Mississippi Piney Woods: a photographic study of folk architecture, by Patti Carr Black

Mississippi Department of Archives and History
Jackson, Mississippi
1976
Reprinted 1980

My appreciation and thanks to the many residents of the Piney Woods who gave me directions, information, and access to their homes, especially Miss Gertie Ainsworth, Hulan Purvis, Bob and Patricia Harris, Clarence Smith, Charles A. McGee, S. D. Sullivan, and Mrs. L. E. Turner.

Introduction

The dogtrot house described by Eudora Welty in Losing Battles is in every Mississippian’s memory. Dogtrots, a part of the Mississippi landscape since the early 19th century, were one of the most popular forms of folk structures in the state, particularly in the southeastern section.

The study of folk architecture has been largely ignored in Mississippi, with the major attention going to large mansion houses. Even the term “antebellum” has been used to refer only to affluent homes. Many dogtrots, log houses, and other rural homes in Mississippi are antebellum (built before the Civil War) and are far more widespread and characteristic of 19th century Mississippi architecture.

The houses built by the pioneers themselves represent an important and basic element of Mississippi culture. They reveal the ingenuity and courage and affirmation of men and women who built their homes with little money, limited materials, and no formal training as architects and builders. Few of these structures are left standing in their original form and every day brings the destruction of more. This study is intended to be a sampling, not an exhaustive survey of Piney Woods folk architecture. It was undertaken with the support and encouragement of Dr. Byrle Kynerd, director of the Mississippi State Historical Museum and Dr. 4 William Ferris of Yale University and was made possible by a grant from the National Endowment for the Arts.

The Piney Woods

The southeastern quarter of Mississippi, known as the Piney Woods, extends southward from Interstate 20 to within twenty miles of the Gulf Coast, and from the Alabama line to the Brown Loam Belt west of the Pearl River. It is a high rolling land, once covered by dense stands of long-leaf pine, and patches of hardwood in the bottoms. Numerous rivers and creeks criss-cross its sandy soil. The Leaf and Chickasawhay form the Pascagoula River that empties into Pascagoula Bay. The Pearl River, with its tributaries, the Strong and the Bogue Chitto, empties into the Gulf of Mexico.

The Piney Woods, originally inhabited by the Choctaw Indians, was ceded to the United States by a series of treaties beginning with the Treaty of Mount Dexter in 1805. In the great migration after the War of 1812, settlers began coming in by horseback, on foot, by wagon teams, moving west across the Fort Stephens-Natchez road and the Three-Chopped Way and down Jackson’s Military Road. They came by flatboat down the rivers, and later by steamboat up the Pearl. They came from the Carolinas, Georgia, and Tennessee to the land described by J. F. H. Claiborne in 1840 as “covered exclusively with the long-leaf pine; not broken, but rolling like the waves in the middle of the great ocean. The grass grows three feet high and hill and valley are studded all over with flowers of every hue.”

Early Settlers

The pioneers of the Piney Woods were not agriculturists. They were primarily livestock graziers and hunters, whose chief interest in the land was to have a place for a cabin, a few out-buildings and stock pens, small corn and vegetable patches, and open range for their livestock. In 1870 William H. Sparks of Natchez wrote about the settlements in the Piney Woods. He said they “were constituted of a different people (from the agricultural population farther west): Most of them were from the poorer districts of Georgia and the Carolinas. True to the instincts of the people from whom they were descended, they sought as nearly as possible just such a country as that from which they came, and were really refugees from a growing civilization consequent upon a denser population and its necessities. They were not agriculturists in a proper sense of the term; true, they cultivated in some degree the soil, but it was not the prime pursuit of these people, nor was the location sought for this purpose. They desired an open, poor, pine country, which forbade a numerous population. Here they reared immense herds of cattle, which subsisted exclusively upon coarse grass and reeds which grew abundantly among 5 the tall, long-leafed pine, and along the small creeks and branches numerous in this section. Through these almost interminable pine forests the deer were abundant, and the canebrakes full of bears. They combined the pursuits of hunting and stock-minding, and derived support and revenue almost exclusively from these.”

