is a pretty addition.

Fig. 4.

THE COCKED HAT, OR BOAT.

Fig. 6.

Fig. 1.

Fig. 2.

Fold a serviette in half lengthways (see fig. 1), then in half again (fig. 2). Fold it lengthways again, with the edges-inside, in the way shown in fig. 3. Fold it in half lengthways at the dotted line with the edges outside. Turn down the corners in the manner explained by fig. 4, both sides alike; it now resembles fig. 5. Turn in the superfluous end C, shown in fig. 4, inside the hat: this makes it resemble fig. 6. Shape it with the hand and slip it over the dinner bread. If the edges are left outside in folding (fig. 3), when finished, a space will be [Pg 12] offered at the top wherein a few flowers may be placed. A Boat may also be folded by this diagram by reversing its position on the plate. A still better way to make the Boat is to double a serviette in half lengthways, and again the reverse way. Fold the two edges to the centre: this makes an oblong. Turn it over on the other side. Turn two of the corners to meet in the centre; must not be opposite corners, but both at the right end. Turn the two left end corners half to the middle. Iron down. Then fold the whole in half lengthways, having the corners inside. This completes the Boat. Put the bread underneath.

Fig. 3.

Fig. 4.

Fig. 5.

ANOTHER BOAT.

Fig. 1.

Fig. 2.

Fig. 3.

The Boat is exceedingly pretty, especially if freighted with a few flowers. The serviette should be well starched to sit firm and sharp, and must be an exact square. First fold it in half like a shawl. Next take the corner A (fig. 1), and bring it to C. Turn over the serviette on the other side. Take the corner B, and bring it to C in the same way, but on the other side: this forms fig. 2. Fold fig. 2 in half by the line in the centre, bringing D to E, and forming fig. 3. Fold the point F to H. Turn over the serviette and fold G to H, on the other side; this produces fig. 4. Fold the half of the end J to K, producing fig. 5. Fold L to K, on the other side. These folds must be so made as to leave the upper part of the serviette, which will now again open and look like fig. 3, from F to G. Slip the hand inside here, round it open a little, and so bring F to meet G, making it flat the reverse way: this is represented by fig. 6. Turn down the whole point M to N, on the thinnest side, like fig. 7. Slip in the thumbs at the opening at O in fig. 7, and holding the last fold firmly down; dexterously turning the Boat inside out: the inside fold resembles a capital A. Pinch the sides [Pg 13] of the A the other way, making it an A again; and drawing out the Boat lengthways. Shape it a little with the hand. The bread may be slipped under the centre, A, or cabin of the Boat, provided it is not too large. A pretty addition to this would be to attach the carte de menu, by the means of a Chinese ribbon, to a chip, spill, or blender stick, and fix it in the Boat as a sail. The name card may also be attached to resemble an additional sail.

Fig. 4.

Fig. 5.

Fig. 6.

Fig. 7.

THE HAMBURG DRUM.

Fig. 1.

Fig. 2.

Fig. 3.

Fig. 4.

The first three folds are made like those of the Mitre; namely, fold the serviette in half lengthways. Turn down the corners like fig. 1, fold it in half across the centre, inwards, from A to B, keeping the corners inside. It will now resemble fig. 2. Fold it again from C to D, into the shape of fig. 3. Let down the point E; turn down the corners F and G, to make a triangle uniform with the others: thus you have fig. 4. Let down the corner H, as shown in fig. 5: this corner must be the one that has the selvage on the lower corner. Make the fold by the dotted line in fig. 5: this produces fig. 6. Take the upper fold at A and B in the same diagram, open it back and crease it down to resemble [Pg 14] fig. 7; turn the napkin over. You now have fig. 8. Fold over the edges C and D to E, to match the folds on the other side. Turn up the napkin again; turn up the point C, and bring the corners, E and F, together likewise. Slip the hand into the hollow at the base, as you did for the Mitre; and place over the bread.

Fig. 5.

Fig. 6.

Fig. 7.

Fig. 8.

THE HERALDIC ROSE AND STAR.

Fig. 1.

Fig. 2.

Fig. 3.

