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GENERAL 
 
 Letter Engraving 
 
 FOR 
 
 WATCHMAKERS, JEWELERS AND 
 KINDRED TRADES 
 
 A COMPLETE EXPOSITION OF THE ART OF ENGRAVING 
 ON METALS. 
 
 BY G. F. WHELPLEY. 
 
 CHICAGO: 
 
 Geo, K. Hazlitt & Co., Publishers, 
 
COPYRIGHT, 1890 
 BY 
 
 GKO. K. HAZLITT & OO. 
 
CONTENTS. 
 
 CHAPTER I. 
 
 Page. 
 
 General hints to the beginner. Lines and curves. Originality. 9 
 
 CHAPTER II. 
 
 Practice material. Position of Graver. Treatment of gravers. 15 
 Correct spacing. 
 
 CHAPTER III. 
 
 Coffin plate engraving. Necessary tools. Laying out the work. 23 
 Preparation of plate. Use of gravers. Methods of cutting. 
 Slope and height of letters. Inclination of graver. Trans- 
 ferring. Long and short names and their appropriate style of 
 letters. 
 
 CHAPTER IV. 
 
 Coffin plates. Price of work to be considered. Harmony in laying 43 
 out. Touching up defective lines. Discrepancy in height and 
 spacing. Injurious effects of careless habits. Good models. 
 Difficult materials and their treatment. 
 
 CHAPTER V. 
 
 Tools and appliances. Sharpening gravers. Proper angles. Sizes 55 
 and shapes of gravers. Choice of tools. Engraving in rings. 
 Gravers for same. Engraving blocks and stand. 
 
 8 
 
4 
 
 CONTENTS. 
 
 CHAPTER VI. 
 
 Ciphers. Their formation. Ornamentation. Transfering. Shape 71 
 of article. Spoons and forks. Correct position of body 
 Inscriptions. Styles of lettering. Best manner of cutting. 
 
 CHAPTER VII. 
 
 Ciphers. Methods of ornamentation. Ciphers as compared with 89 
 monograms. Monograms and their treatment. Method of 
 cutting Figure Monograms or Cipheroids. Treatment of 
 dominant letters or figures. Ornamentation. Removal of 
 scratches. Treatment of letters of general similarity in shape. 
 Intertwining. Complex Monograms. General treatment. 
 
INTRODUCTION. 
 
 M ANY difficulties and obstacles are encountered in 
 making a choice of a profession or trade. One of 
 the principal objections to adopting either, is the requisite 
 exertion in acquiring sufficient knowledge in the one, and 
 skill in the use of tools in the other. Much time and 
 careful attention are components of success in any under- 
 taking. Anxiety to become proficient frequently, instead 
 of being an assistance, is a barrier, and the beginner, not 
 making the rapid advance that his ambition desires, his 
 patience is taxed beyond endurance, and dislike soon in- 
 sinuates itself, weakens his energy, and leads finally to 
 his abandoning the undertaking just when success was 
 within his grasp. This is particularly so in the art 
 of letter engraving. The rudiments must be thoroughly 
 mastered before one can hope to become proficient. 
 Patient study and faithful practice alone can form that 
 foundation which is so very essential to ultimate success. 
 It is claimed, and I think justly, that at the present day 
 the prospects of intelligent labor are far in advance of 
 those of professional callings. The demand for the latter 
 is very limited, but the demand for skillful labor, in its 
 manifold branches, is constantly increasing. A person 
 wishing to learn any art must be, to a certain extent, 
 capable of self-instruction. Within the past few years 
 the opportunities to learn trades are not as propitious as 
 they formerly were. Tradesmen do not seem to take 
 the pains to teach apprentices that they used to. A boy 
 now-a-days may spend some months in a shop, and not 
 
 5 
 
6 
 
 INTRODUCTION. 
 
 know the names of some of the tools that he may oe 
 called upon daily to keep clean, or otherwise in order. I 
 do not intend to enter upon a disquisition on the causes 
 of this, but that it is evident can be shown in almost any 
 establishment where a number of apprentices are em- 
 ployed. The difficulties that intelligent youths meet with 
 in their endeavor to learn a trade, either that they cannot 
 find an opening, or that which they would choose is too 
 laborious, and for other such reasons, induce them to 
 abandon the notion, and seek instead a profession, or 
 enter upon a commercial life, in either of which years and 
 •years of toil are required before they begin to realize 
 much more than a pittance. This was so forcibly ap- 
 parent that it formed a strong inducement to me to write 
 this work, and thus place within the grasp of boys and 
 girls what will prove at once an amusing and a lucrative 
 employment. The market is not overstocked with good 
 engravers, especially letter engravers. 
 
