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tipenver Wrote His First Characters TIpou Bark and
tbe Beacli 8and*

There is a project on foot here, says the Geneva
(Ohio) correspondent of the Philadelphia Record, to
erect a memorial library to the memory of the world's
greatest penman. Piatt li. Spencer. The new building
will be of stone and is to cost $20,000. Besides an
extensive library, it is to shelter the historical collec-
tions of Ashtabula County.

In this town of some 3,000 inhabitants Spencer
lived in the early days of the Western reserve, and in
the little log schoolhouse, which was also his residence,
lie first taught writing. This little log house is fresh
in the memories of hundreds of the most successful
men and women of the United States, who in early
days came from all sections of the country to attend
this school, which was commonly known as " Jericho,"
or the " Log Seminary."

Spencer's life was filled with hardships, and all that
he attained was gained by hard study, hard work and
strength of purpose. He could, therefore, as a teacher,
appreciate the hardships of his pupils in their strug-
gles for an education. It was as much Spencer's at-
titude toward his pupils as his capabilities that made
him famous as an instructor. Although Spencer was
a teacher of many branches, his specialty, as is well
known, was penmanship. The beautiful characters of
the Spencerian system of writing are taught to-day
most e-xtensivcly in every State in the union.

When these characters first took form it was not
upon carefully prepared paper, but in the sands by
the water's edge, on the bark of trees, and upon the
framework forming the cabin of a lake steamer. Long
before he had attained the age of S years his great de-
sire was to write or draw.

Even at this early age his hardships in pursuing his
chosen' work are noticeable, for up to that time he had
never seen a piece of writing paper. He had heard of
writing paper and its uses, however, and it was liis
great desire to secure, if possible, a single sheet. He
then lived at East Fishkill, New York State, his native
town. This point was a Mecca for lumbermen in
those days, who often traversed a distance of twenty
miles to the nearest town of auy size.

To one of these lumhermeu the ambitious boy in-
trusted what was probably his first penny, instructing
him to buy him a sheet of paper before his return. It
wa.s nearly midnight when the lumberman arrived
back at Fishkill, but I'lalt was waiting for him, and
with the precious sheet before him in his room, he be-
gan to write.

While in the school at ( 'ciniu'aul. this county, Spen-
cer asked permission to huil.l a partition around his
desk, that he might study alone. Consent being given,
he built the partition. His peinnanship was so notice-
ably fine that he was levied upon to write copies for
the entire writing class of the school. These copies
were usually of his own composition, and many times
were verses of poetry containing some gem of thought.
He once wrote a poem on " The Pen." which is con-
sidered his best.

When he became a teacher himself he gave no
countenance to the pupil who was inclined to waste
his time. He would, however, stay hours after school
to assist the willing pupil, and a parent could have
taken no more heartfelt interest in their welfare.

It is for this reason that the>pupils, though now well
along in years, seek to remember him in a befitting

La Belle France.

'J'hey take a man, no matter who.

In France,
And forge his name to a billet doux.

In France ;
They pass it on from hand to hand.
It grows as does a snowball, and
At length a startling coup is planned

In France.

The people rise and tear their hair.

In France ;
" A bas " and " Vive " are in the air

In France !
They build up dossiers in the night,
They kill themselves to set things right.
And reason swiftly takes her flight

From France.

They scheme and plot and counterplot

In France,
And liberty, alas, is not

In France !
No seal is sacred ! Men arise.
Weep for their country and with eyes
Still wet betray it nnto spies.

In France.

Shame sits upon a gilded throne,

In France,
And claims all power as her own.

In France !
How long is her debauch to last?
When shall the spirit of the past —
The mediaeval hag — be cast

From France?

— Chicago Times-Herald.


Autographs of Army OlDcpra Cut from the Atljutant-
GeneraTs Registry Book.

Washinoton, July 5. — Some vandal has destroyed
much of the value of the big book which is kept in the
corridor outside the Adjutant-General's office for the
registration of army officers who are in Washington
on official or private business. The military regula-
tions provide that every officer reporting to the War
l>epartmi'iit shall write his name, regiment or depart-
ment, rank and the business that brings him here in
this book. On Sunday the book was mutilated by
cutting out the autographs of a number of prominent
army officers, including those of Generals Shafter,
Wood, Lee, Merritt, Green, Wade and Butler. It is
supposed that the vandal is an autograph hunter.
The book contained the autographs of nearly every
prominent officer who served in the war with Spain
and several of those who have distinguished themselves
in the Philippines.