Spread a serviette, full size, flat on the table. It must be a perfect square, exact at the corners. Bring the four corners exactly to the centre, in the way described in fig. 1. Take the corners A and B, and without turning the serviette, again bring them to the centre, as shown in fig. 2. Bring C and D likewise to the centre: this forms fig. 3. Take one corner and turn it under (not over as before) by the dotted line e to f; turn under the other three the same way. Then again bring all the four corners to the centre, on the upper side, as in fig. 2.

Fig. 4.

Fig. 5.

Afterwards repeat turning all the corners under, as in fig. 3. Then once more repeat fig. 2, and bring the remaining corners to the centre, uppermost. Press the folds firmly down. Then, one at a time, turn the corners half back, shaping them like little pockets, by slipping the fingers in at C (A to B, fig. 4), and forming the corners out square. This makes the Rose. Or by turning it down in the same way, without squaring out the corners, the Star, fig. 5, is made. Open up the eight petals, to be found in the centre, and fit in the dinner roll.

THE MINARETTES.

The Minarettes is a design expressly originated for the present work. It requires to be well stiffened. Fold the napkin in half. Turn down the corners as in fig. 1 of the Mitre. Fold in half and turn in the corners till you have an exact triangle as in the Mitre (see fig. 1). Then let down the outer side of the triangle. Fold the corners at both [Pg 15] sides by the dotted lines, A and B (fig. 1). Take the outer pieces, C and D, and fold back so as to have two points alike. Fold the lower end to match; halve it, and you will now have fig. 2. Fold up at the dotted line. Pass the fold inside like fig. 3. Bend over the corners like fig. 4, and place the Minarettes over the roll.

Fig. 1.

Fig. 2.

Fig. 3.

Fig. 4.

THE SHELL.

Fig. 1.

Fig. 2.

Fig. 3.

The Shell requires a very stiff serviette. Fold the two edges together in the centre, lengthways, as shown in fig. 1. Fold in half down the centre, also lengthways, leaving the edges outside. Then crimp evenly in the manner shown in fig. 2. Open up the top end, and turn down the edges each way, as they appear in fig. 3. Keep the lower ends together like a fan. If well done, it can be balanced on the plate by the ends, in the manner illustrated by fig. 4.

Fig. 4.

THE FAN.

Fig. 5.

The fan is made precisely like the Shell, only the edges are not turned down; but in folding, at first, are kept inside. The fan is placed in a glass, in the way shown in fig. 5.

It is, also, sometimes folded again before crimping three parts up. This forms a double Fan, and the lower one should be pulled out a little by the fingers. [Pg 16]

THE ROSETTE FAN.

The Rosette Fan is very handsome and uncommon, but difficult to make, requiring very nice manipulation. First fold the serviette in half, lengthways, the edges downward. As it lays on the table, make it into three equal folds, lengthways. Then take the upper fold between the finger and thumb, lengthways, and the lower fold between the second and third fingers of each hand. Bring the lower fold up to within an inch and a half of the fold left, and the one between the finger and thumb to within an inch and a half of that. The hemmed edges ought to be an inch and a half below the last of the three plaits you have now formed. Press them well down. Crimp as for the Rosette. Hold what would be the handle of the Fan well in the left hand, and keep it all close together. Insert right through the upper fold or plait the handle of a silver fork, the flat way, and when right through, turn it, rounding out the plait like a bullionné on a lady’s dress. Treat the other two plaits in the same way. Then put the handle end firmly in a glass and let the top spread out. The effect is excellent.

THE VICTORIA REGIA.

Fig. 1.

Fig. 2.

Fig. 3.

This spirited design is difficult to accomplish, and requires to be very stiff indeed. Fold the serviette in half twice, lengthways, keeping the hems to the edge. Then plait it as the Shell was plaited, in the way shown in fig. 1. The number of petals will depend on the number of folds, which should be twice as many as were made for the Shell, the width being only half as much. Keep the folds as close together as possible, and begin forming the petals by drawing back the first hem, as the edge of the Shell was done. Proceed to turn down the next fold and make another round of petals to meet the first ones, and finish by making the last hem fold in the same way (fig. 2). Set it round by bringing the two edges of the serviette together. It is not at all easy to set the petals well. The bread is not to be placed in or under it; but a single flower, such as a rose, may very properly be slipped into the heart. Fig. 3 represents the Victoria Regia, which should be placed in the centre of the plate.