 To be an expert in this art requires something more 
 than mere mechanical action of the hands. The head 
 must also play its part. To be able to design well will 
 help materially. Drawing, especially mechanical draw- 
 ing, is also an adjunct. I do not propose, in my treatise, 
 to teach either of the last named branches, but simply to lay 
 before the public an easy method of self-instruction in let- 
 ter engraving, which, if carefully followed, and the few 
 hints I have given above as to patience, etc., adhered to, 
 will make experts in the art. 
 
 The work is light and does not require any physical 
 exertion, and is beginning to attract special attention. It 
 is adapted to ladies as well as to gentlemen, and is no 
 more laborious than telegraphy, stenography, or many of 
 the other avocations that females follow. How much 
 better would it be for a girl to be able to engrave well 
 and earn a comfortable living, than to be employed in a 
 
INTRODUCTION. 
 
 7 
 
 store where she is compelled to stand ten or twelve hours 
 a day, and scarcely realize enough to support her? An- 
 other advantage engraving offers is, that it does not re- 
 quire years to become proficient. It is true in this, as in 
 every other work, there is always advancement to be 
 made, and the more fertile the brain, the more deft the 
 hand ; the newer the design, the more taking it is, and 
 naturally the more remunerative. 
 
GENERAL 
 
 LETTER ENGRAVING. 
 
 CHAPTER I. 
 
 ( HAVE said that patience and practice are essentially 
 necessary in order to acquire skill in the use of tools. 
 I say the same, precisely, in reference to designing and 
 the formation of letters. There is a popular fallacy ex- 
 isting among many people, that a good writer will make a 
 good letter engraver; this does not follow. I say this for 
 the encouragement of poor and not to the detriment of 
 good penmen. He is generally considered a good writer 
 who can flourish well, but while this may be so, it is usu- 
 ally otherwise, because a “-flourisher” seldom writes a 
 round hand, and a round hand is the style that a letter en- 
 graver should acquire, because it contains in itself all that 
 is required for fancy or flourish writing. Its curves and 
 strokes are used in all classes of letter work, even in Ro- 
 man, italic, old English and German text, These connec- 
 tions I will fully demonstrate further on. Round hand is 
 slow but sure, and consequently more accurate and simple. 
 There is one thing that I wish to forcibly impress upon 
 the minds of beginners, and that is to avoid what may be 
 termed “ mannerism,” either in the combination of letters 
 or the position of the body. When children begin to learn 
 to write, the first thing taught them is how to sit at the 
 desk, body erect, shoulders well thrown back, and chest 
 
 9 
 
IO GENERAL LETTER ENGRAVING. 
 