Gradually, in the second wave of migration, farmers began moving into the Piney Woods, men who desired the ownership of the land rather than its free use. Older settlers began to decrease their herds and increase their fields, but by 1860 still only a fraction of the land was “improved land.” Because the soil was poor and the farms tended to be small, the plantation system and slavery never thrived there. The number of slaveowners were few and the Piney Woods has remained predominantly white.

In the closing decade of the 19th century, the railroads opened the country to the lumber industry. Northern lumber companies bought vast areas, sawmills were established, lumber towns sprang up. In less than thirty years the great pine forests were stripped, ghost towns were left, and the stumps of cut-over land attested to the ravaging of the forests. Reforestation has restored much of the land to loblolly-shortleaf pine forests, and industrialization is slowly changing the character of the Piney Woods.

Folk Architecture

Because of the availability of trees, log houses were the most common type of house built in the Piney Woods during the 19th century. The most typical style, still found today, is the “double-pen” construction, also called “dogtrot” or “two-pens-and-a-passage.”

Scholars disagree on the origin of the dogtrot. Some have attributed it to Scandinavian influence, while others have shown a close relationship to the double-pen houses of Africa. Henry Glassie has suggested that the dogtrot developed in the lower Tennessee Valley around 1825. However, a description of a dogtrot in Mississippi as early as 1789 has been recorded. In Narrative of a Journey Down the Ohio and Mississippi in 1789-90 (Cincinnati, 1888) Samuel S. Forman of New Jersey described his uncle’s house that he visited on a plantation bordering St. Catherine Creek, four miles from Natchez:

It seems probable that the dogtrot construction was a natural physical development, possibly happening in various countries simultaneously. Shorter 6 logs or timbers were more easily handled and the size of a cabin possibly was determined by the length of logs the builder could handle. Later when an additional room was needed, the corner timbering of the log pen made it impossible to butt the units together. The space left between the pens was made wide enough to be useful.

All of the log dogtrots studied in the Piney Woods were built in stages, following the same pattern. The settler built a one-room log house or “pen.” Later, as his family and fortune increased he built an identical log pen and connected the two with a common roof, leaving a passageway or “dogtrot” between the pens and providing an overhang for porches front and back. One pen usually served as a kitchen and living room and the other as a bedroom. The covered passage formed an area for household activities, children’s play, and a cool sitting spot for summer evenings. Today the passageway is more likely to house the “deep freeze.” As the family grew and more rooms were needed, the sides of the front or back porch were walled off and called “shed rooms” or “drop sheds” (Fig. 1).

All log houses were not dogtrots, and dogtrot construction was not limited to log houses. Many later frame houses were built in the popular style. When Hulan Purvis of Rankin County decided to build a frame house for his family in 1910, he emulated the construction of his father’s dogtrot, using the same type of “long-strawed” pine, but pine that had been planed at the sawmill rather than hewn by hand (Fig. 23).

Many of the early dogtrots have been remodelled, enclosing the passageway for a central room (Fig. 25). Others have been abandoned or destroyed. Not all houses with open passageways are dogtrots. The Bob Goodloe house in Smith County is an example of a non-dogtrot because the two sides of the house are not of equal size or symmetrical relationship (Fig. 26).

Tools

The only tool a man actually needed to build a log house was an axe. With an auger, an adze, a drawing knife, a froe and maul, a broadaxe, or saw, he could build it more efficiently. Tools and building techniques were passed down from generation to generation. One such technique enabled a man to raise the walls higher than he could lift a log by placing two logs at an angle against the wall to serve as a skid and using forked sticks or ropes to guide the logs into place.

Another technique was splitting logs by standing them vertically between scaffolding and sawing downward, lowering the scaffolding as the log was cut.