THE SWAN.

Fig. 1.

The Swan is a very simple fold, yet one requiring some knack to produce. The serviette should be very stiff. Form a triangle by folding it in half. Hold the point, A, between the teeth; take C and B in each hand. Hold it tight across the chest, so that from A to D it is strained tight against you. Roll up the ends B and C very tight, one in each hand, in the manner shown in fig. 2. The reason it is held tight across the chest is to keep it plain at E; otherwise it would curl up to the top. Now bring the points B and C together (fig. 2). Bend over [Pg 17] the point A and shape the twisted pieces so as to give the appearance of a Swan. Our illustration gives but a rough notion of it, as it is not easy to delineate well on paper, and at the same time show the way of bending it. With a little manipulation, a very good imitation of a Swan may be produced. The centre piece is the head and neck; the twisted portions represent the outline of the breast, body and the legs.

Fig. 2.

Fig. 3.

LORGNETTES.

Fig. 1.

Lorgnettes are very easy indeed, and are a neat design. Fold the serviette in half lengthways. Fold back an inch, or an inch and a half, at the double end, and bring it to the centre, in the same way observable in fig. 1. Turn it over on the other side and roll both ends, one at a time, to the centre; taking care to press in with the fingers, as it is rolled, the tendency is to bag up; so as to keep it smooth outside, and the centre band tight. Stand it upright. The Lorgnettes do not inclose the bread.

Fig. 2.

Fig. 3.

THE PYRAMID.

The Pyramid, provided the napkin is very stiff and fine, is easily made. Double it in half one side within an inch of the other, so that it may be more slender towards the point. Fold it in seven the narrow way, like fig. 3, in the shell. Press these folds down with an iron; then crimp them across with a paper knife, folding it in and out the width of the knife. Lastly, join it round like a pyramid, and stand it upright over the bread. For a bride, or a distinguished guest, slender wreaths of flowers may be placed all round in every crimping. [Pg 18]

THE FLEUR-DE-LYS.

Fig. 1.

The Fleur-de-Lys should be folded with very stiff damask, a little damp, and fresh ironed; but may be made with a small light damask, without starch, by using a little pin at the back of the waist, marked C to D in diagram (fig. 5). Rich heavy damask of a large size is always tiresome to fold without starch, although looking whiter, brighter, and handsomer on table. Lay the serviette flat on the table: fold it in half; and in half again, lengthwise; keeping the selvages all to the top. Halve it the narrow way, A to B (fig. 1). Merely make the crease, and open this last fold again: thus you have the centre marked. Take the ends E and D, and fold them to the centre: you thus have an oblong, equal to two squares. Turn down the corner E, and you have a resemblance to fig. 2. Take the point D in that diagram, and bring it to C. Take the point E and turn it under to C, in the way shown in fig. 3. Treat the point F in the same manner. Thus fig. 4 is made. Double fig. 4 in half, flat from A to B. Hold it tight between the thumb and finger at C and D. Take hold of the points at A and pull them out to resemble the petals of a Fleur-de-Lys, like fig. 5. Turn up the corners, E and F, at right angles to stand it upon, pinching the waist well in. If not quite stiff enough to stand alone, after being pinched a moment, place a pin at the back of the waist; but pins are always better avoided.

Fig. 2.

Fig. 3.

Fig. 4.

Fig. 5.

THE ARCHBISHOP’S, OR DOUBLE MITRE.

The Archbishop’s, or Double Mitre, is exceedingly pretty, and may be folded from any serviette. First fold the linen in half, and lay it flat on the table. Turn down six inches from the top. Fold down an inch and a half of this at the edge, and fold that over again; the folds [Pg 19] forming an outside band like that shown in fig. 1, from A to B. Raise the ends A and B in the hand, and form the point C, in fig. 2, allowing the folds of the linen to overlap a little. Smooth it down flat, without raising or moving it from the table; fold the lower end the same, and bring it up to D E, in fig. 3. Turn the fold D E, down on the right side, and make another point with it like that at C, in fig. 2, but a little lower, so as to show the top point above it. Lastly, fold up the lower edge F G, about an inch and a half, to form the band of the Mitre. Bring the two ends F and G, round to the back, to make the shape of a cap, and insert one in the other. If large enough, fit it over the dinner roll. If not, set it on the table, and place the roll upright in the hollow. The front should face the guest.