 advanced. Next thing is how to hold the pen, then the 
 position of the arm, the action of the wrist, movement of 
 the fingers, and finally, to keep the copy-book before 
 them. These rules strictly followed insure excellent pen- 
 manship. But how tedious and discouraging this is. 
 Many of my readers will recall the sore knuckles and 
 shoulders, made so by the stern old writing masters, who 
 would not let .us sit at our ease and hold our pens as we 
 list, so long as we made our letters. These same rules 
 apply to those wishing to learn the art of letter engraving, 
 and if you are instructing yourself, you must become the 
 stern master. Mastery in this will give you ease, grace 
 and, what is most essential, originality. You will not have 
 formed a groove or rut out of which you cannot turn, but 
 you will be master, and can turn whither you will. The 
 formation of letters is an all-important item, and must be 
 realized at the very outset. To aid one in this, the student 
 should familiarize himself with some of the different meth- 
 ods of lettering, as taught by the more modern caligraph- 
 ers, prominent among whom are Spencer and Haskell, 
 equally good for simplicity and style. Inattention to such 
 details is much regretted by many engravers who, in all 
 but letter engraving, are experts. But to the practical 
 eye, their attempts at lettering are very faulty. Symmetry 
 and proportion must be studiously sought after. Now, 
 from what has been said, it is readily seen that engraving 
 does not consist in simply being able to cut well. This, 
 indeed, is the easiest feature in the art. I can not impress 
 too strongly upon the minds of beginners, the usefulness, 
 aye, the necessity of accuracy in formation. Under this 
 heading is taken proportion, space and embellishment. 
 For when the style of letter is decided upon, you proceed 
 to form it, leaving space for flourishing or otherwise em- 
 bellishing. While in formation there may be set rules to 
 guide and direct, it is not so of planning and drawing. 
 
GENERAL LETTER ENGRAVING. 
 
 II 
 
 These are obtained rather by the eye, by comparison, and 
 are more or less attractive according to the degree of 
 natural or acquired facility in designing. I must except in 
 these remarks mechanical drawing, since mathematics 
 play such a prominent part therein. Experience and taste, 
 however, will dictate what character of outline will pro- 
 duce effective harmony, conspicuity and proportion. It is 
 advisable, and I strongly recommend it, especially at the 
 commencement, that the design be sketched on paper, so 
 that when it is to be copied on metal, the defects may be 
 more readily perceived and corrected; and it is just here 
 that you will find an immense advantage in even a limited 
 knowledge of mathematical drawing; whether the work 
 in hand be circular, oval, square, triangular, a parallelo- 
 gram, or any other geometrical figure, accuracy as to 
 proportion must be had. Thus, a circle must be a true 
 circle, so with a square, etc. In forming all alphabetical 
 characters, care should be taken to avoid over-balance, 
 clumsy or unnecessarily bold lines. To become proficient 
 in formation, the student should supply himself with blank 
 books properly ruled, and devote several hours daily to 
 drawing or copying from a text the different letters as 
 named in the beginning, and become thoroughly familiar 
 With them. There is one almost infallible rule to be fol- 
 lowed, no matter what the size of the letter may be, 
 whether one-half inch or three inches; there must be a 
 center line for the middle of the letter. This will keep 
 the proportions, and insure symmetry in the formation. 
 This is so as to every style. The eye must be depended 
 upon to detect imperfections in form etc., and the hand to 
 correct them. 
 
 No one need fancy from the apparent simplicity of the 
 accompanying illustrations that the work is over easy. 
 The reader will remember that I have tried to impress 
 upon the beginner the necessity of careful study in 
 
12 
 
 GENERAL LETTER ENGRAVING. 
 
 formation. In these illustrations it is exemplified; great 
 attention to exactness is essential; no little line, curve or 
 stroke is to be overlooked or slighted; do not fancy that 
 all that is needed is a few tools and a little practice to 
 perfect you in the art, it’s so simple “you know.” Well, 
 your surmise is correct, if your ambition does not dictate 
 something higher than a botch, but if it soars to expert- 
 ness, then, my dear beginner, follow my directions and 
 take the path that all have trod who have reached the 
 summit of success, by careful patient plodding. Three 
 or four months of careful work and the clouds will break, 
 and the clear sky of success will begin to appear; new 
 conceptions will dawn upon you, and the hand grown 
 bold, the eye exact, you will venture to give tangible for- 
 
 Plate i 
 
 mation to your conceptions. But now let me in a meas- 
 ure exemplify. Taking as a fundamental principle the 
 letter JR in the five different texts most common in use we 
 will find that in them are contained the lines and curves 
 needed in nearly all other letters, whether of the upper 
 or lower case. Seeing these delineations the student is 
 apt to consider that all that is necessary now is to take up 
 his graver and “plow ” out the lines. Not so fast! The 
 pencil is the first tool to be used. Learn to draw or trace 
 the letters well; formation remember, is all important, and 
 it is in this way you will acquire it. I have said that 
 ornamentation or embellishment may to a great extent 
 be a natural gift, but formation must be the result of 
 study and careful practice. When the learner has mas- 
 tered this latter branch, then he may with confidence 
 essay to cut and shade. Of the several letters introduced 
 
GENERAL. LETTER ENGRAVING. 
 