A Square Man.

"■ The si|iiare man mezzures the same each way, and
haint got any winny edges, nor cheap lumber in him.
He iz free from knots and sap, and won't warp. He
iz klear stuff, and I don't care what .vou work him up
into, he won't swell and he won't shrink. He iz
amongst men «'hat good kiln-dried boards are among
carpenters ; lie won't season-crack. It doesn't make
any difference what side ov him you come up to, he
iz the same bigness each way, and the only way to
get at him, ennyhow, iz to face him. He knows he
iz square, and he never spends any time trying to
prove it." — Josh Billings.

Have an ambition fo be remembered, not as a great
lawyer, doctor, merchant, scientist, manufacturer, or
scholar, but as a great man, every inch a king. —
Charles Sumner.


Grading of the Writing Lesson.

Is'E of the essential elements to successful
teaching is the proper grading of the
work. Not onl.v must every lesson lead
naturally up to the advanced lesson, but
the different steps within each lesson
must be carefully bridged over. This is
as important in penmanship as in other
branches. We might even claim more
for it. Failure in penmanship is more
noticeable than in other branches, and
consequently more discouraging to pupil
and teacher. It is not overstating it to
eay, that in the schools where the fore-
arm movement is used and the writing is unsatisfac-
tory, the fault is iu the imperfect grading of the les-
sons. The teacher drills the pupils on movoment ex-
ercises, bill fails to have the pupils apply the move-
ment to the writing of words. What is wrong? The

step between the movement exercise and the words it
too large. Time spent on movement exercises is wasted
unless the power gained thereby is followed up by
suitable exercises that will finally allow the word to
be written with the same movement as the ex
ercises. It is an utter impossibility
for the young pupils to write from
seven to ton words across the sheet
of paper without using a cramped
wrist movemrnl, unless they are led
gradually from the few down strokes
found in the movement exercises,
the many found in the words.

The average pupil in the public 1
school is but little benefited by long
oral explanations. They need properly ^
arranged exercises. Go from the sim-
ple to the complex. The accompanying exercises will
more fully illustrate this. There is not a pupil who
would not in a very short time make the exercise in

nt as toe ex


F.L. Haeberle


XX 111

line one, but there are many who cannot make line
eight, although they had abundant practice in move-
ment exercises, and if tuey cannot write line eight
with a free movpment. they cannot write words. What
Ib wrong if tlify cnn write line one and fail to write
line eight with the same movement? The exercises in
lines 2, 3, 4, 5, 6 and 7 were omitted. Line one has
three down strokes, line eight has twenty-eight, too
great a step for any one to take. After the pupils can
make three down strokes across the paper, let them
make four, then five, six, etc., but never go on until
the pupil shows that the exercise is mastered. The
great mistake of going too fast is so frequently made.

The greatest care, however, is necessary when going
from the exercises to words. Use wide spacing at
first, and as the pupil gains power reduce the distance
between the letter until a normal spacing is reached.
Write only three words on one line across the paper
at first. After the pupils feel at home with it the
little word in could be added. It would be a mistake
to add a long word at this time. Decrease the dis-
tance between the letters and add a, but keep in mind
that while additional letters are being used, the move-
ment must be the same as in line one and line eight.
After this is mastered add mine to complete the sen-

If the pupils at any time find it difficult to use the
free movement by writing six words on a line, have
them practice lines li, 3, 4, 5 and 8.

Let every teacher ask her or himself whether they
have their work properly graded, whether the exer-
cise at the beginning of the practice period will lead
up to the work their pupils will do at the end of the
period. Teaching of penmanship will then become de-
lightful and fascinating.

Firtt State Normal School, Millersville, Pa.
Suggestions for Vertical Copies.


i T the beginning of every writing period, not less
\\ than ten minutes should be devoted to the prac-
tice of brisk movement exercises. Numbers 1,
, C, 7, 11 and 12 are good copies to follow.