Fig. 1.

Fig. 2.

Fig. 3.

THE BREAD BASKET.

Fig. 1.

Fold the serviette four times lengthways. Turn down the corners in the way observed in fig. 1. Make the three standing folds across the centre, the middle one to project, C and D to bend inwards. This makes a hill or ridge in the centre. Fold back each corner at the dotted lines F and C. Now hold it erect like fig. 2. Pinch it up together in a flat line. Make a circle of it by bringing the ends together and inserting B in A. Place it round the bread.

Fig. 2.

[Pg 20]

THE FLOWER BASKET.

Fig. 1.

Fig. 2.

Fig. 3.

Take a very stiff square of damask, and fold it exactly in half. Open and fold in half the reverse way. The centre is now ascertained. Fold all the corners very exactly to the centre. Iron them down; turn over, and again turn the corners to the centre. Turn the serviette over again and take each corner from the centre, and fold it back at the half. Then crease it from A to B (fig. 1), open the crease, and fold it again from C to D. Take it in the hand and bring the crease A to C, and C to B, and so all round. This will enable you to make it stand. Hold the apex between the fingers of one hand and square out the four sides. This makes it resemble fig. 2, and completes it. A few flowers should be arranged in the compartments. For variety the corners may be left upright, like fig. 3. By reversing it, as shown in fig. 4, a different design is obtained.

Fig. 4.

THE IMPERIAL CROWN.

Fig. 1.

Fig. 2.

The Imperial Crown requires very stiff damask—an exact square is best,—and either a very small serviette, or a very large one folded in four, to reduce it to a quarter its size. Lay it flat on the table: fold the end, A, B, over to the dotted line in the centre, C D. Do the same the other side, bringing E F to C D. Then place the end, A B, in three folds, as for a fan, the whole length of the damask, and crease them down, making the folds exactly use the piece between A B, and the [Pg 21] fold at g, h. Then fold the end, E F, to match. Then bring the folded ends, A B, to the centre, j, crossing the folded part of one over the other where they meet. The serviette will now look like fig. 2. Turn the fold, E F, to the back and fold down. Next bring the corner E, by the dotted line K J, completely across, like fig. 3; the end N is to be level with the end E. The end N is then to be crossed over to match, and the end of the band inserted in the folds of the other, so as to hold firmly together. Put the hand inside and shape it. When set over the dinner roll it will stand firm. It should be a full-sized roll. The front of the hat should face the guest. If the carte de menu is not too large, it may be placed in the plaited fold at N, before crossing the ends over.

Fig. 3.

Fig. 4.

THE DOUBLE HORN OF PLENTY.

This requires a stiff serviette, damp and fresh ironed. It may, however, be made from a limp one, if a small pin is inserted at each side, after the last fold. Lay the serviette flat on the table; fold in four lengthwise, keeping all the selvages one way. Turn the two ends to meet in the centre. Turn that over, and turn down two corners not at the selvage edge, at the lines A to B, and C to D. Turn it over and it will resemble fig. 1. Take the end C, and roll it over to D (see fig. 2). Bring A to B in the same manner, and complete the design. It is most suitable for a Christmas dinner party, when it may be filled with holly or any bright flowers; or one space may be filled with holly and the other with grapes, almonds, raisins, &c., to represent plenty (see fig. 3). Pinch the horns down and hold them a minute, to make them preserve their shape.

Fig. 1.

Fig. 2.

Fig. 3.

THE COLONNE DE TRIOMPHE.

Fig. 1.

Fig. 2.

Fig. 3.

Fig. 4.

Fig. 5.