Construction

The log houses were built of peeled or “skunt” logs of native longleaf pine, called “lightered,” “yellow,” “heart” or “long-strawed” pine. The settler selected trees with straight smooth trunks approximately the same size. The trees were felled, cut into the correct length, and peeled. They were hauled to the building site with ox or mule teams. The foundation blocks were usually vertical sections of large heart pine logs (Fig. 13), although some houses used native iron rock as foundation stones (Fig. 14). These foundations held the sills of the house a foot or two off the ground so that the light and air under the house protected it from dampness and “wood lice” or termites. In some cases, the sills were laid directly on the earth. The sills of the Wiley McNeill house, Clarke County, laid on the ground around 1830, today show little sign of rotting or termite damage. The resin in heart pine acts as a natural preservative, making the wood almost indestructible.

Some of the houses were built with whole peeled logs (Fig. 4); others with split logs (Fig. 5) and still others with square-hewn logs (Fig. 6). The logs were notched or “scribed” at the corners to fit securely and steadily. The style of the notch varied with the cultural background, skill or preference of the builder. Saddle notching, V-notching, Half-dovetailing, Square cornering, Halved cornering and a saddle-V combination are found in the Piney Woods (Figs. 7-12). Of these, the half-dovetail is the most difficult to produce. It is self locking, as is the Saddle and V-notch, while the Square and Half-Square require the use of pegs to hold the timber in place.

The spaces between the logs were either chinked with clay and moss or battened with split pine pickets. The log houses left standing today in the Piney Woods are generally battened inside and out with pine boards. Exacting builders squared off the corners, but usually logs were left to extend beyond the notches. The floor joists rested on the sills and were fitted to make an even base for the floor of wide hand-planed pine boards. Many of the earlier houses had clay floors, but no house was found still retaining the dirt floor.

The ceiling, made of wide rough-hewn board, was attached to ceiling joists, providing a loft space in many of the houses. Small ladder-like stairs led through a hole in the ceiling to the loft, which was sometimes used for sleeping quarters or for storage of seeds, herbs, nuts, and gourds, (Fig. 17).

The rafters were made of small, peeled pine poles. Pine planks nailed to the rafters formed the base of the shingle roof. Straight grained pine trees were selected for roof shingles. The tree was cut into blocks eighteen to twenty inches long and split into “bolts.” A froe and maul were used to rive out the boards to a half-inch thickness and the roof was covered with the boards overlapping (Fig. 18). In the Piney Woods, such shingle roofs were called “board” roofs. Today most 18 have been replaced by tin or masonite. The overhang of the roof provided about eight feet front and rear for porches.

Each pen usually had a window on both sides of the fireplace, cut into the wall after the log pen was built. There were no window panels in the early houses, but thick shutters made of hand-planed pine boards (Fig. 19).

Each pen had a fireplace. The early chimneys were “catted,” made of “stick and mud,” and built on a foundation of native rocks, such as sand or iron rocks. The chimney was framed up with carefully laid pieces of oak strips. Prairie grass or sage was mixed with water and clay and thrown over each rung of the framing. The log grass overlapped each rung, filling the spaces. After the entire frame was covered, it was dressed down with mud. When the clay hardened, the chimney was ready for fire. Fireplaces were fitted with a bar and hooks to hold vessels for heating water and cooking. These inflammable stick-and-mud chimneys and fireplaces were replaced with bricks after kilns began operating (Fig. 16).

As a house grew, usually a kitchen was built behind and away from the house as a protection against fire. It was connected to the house by a board walkway either covered or uncovered (Fig. 20). It is rare today to find the detached kitchen still standing for most house owners, with access to electricity, tore down the kitchen wing and made a kitchen shed from a portion of the back porch. In the 20th century, outdoor toilets gave way to modern plumbing in shed rooms.

Before “running water” was available, it was considered a great convenience to have an additional well in the house. These wells were usually on a front porch and had a narrow cylinder for drawing water (Fig. 15).

The Ainsworth house in Simpson County, the Purvis house in Rankin County, and the Sullivan house in Smith County are well-preserved log dogtrots.

Jonathan Ainsworth built his log house on the Florence-Harrisville road in north Simpson County between 1860-1870 (Fig. 21). Gertie Ainsworth, present owner and granddaughter of Jonathan, was born in the house as was her father, Charles Houston Ainsworth.