More care, with regard to slant, must be exercised
when practicing the extended letters like (, d, p, I, 6,
etc. The longer the letter the more difficult it is to
keep the slant uniform. Do not spend too much time
on the disconnected letters. The practice of continu-
ous exercises and words is far more beneficial. Avoid
a cramped, stiff movement. The hand must move and
glide with the pen. The bending of the wrist is not
sufficient in writing, however serviceable it may be in

Vertical Writing.

Editor Penman's Art Journal:

I am very much pleased with Professor Lyon's pa-
per on the subject which seems to agitate the minds
of many just now — vertical vs. slant writing. I can-
not remember when I have read a paper that so thor-
oughly met my views on the matter.

Recently in talking the matter in question over with
some teachers I was surprised to hear one of them
say that the teachers where she taught, although they
taught vertical in their classes, used the slant writing
in taking notes in lectures, etc.

Why cannot thinking people understand the situa-
tion? We do not need this fad in our every day life
and we never did need it. Where is the business man
that would tolerate it on his books? I happen to be
one of those unfortunates who must cater to the busi-
ness men of this country, and I am justified in saying
they do not want it and in most cases will not toler-
ate these drawn vertical forms.

One great objection I have always had to vertical
writing is the slow, labored way the students write
it. X{eally, simply drawing. While, on the other
hand, look at the ease the fairly good writers have
in writing at a high rate of speed the ordinary slant
hand. There is no hunting for the base line, and the
smooth gliding from one letter to another should be
argument enough, provided their handwriting is legi-
ble. Can you approach this ease in the ordinary
style of the vertical? No.

I like to see improvement in methods, but I can see
no improvement in going backward one hundred years
for forms. I use plain forms in the teaching of writ-
ing for the commercial students, but I do not make
those forms vertically.

Boys, if you want form and inspiration along the
line of plain, practical writing, look again at the work
by that magic penman, Prof. H. W. I'lickinger. You
find form and grace there, and he did not write it ver-
tically, either. Respectfully, O. J. Penrose.

Augustana Bug. Coll., Rock Island, III.

J o-\jJ-y\JL^,





Lesson No. 8.

3 -Xj .Jzj -Jj

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5 J(V J(\J JfXJ J^\^-\^\xj Jl^J\^J(^'^ ^^'-^Jf^-^

Lesson No. 9.

.• _ix-cLt^ ^Ji^i-^A-U ^.a^^AjlJ ^X^lAjlJ JoiA_jij JCi^^fiuu ^Jla^^JuO

Lesson No. 10.

ij -Mx.yLnn.JlJ ~-Jf\J^. - ^\_JtJ ~A-L^i - V^_JLJ .y^\J^'-'r\-JiJ -4n_x^T^-l_^ —^'X^t^-v-x.-cJ -Jnj
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This handsome display piece is the work of the brain, brush and pen of .A. D. Skeels, penman of the Troy, N. Y., Business
College. The original was about 22 x 2S inches. After " laying off " the design, pencil out the figure, flowers, lamp, palette,
lettering, etc.. start on the flgure, or the lettering. Next taSe up the flowers and ornaments. When different parts are com-
pleted, with brush and pen and a touch here and there, " tie " the design together, making a harmonious whole of it. Try
Tour hand on this and send the work to Mr. Skeels for criticism, inclosing stamps for return of specimen and reply. Lay
out your design on similar lines, but change wording and some details. It is a bad plan to copy exactly.



may lie taken ai

I.ennou No a

•oimiiin garden Fink lends itself so
readily to the decorator — its rasrged
Hower and long leaves suggest an
endless variety of forms. In the
licnding are several pieces of buds
;uiil ragged flowers that may be used
to advantage, and the heading also
shows its adaptability to panel ron-

Kroni Kig. 1 there can be manu-
factured several borders, and a part
I used for a side border.

Kig. 2 shows a different
iroatment and form. This
line cm easily design a side

Fig. 3 suggests a simple
side repeating border, and
liy taking the open flower.
a eouple of buds and leaves.
line can easily make a cross
hiinler. The open flower
may be treated more freely,
that is, in a more ragged
style, according to the taste
cif the designer. See Figs.
1 and 2. Look back to the
dandelion and notice where-
in this flower may be used
in similar forms.