This is difficult to fold, although it may be done with a soft damask. Starch is, however, an improvement. The secret of success depends entirely on rolling it very lightly. Lay the serviette flat on the [Pg 22] table. From A to B (fig. 1), fold down about six inches, if it is a large serviette. After trying the fold once, by reference the illustration, it will be seen if the proportion is properly kept. The one which we have just folded ourselves, as a model, stands fifteen inches high, eleven for the shaft of the column, and it is very erect and firm, although made of limp damask. Fold the damask in half from C to D (fig. 1), to ascertain the half. In the left hand nip up the corner E, as shown in the illustration; the centre C and the corner G in the same way, like fig. 2, shaping them into laurel leaves. Then pleat down the serviette, holding the top still in the hand, in the way described in fig. 3. Next take the end H (fig. 2), that is, the left hand lower corner, and pass it completely round the serviette to the right, bringing the selvage tight around A to B in fig. 3. Lay it on the table, holding the neck at E grasped in the hand, at first; and tucking down and keeping tight the folds from C to D (fig. 4), whilst rolling over the end E to F, as tightly as possible, umbrella wise; pressing it on the table as you roll it up, to keep it firm. Fasten the end with a little pin. Then firmly tuck in the odd corners at the base, in the way half a pound of sugar or an ounce of almonds are turned in. Twine a wreath of flowers around it. The artificial wreaths of small roses or holly, sold at the grocers’, are pretty for the purpose. Set it upright, and with a little manipulation it will sit firm in the plate.

THE TULIP.

The Tulip requires a very stiff material. The folds are very simple, but requires nicety of fingering and pressure with a hot iron. Bring [Pg 23] all the corners to the centre, as for the Crown. Bring the corners down to the centre again and again; in all five times. Press it well. Finish all the serviettes to be folded so far, and then recommence with the first by turning down all the corners one by one, to form the Tulip petals, which should hang down in long points, like a dog’s ears. Place the Tulip on a glass.

THE BRIDAL SERVIETTE.

Fig. 1.

Fig. 2.

The Bridal Serviette is almost identical with the Pyramid, and is so called because it is a favorite for wedding breakfasts. At the top it is to be decorated with a few flowers. For the bride, stephanotis, white roses, or any white flowers available, mixed with a little orange blossom. For the other guests a scarlet flower. The serviette must be very stiff and damp from fresh ironing. Lay it on the table flat. Fold it not in half, but within an inch and a half of the top (see fig. 1). Take the corners A and B, and fold them to C and D again, within an inch and a half of the last fold, and like the last fold flat and straight across. This produces fig. 2. Again take the ends E and F and fold over to G and H, within an inch and a half of the last fold. This will probably about halve the remaining piece; but that will depend on the size of the serviette. Then fold it the narrow way, backwards and forwards, as for a fan, nine times, creasing it firmly down. Opening it as little as possible, turn down all the tops of the folds in the way noticed in fig. 3, beginning at the top of the three tiers. Then join it round, fixing the first fold over the last, and pinch it together at the top.

Fig. 3.

[Pg 24]

THE PRINCE OF WALES’S FEATHER.

Fig. 1.

Fig. 2.

Fig. 3.

Fig. 4.

Fig. 5.

Fig. 6.

The Prince of Wales’s Feather is a perfectly new design, invented especially for the present work. It is simple in effect and very handsome in appearance. It requires a very stiff crisp serviette. Lay the damask on the table, ironing it damp. Fold it from fig. 2 in the Crown, from A to B, using the hot iron to crease it. Without disturbing this fold, crease in half again the reverse way, from C to D, thus reducing the size to a quarter. Smooth it with the iron. Next fold this in half diagonally, like fig. 4 in the Crown. Observe fig. 4, in the illustrations on the present page, carefully. Fold it in half from A to B, using the iron; this will produce fig. 2. Make the fold C to B, on one side only, in the manner shown in fig. 3. Then fold it back again at the dotted line D, and it will resemble fig. 4. Fold the other side to match, always using the iron to press every fold. Open it and it will resemble fig. 5, with the folds A, C, D. Make the folds, E, as shown in fig. 5, taking care not to flatten the other folds, leaving the serviette only just open enough to make the folds, E, each side. It now resembles fig. 6. Bring the last two folds quite flat and inside C and D, and it will resemble fig. 7. Treat the other side the same, and then fold it in half in the middle, A, and it will resemble fig. 8. Now allow it to open a little and hold it by the apex, B, fig. 9. Keep it very much indented in the centre (A to B); bring the wings or side feathers forward, and curl over the three lips of the feather by bending them with the fingers. Place it upright in a wine glass or a slender single flower glass in the same manner as the Fan is placed. Fig. 10 shows the Prince of Wales’s Feather complete.