Made of squared split-logs approximately 14 inches in diameter, the house was built in stages, following the typical pattern of progression. The 24-foot square north pen was constructed first with square notching. An identical pen was added a few years later, leaving a passageway between, with the whole house roofed over to provide a front and back porch. Soon afterwards, a kitchen and dining room, each about twelve feet square, were built off the rear of the house. In 1937, these structures were torn down and the north pen again became the kitchen and the south portion of the back porch was walled up as a bedroom. Later, with the arrival of electricity, the north back porch was walled up for a kitchen. None of the outbuildings are the original ones. The present corn crib was built in 1911; the “car 19 house” in 1925; the barn in 1935. Miss Ainsworth remembers fruit houses, which were built of small logs and daubed with mud. The house does not have plumbing and Miss Ainsworth still draws her water from the well conveniently placed on the front porch.

The Purvis house stands in the Walters Community in southeast Rankin County (Fig. 22). William Jackson Purvis began building the house prior to 1880. The fourth generation of his family now lives there.

Although both rooms have been ceiled and paneled in recent years and the south fireplace removed, the basic exterior remains unchanged.

The original pen was built on the east side of present-day Highway 43 and moved to the west side around 1882. The code for reassembling the pen can still be seen carved in the logs.

The north pen was added some twenty years later. The split-logs of pine are put together with V-notching. An unusual feature is a storm-pit built under the north pen with an entrance through an opening in the floor.

In 1905 when the first son married, the north portion of the front porch was walled off for the newly-weds. In the 1970s the north rear porch was walled off as a kitchen and the south rear porch as a bathroom. The house now has both electricity and plumbing.

A functioning farm until recently, the out-buildings include a smoke house, cow barn, mule barn, blacksmith shop, seed house, chicken house, and tool shed. The blacksmith shop still contains the old bellows and a handmade grinding tool. The tool shed holds hand-carved mule hames, a hand-pegged rake, and other garden tools.

Tom Sullivan built his one-room cabin of square-hewn logs in Choctaw Indian country. The area later became known as Sullivan’s Hollow, Smith County. The original log cabin was built 1810-1820 when Sullivan migrated from Georgia, and his descendants have lived in it ever since.

A double-pen was added later using split logs instead of the original square-hewn. Three shed rooms have been added over the years, the last one for a bathroom in 1965 (Fig. 24).

Interior walls are battened with pine boards and the ceiling is made of “sawed” boards. The mud-and-stick chimneys on each end were replaced by brick chimneys in 1915. The dogtrot passageway is usually closed up in the winter months with plastic panels. The house is occupied today by Shep Sullivan, a sixth generation descendant of the builder.

The Campground

Serving a special function were the campgrounds where Protestant religious meetings were held once or twice a year, usually during “laying-by” time. The early camp meetings were held in an arbor-like shelter constructed of oak posts with V-tops forming a frame for horizontal poles that were then covered with leafy branches. This shelter was called the tabernacle. Rough plank seats were constructed by laying long planks on supports held up by stakes driven in the ground. The dirt floor was covered with pine straw or sawdust to keep the dust down and the pulpit was made of rough planks. Smaller shelters called tents where the people camped out were built around the tabernacle and furnished with pine plank or pole beds and tables, straw and shuck mattresses. Later more substantial campgrounds, such as present-day Salem Church campground, were built with a permanent tabernacle and sturdy cabins. The Salem Campground on the Jackson-George County line is the oldest extant campground in the state (Fig. 27). The first camp meeting at Salem was held in 1826 and the present site was selected in 1842. The campground today is still arranged in the original U-shape, but the materials of the buildings have been replaced. The tabernacle is built of rough lumber, with three sides open and log posts supporting the roof. The floor, covered with pine straw, holds wooden benches which can seat 300 people. The cabins which surround the tabernacle are still traditionally known as “tents.” Each cabin has two rooms, one for sleeping, one for eating, cooking, or sitting, and the floors are covered with pine straw. A wooden bench adorns each front porch. The oldest tent on the campground is the Parker tent built around 1880. Meetings have been held every year at Salem Campground since 1826 except for two years during the Civil War.