Paris Exposition and European Trip.

In the necember nnmlier of The ,Tot unai. we e.xpeci
to be able to make definite and final annonni'ement of
rates and itinerary of TliK .Toih.x.m.'.s Paris K.\posi-
lion and Knropean I'arty for the summer of T.MMI. .\s
we go to press with this issue of The .ToiKNAl. the
steamship companies are holding a conference to fi.x
rates for 1!K)(», and as soon as these rates are fixed the
price of the entire trif) can be announced.

('orresi)ondence in regard to this party is brisk, and
indicates widespread Interest, and that a large number
of representative teachers will join hands in this, the
nms: iii.jiiyai)le ouling i^ver liikeii by cnmmerrial leach-


lis. Kecent visits by TllE .lolKNAI. Editor 10 the New
York liooking agencies emphasises more strongly than
ever the fa<t that those who delay until the spring of
next year before securing staterooms on the steamships
will be doomed to renmin at home. If you are i-on-
lemplaling n European trip next year send your name
to The .loiH.NAi.'s E<litor. so that printed matter de-
scriptive of the itinerary may be sent to you.

Think the matter over; read your histories again;
study Freiuh.

.\ rough estimate of the expenses of a forty days'
trip is from .$2.'0 to .$275. There will be side trips for
those who desire lliem al additional expense, and tick-
ets for leiurn will be good for one year.




Commercial Designing.

1,003 Chicago Opera House, Chicago.

No. 3.

OR this lossoii we li.ive periodical
headiugs. Numtjei' is a bead-
ing for a Cliampaign paper. It
is greatly reduced in this cut, as
the design was made for a 12-inch
heading. It was desired to have
the lettering stand out very bold ;
the design in itself has not the
free appearance that No. 7 has,
but it makes a good heading.

To draw this design commence in the center, sketch
wreath, then the lettering to get the proportion, after-
ward throw in the ornaments.

J. F. Briley— A Tribute.

Editor of the .Iourx.\l :

The October issue of the Art Journal breaks to
me the sad news that our friend and co-worker, John
V. Brile.\-, has passed away.

My personal acquaintauce with Mr. Briley was
short, yet our associations were such that I shall al-
ways cherish the fondest recollections of him as a kind
hearted, honest man, and a true friend.

He was one of the most conscientious, hard work-
ing men I ever met. and by his untiring efforts and
the artistic influence of the Journal oflice, he made
steady and constant improvement in all lines of pen-

The profession loses a valuable man, the parents a
true, lovable son. and his associates a sincere and af-
fectionate friend. Fraternally yours,

Roclduml, Mv. E. L. Brown.



illustration No. 7.

After having it traced on bristol board, start with
the lettering ; next the wreath, then the ornaments and
last the heavy black line under the words " Chicago "
and " Champion." This line is to combine the differ-
ent parts more closel.v. Portrait was pasted in.
Make drawing about 15 x Z'^h.

Cut number 7 is intended for a double column heading
for a special department in a monthly. The style is
free and open. Plants and flowers are conventional-
ized. The lettering has odd spacing. Notice all let-
ters having curves, .such as 0"s Cs, and R's, are wider
than those made up of straight lines. The alphabet is
based on the Roman. Copy both designs, then try to
design something original. Send me your best draw-
ings : the best work will be reproduced in next month's

Lampman's Lost Order.

.T. W. Lampman. Omaha. .N'eli.. C. C. recniests us to
state that he lost an order fi>r cards received during the
summer and cannot recall the name or address of the
sender. He will be glad to fill the order if the person
will send name and address again. -

A small boy in one of the Gerraantown public
schools wrote a composition on King Henry VIII re-
cently. It read as follows : " King Henry 8 was the
greatest widower that ever lived. He was born at
Annie Domino, in the year 10ti6. He had .510 wives
besides children. The first was beheaded and after-
ward executed, and the 2d was revoked. Henry .S
was succeeded on the throne by his great-grandmother,
the beautiful Mary Queen of Scotts, sometimes called
the Lady of the Lake or the Lay of the Last Min-

The above is a reproduction of a Wash-Drawing executed at the St.
Louis Commercial College, St. Louis. Missouri The original is a fine
picture, three feet square, and was greatly admired at the St Louis Ex-
position. Mr. Rltner has a reputation lor floely decorated walls in his
school rooms.