Fig. 7.

Fig. 8.

Fig. 9.

Fig. 10.

No. 1.—“THE AMERICAN PASTRY COOK”.

(FOURTH EDITION.)
PRICE, POSTPAID, $2.00.
EMBRACES THE FOLLOWING:

PART FIRST—The Hotel Book of Fine Pastries, Ices, Pies, Patties, Cakes, Creams, Custards, Charlottes, Jellies and Sweet Entrements in Variety.

PART SECOND—The Hotel Book of Puddings, Souffles and Meringues. A handy Collection of Valuable Recipes, original, selected and perfected for use in Hotels and Eating Houses of every Grade.

PART THIRD—The Hotel Book of Breads and Cakes; French, Vienna, Parker House, and other Rolls, Muffins, Waffles, Tea Cakes; Stock Yeast and Ferment; Yeast raised Cakes, etc., etc., as made in the best hotels.

PART FOURTH—The Hotel Book of Salads and Cold Dishes, Salad Dressings, with and without oil; Salads of all kinds, how to make and how to serve them; Boned Fowls, Galantines, Aspics, etc., etc.

☞ The above parts of all comprised in the “American Pastry Cook,” together with a large amount of valuable miscellaneous culinary matter.

No. 2.—“HOTEL MEAT COOKING.”

(FOURTH EDITION.)
PRICE, POSTPAID, $2.00.
EMBRACES THE FOLLOWING:

PART FIRST—The Hotel, Fish and Oyster Book; Showing all the best methods of Cooking Oysters and Fish, for Restaurant and Hotel Service, together with the appropriate Sauces and Vegetables.

PART SECOND—How to Cut Meats, and Roast, Boil and Broil. The entire trade of the Hotel Meat Cutter, Roaster and Broiler, including “Short Orders,” Omelets, etc.

PART THIRD—The Hotel Books of Soups and Entrees, comprising specimens of French, English, and American Menus, with translations and comments. Showing how to make up Hotel Bills of Fare, with all the different varieties of Soups and Consommes in proper rotation, and a new set of entrees or “made dishes” for every day.

PART FOURTH—Creole Cookery and Winter Resort Specialties.

PART FIFTH—Cooks’ Scrap Book—A Collection of Culinary Stories, Poems, Stray Recipes, etc., etc. Index of French Terms, an explanation and translation of all the French terms used in the Book, alphabetically arranged.

☞ The above parts are all comprised in “Hotel Meat Cooking,” together with a large and varied selection of matter pertaining to this part of the culinary art.

No. 3.—“WHITEHEAD’S FAMILY COOK BOOK.”

PRICE, POSTPAID, $1.50.
A PROFESSIONAL COOK’S BOOK FOR HOUSEHOLD USE.

Publisher of Hotel Cook Books,
183 North Peoria Street,
CHICAGO, ILL.

OFFICE WITH
JOHN ANDERSON & CO.,
Booksellers and Publishers.

Cooking for Profit

AND EIGHT WEEKS AT A SUMMER RESORT.

Two Books in One. About 400 Pages.

183-187 North Peoria St., CHICAGO, ILL.

CONTENTS.

PART FIRST—Some Articles for the Show Case. The Lunch Counter. Restaurant Breakfasts, Lunches and Dinners. Hotel Breakfasts, Dinners and Suppers. Oyster and Fish House Dishes. The Ice Cream Saloon. Fine Bakery Lunch. Quaker Dairy Lunch. Confectionery Goods, Homemade Beers, etc.