Churches

After transportation improved and as the country became more thickly populated, churches were built. Rural Piney Woods churches were simple structures. Boykin Methodist Church (Fig. 28) near Burns and Piney Grove Church at Polkville are typical examples. The pioneer church building was rectangular, made of rough sawn pine, with pine shutters at the windows and home-made benches fronting toward the home-made pulpit. There was no ceiling, with the room rising to exposed hand-hewn rafters. Often there were two front doors, one for the men and one for the women, and one rear door. On the grounds of Piney Grove, one can still see the long stretch of tables which were built for “protracted meetings” which took the place of camp meetings. Instead of camping out, the people attended services during the day and went home for the night. There was always “dinner on the ground” at the protracted meeting.

Churches in more affluent areas generally had slave galleries, cabinet work on the pews, and glass windows. China Grove Methodist Church built in 1854 in Walthall County is a good example (Fig. 29).

Barns

Although roof styles vary, the barn type used almost exclusively in the Piney Woods is the transverse-crib barn. Henry Glassie, folk historian, has theorized that the transverse-crib barn developed in the southern Tennessee Valley. The Piney Woods settlers came from that area in large numbers. Roof styles include the gambrel and the pitched roof, but the most prevalent style is the A-roof (Figs. 30-32).

Grist Mills

Each community usually had one farmer who built a water mill for grinding corn into meal. Lake Bounds in Clarke County has been the site of a grist mill since the beginning of the 19th century. The present mill was built by J. M. Martin in 1935 and is still operating.

Recycling Materials

Dr. William R. Ferris pointed out in Mississippi Folk Architecture, that “salvaged” items are common in folk structures.

Items discarded as “junk” in non-folk culture become functional or decorative in folk culture. A tour through the Piney Woods is a study in the art of recycling. Bed-springs become a garden gate. Prince Albert tobacco cans decorate a flower bed, rubber tires become planters, styrofoam egg cartons become tulips. Materials are imaginatively transformed into new uses (Figs. 33-36).

Conclusion

Folk architecture, defined as traditional structures built by craftsmen with no formal training in architecture, is disappearing. It came from and belonged to people whose lives were closely bound to the soil. Today technology is continuing to alter the cultural landscape and the mobile house trailer, the concrete-block structure, the prefabricated house are the new folk structures.

Transcriber’s Notes

*** END OF THE PROJECT GUTENBERG EBOOK MISSISSIPPI PINEY WOODS: A PHOTOGRAPHIC STUDY OF FOLK ARCHITECTURE ***

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

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

START: FULL LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1.F.

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

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

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

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

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

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

Section 2. Information about the Mission of Project Gutenberg™

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

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

Section 3. Information about the Project Gutenberg Literary Archive Foundation

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

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

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

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

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

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

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

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

Section 5. General Information About Project Gutenberg™ electronic works

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

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

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

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

The Project Gutenberg eBook of Mississippi Piney Woods: A Photographic Study of Folk Architecture

Mississippi Piney Woods:
a photographic study of folk architecture

MISSISSIPPI PINEY WOODS
a photographic study of folk architecture

Introduction

The Piney Woods

Early Settlers

Folk Architecture

Tools

Construction

The Campground

Churches

Barns

Grist Mills

Recycling Materials

Conclusion

Transcriber’s Notes

THE FULL PROJECT GUTENBERG LICENSE

The Project Gutenberg eBook of Mississippi Piney Woods: A Photographic Study of Folk Architecture

Mississippi Piney Woods: a photographic study of folk architecture

MISSISSIPPI PINEY WOODS a photographic study of folk architecture

Introduction

The Piney Woods

Early Settlers

Folk Architecture

Tools

Construction

The Campground

Churches

Barns

Grist Mills

Recycling Materials

Conclusion

Transcriber’s Notes

THE FULL PROJECT GUTENBERG LICENSE

Mississippi Piney Woods:
a photographic study of folk architecture

MISSISSIPPI PINEY WOODS
a photographic study of folk architecture