^^^:^ ^->^U^^^^^^^^^^^^^

l.lNf.OII A.

TUKK than n few general sugges-
tions, we shall leave the learner
to depend upon his eyes and judg-
ment in this lesson and the next.
It has been thought proper to pre-
sent a variety of styles of capital
letters, in the production of which
the following points should be ob-
served : 1. Every capital should br
made with sufficient speed to insure perfect smoothness

There is a tendency on the part of some writers to
move too slowly when making shades, and rough strokes
are the result. 2. Shades should neither begin nor
end abruptly, but should be made heaviest in the mid
die and taper gradually. ;^. On many forms there is
an inclination lo make the shades with too little curve.
'I his should Ih" guarded against, as it gives the letter*
a tiat sided appearance. ^. In writing combinations
of capil.nls do not liinglc tliem. Many lines can be
written crossing one another and still be barmoniouc.
The chief Ihinc to be noticed is to have the crossings




nearly at i-is!it aUjjk'S. 5. Do not allow light Hues to
iross shaded strokes. 6. Obscive viiiifoi'mity of slant,
size and shade.

Judging from the inquiries received by letter from
time to time, it is evident that many young penmen do
not understand

THe Tricks of the Trade.

We shall present a few hints which will be of value
tc any young penman who has the grit to work them
up. There are three ways of making ornamental
script : 1. It may be written in an off-hand manner,
with very much the same movement as business writ-
ing, the main differences being that finer pens are
used, shades are desirable, and more care is exercised
in obtaining correct form.

This style of writing is sufficiently accurate for
nearly all lines of off-hand work, such as letter writ-
ing, card writing, etc. Its great speed makes it espe-
cially valuable for most purposes. It frequently oc-
curs, however, that one must write a more accurate
style than is required for ordinary work — e. g., prepar-
ing specimens for framing, or copy for photo-engraving,
where the result is more important than the time spent
in obtaining it. This brings us to the second method.

In writing for photo-engraving, tne work should be
two or three times as large as it is to appear in the
engraved plates.

How It's Done.

I will here answer numerous inquiries received by
letter regarding this point. In the first place rule
a sheet with base line, head line and slant lines. These
lines should be made heavy. Your writing should be
done on paper sufficiently transparent for these lines
to show distinctly when your sheet is placed over them.
When the writiug is done in this way, it is not neces-
sary to use an eraser for cleaning off the pencil guide
lines. Thus the ink lines are preserved in better con-
dition. Use Uiggins' General Ink. It must be evi-
dent that when the pen moves slowly it leaves more
ink in its path than when it moves rapidly. Hence, if
the capitals are made with a rapid motion and the lit-
tle letters are written almost altogether with the fingers
at a much slower rate of speed, the lines of the little
letters will be much coarser than those of the capitals.
To avoid this, use a coarse pen for the capitals and one
considerably finer for the little letters. In this way it
is possible to get lines of the same quality.

3. Where extreme accuracy is required it is best to
lay out the work on good Bristol Board, doing the work
lightly with a pencil and correcting forms until they
are as nearly perfect as possible. This work should
then be traced with a fine pen and ink that is diluted
until it :s pale. Next, thoroughly clean your card-
board, removing everything lut the light pen-and-ink
lines. You can now proceed to touch up your work,
tracing the lines over and over with a fine pen and
black ink until they have the required thickness.

Copies can he written in this manner to equal steel
engraving, provided the penman is sufliciently skilled.

Perraaneut address, 430T Burdette street, Omaha,



A Simple De»igkt^

OW that we have learned to use the
pen and have mastered a few ' al-
phabets we'll take up a simple de-
sign and put in practice some of
(he things we've learned. After
1 1 ying this design, if you find your-
- 'If weak on any particular part
of the lettering, study it up care-
fully and make a few dozen of
these letter.-;, and then try the design again. Don't
feel afraid to make this design dozens of times. It
lakes a great many repetitions to conquer the weak

€ayyintft»n's Carpets and Curtains,

This is a case where one initial letter may serve for
two lines. Large "C" was made four inches high,
and other letters one inch, all with No. 6 Shading Pen.

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