PART SECOND—Eight Weeks at a Summer Resort. A Diary. Our daily Bill of Fare and what it costs. A Party Supper of Forty Cents per Plate. The Art of Charging Enough. A School Commencement Supper. Question of How Many Fires. Seven Fires for fifty persons vs. one Fire for fifty. The Round of Beef for Steak. A Meat Block and Utensils. Bill of Groceries. A Month’s Supply for a Summer Boarding House, with Prices. A Refrigerator Wanted. About keeping Provisions; Restaurant Patterns. A Good Hotel Refrigerator. Cost of Ice to supply it. Shall we have a Bill of Fare? Reasons why: a Blank Form. Is Fish Cheaper than Meat? Trouble with the Coffee. How to Scrub the Kitchen. Trouble with Steam Chest and Vegetables. Trouble with the Oatmeal. Building a House with Bread Crusts. Pudding without Eggs. A Pastry and Store Room Necessary. A Board on a Barrel. First Bill of Fare. Trouble with Sour Meats. Trouble with the Ice Cream. The Landlord’s Birthday Supper. Showing how rich and fancy Cakes were made and iced and ornamented without using Eggs. The Landlady’s Birthday Supper. Trouble in Planning Dinners. Trouble with Captain Johnson. Trouble in Serving Meals. Trouble with the Manager. Breakfasts and Suppers for Six Cents per Plate. Hotel Dinners for Ten Cents per Plate. Hotel Dinners for Seventeen Cents per Plate. Supper for Forty for Eight Cents per Plate. Breakfast for Forty for Nine Cents per Plate. An Expensive Wedding Breakfast, for the Colonel and the Banker’s Daughter. Four Thousand Meals. Review. Groceries for 4,000. Meat, Fish and Poultry for 4,000. Flour, Sugar and Coffee for 4,000. Butter and Eggs for 4,000. Potatoes, Fresh Vegetables and Fruits for 4,000. Canned Fruits and Vegetables for 4,000. Milk and Cream for 4,000. Total Cost of Provisions for 4,000. How to Save Twenty Dollars per Week. How Much we Eat. How Much we Drink. How Much to Serve. Work and Wages. Laundry Work. Fuel, Light and Ice. Total Cost of Board. How Much Profit? How Many Cooks to How Many People? Boarding the Employees. Boarding Children. Meals for Ten or Fifteen Cents. Country Board at Five Dollars. If—a Bundle of Suppositions. Keeping Clean Side Towels. How Many Fires—Again. A Proposal to Rent for next Season. Conclusion.

THE CONTENTS ALSO INCLUDE:

Preface to Whitehead’s No. 4 Cooking for Profit.

This book is in many respects a continuation of the preceding volumes in the series, it fulfills the designs that were intended but not finished before, more particularly in the second part which deals with the cost of keeping up a table. It is not an argument either for or against high prices, but it embodies in print for the first time the methods of close-cutting management which a million of successful boarding house and hotel-keepers are already practising, in order that another million who are not successful may learn, if they will, wherein their competitors have the advantage. At the time when the following introduction was written, which was about four years before the finish, I was just setting out, while indulging a rambling propensity, to find out why it was that my hotel books which were proving admirably adapted to the use of the ten hotels of a resort town were voted “too rich for the blood” of the four hundred boarding-houses; also, it was a question how so many of these houses running at low prices are enabled to make money as easily as the hotels which have a much larger income. At the same time some statistician published a statement that attracted attention showing that the vast majority of the people of this land have to live on an income of less than fifty cents a day. At the same time also an English author published a little book, which, however, I have not seen and did not need, with the title of “How to live on sixpence a day,” (twelve cents) which was presumptive evidence that it could be done. In quest of information on these points I went around considerably and found a good many “Mrs. Tingees” who were not keeping boarding-houses, and I honor them for the surpassing skill that makes the fifty cents a day do such wonders; but the right vein was not struck until the opportunity occurred to do both the buying and using of provisions from the very first meal in a Summer Boarding House.

In reference to unfinished work I take the liberty here of saying that the bills of fare in this book with the quantities and proportions and relative cost from the continuation and complete illustration of an article entitled “The Art of Catering” in Hotel Meat Cooking. Knowing how much to cook, how much to charge, how to prevent waste and all such questions raised there are carried out to an answer in these pages. In regard to the use of French names for dishes it is necessary that a statement should be made. A great reform has taken place in the last ten years in the composition of hotel bills of fare, and the subject matter of these books having been widely diffused by publication in the hotel newspapers, has undoubtedly had much to do with the improvement that is now observable. My own design was, however, to explain French terms, give their origin and proper spelling, and to that end I had a mass of anecdotes, historical mention and other such material collected to make the explanations interesting. As a preliminary, I began exposing the absurdities committed by ignorant cooks and others trying to write French, and before this had proceeded far the newspapers took up and advocated the idea that French terms should be abolished altogether. If that was to be the way the knot of misspelling and misnaming dishes was to be cut, there was no use for my dictionary work and the material was thrown away; I followed the new path and it proves a plain and sensible one. At the same time there is an aspect of the subject which cooks seeking situations perceive and editors of newspapers may never think of, and that is that there are many employers whom the reform has not reached who will pay a hundred dollars for a cook who can give his dishes imposing foreign names more willingly than fifty dollars to a better cook who can only write United States. First class hotels which have all the good things that come to market avoid French terms. They that have turkey and lamb, chicken, peas and asparagus, oysters and turtle and cream want them shown up in the plainest reading; to cover them up with French names would be injudicious; but if we have but the same beef and mutton every day, the aid that a few ornamental terms can give is not to be despised. First of all it is requisite that those who use such terms should know what they are intended to indicate and how they should be spelled and then they can be taken or left according to the intelligent judgment of those concerned.

J. W.

WHITEHEAD’S

Professional Cookery Books.

WHITEHEAD’S NEW BOOK,

NUMBER 5,

The Steward’s Handbook

AND GUIDE TO PARTY CATERING.

BY JESSUP WHITEHEAD.

PRICE, POSTPAID, $3.00.

EMBRACES THE FOLLOWING:

PUBLISHERS OF HOTEL COOK BOOKS,
CHICAGO, ILL.

***END OF THE PROJECT GUTENBERG EBOOK HOW TO FOLD NAPKINS***

******* This file should be named 62208-h.htm or 62208-h.zip *******

This and all associated files of various formats will be found in:
http://www.gutenberg.org/6/2/2/0/62208

Updated editions will replace the previous one--the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away--you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase "Project Gutenberg"), you agree to comply with all the terms of the Full Project Gutenberg-tm License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works

1.A. By reading or using any part of this Project Gutenberg-tm electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg-tm electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg-tm electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. "Project Gutenberg" is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg-tm electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg-tm electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg-tm electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the collection of Project Gutenberg-tm electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm works in compliance with the terms of this agreement for keeping the Project Gutenberg-tm name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg-tm License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg-tm work. The Foundation makes no representations concerning the copyright status of any work in any country outside the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg-tm License must appear prominently whenever any copy of a Project Gutenberg-tm work (any work on which the phrase "Project Gutenberg" appears, or with which the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed:

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

1.E.2. If an individual Project Gutenberg-tm electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase "Project Gutenberg" associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg-tm electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg-tm License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg-tm.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg-tm License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg-tm work in a format other than "Plain Vanilla ASCII" or other format used in the official version posted on the official Project Gutenberg-tm web site (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original "Plain Vanilla ASCII" or other form. Any alternate format must include the full Project Gutenberg-tm License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg-tm works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg-tm electronic works provided that

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

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and The Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm electronic works, and the medium on which they may be stored, may contain "Defects," such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right of Replacement or Refund" described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg-tm trademark, and any other party distributing a Project Gutenberg-tm electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg-tm electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg-tm electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg-tm work, (b) alteration, modification, or additions or deletions to any Project Gutenberg-tm work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg-tm's goals and ensuring that the Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg-tm and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation's EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is in Fairbanks, Alaska, with the mailing address: PO Box 750175, Fairbanks, AK 99775, but its volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation's web site and official page at www.gutenberg.org/contact

For additional contact information:

Dr. Gregory B. Newby
Chief Executive and Director
gbnewby@pglaf.org

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

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

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

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate

Section 5. General Information About Project Gutenberg-tm electronic works.

Professor Michael S. Hart was the originator of the Project Gutenberg-tm concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg-tm eBooks with only a loose network of volunteer support.

Project Gutenberg-tm eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our Web site which has the main PG search facility: www.gutenberg.org

This Web site includes information about Project Gutenberg-tm, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.