 13 
 
 above, the Roman R ranks high in importance as it con- 
 tains at least in part, nearly all the curves used in the 
 other texts. Prominently following R is the letter M, as 
 in it the important slanting and upright lines are shown. 
 The beginner must not fall into a very common error, 
 that of fancying he can do well enough in a few months 
 to set aside the tedium of apprenticeship and embark as 
 a full fledged artist , because he has engraved a name on 
 a ring, ornamented a bangle or embellished a locket, and 
 the work has been admired. Let him take it to an artis- 
 tic engraver and get an honest criticism, and let him have 
 the courage to take the advice given, then go humbly 
 
 Plate 2. 
 
 back to his work determined to make an artist of himself 
 through the channels that I have endeavored to outline. 
 I do not wish to confine or constrain the learner to any 
 given style, I wish to impress him with the importance of 
 formation, and it is with this view that I present the 
 accompanying cut. Master the details of these strokes, 
 lines and curves, and then your native or acquired talent 
 will supply the rest. Nothing in the rudiments of engrav- 
 ing must be treated as a trifle, every minutia plays its part. 
 In Plate 2, there is shown almost every line and curve 
 that is in any way connected with letter engraving. 
 
 This Plate is nearly perfect in point of formation and 
 general exactness. It will be observed that all the letters 
 
1 4 GENERAL. LETTER ENGRAVING. 
 
 of the lower case contain one or more of the convex or 
 concave curves, and a little observation will readily show 
 how important they are for the upper case, no matter 
 what text you select. The circular lines are useful for the 
 purpose of acquiring a facility in ornamenting and embel- 
 lishing. For after all, ornamentation is nothing more or 
 less than a well arranged combination of lines and curves. 
 The more perfect one becomes in exact formation of them, 
 the better will he be able to ornament. Now besides 
 being useful for the said purposes, these lines and curves 
 are great auxiliaries to perfect formation and the design- 
 ing of letters. Again, he who would become a master, 
 should familiarize himself with as many different styles of 
 letters as possible, and nothing will assist more to this end, 
 than the study of good text books in which the several 
 alphabets are shown. In them all you will find the 
 curves and lines above described play a fundamental 
 part. Practice will lead to mastery, and mastery to 
 originality, and originality, in nine cases out of ten, to suc- 
 cess. I may venture to say, and without much fear of 
 contradiction, that all artistic engravers owe their success 
 to originality in designing and formation. Now if this is 
 so of engraving in general, it is particularly so of letter 
 engraving. Having used the pencil sufficiently long to 
 be able to curve with exactness, you may then take up 
 your graver and begin the cutting. For practice with 
 the graver, Brittannia, zinc and copper arc used, because 
 they are soft and pliable. 
 
GENERAL LETTER ENGRAVING. 
 
 15 
 
 CHAPTER II. 
 
 I T will be readily understood that every article upon 
 which letters can be engraved, is included in the sug- 
 gestions that will follow: 
 
 In lettering jewelry and that class of work, the course 
 of procedure differs from work done on steel, wood, 
 lithographs, or dies, and sign engravings. These letters 
 are a separate branch and with the exception of the last 
 mentioned, are used in printing. The modus operandi 
 is to design, trace, and cut backwards, which is directly 
 opposite to the method in lettering on gold, silver, etc. 
 Although we have little or no dealings with metal sign 
 engraving, as the hammer and chisel take the place of 
 the graver, and the work is considerably heavier. But 
 yet it is well to sound a word of warning for the benefit 
 of those who may essay this branch. It must not be 
 indifferently done, as owing to the filling in that must be 
 done, the work is thrown prominently out, and conse- 
 quently flaws arising from careless formation, etc., are 
 readily detected. 
 
 Door plates, and especially coffin plates, are intimately 
 connected with letter engraving, and the latter will con- 
 stitute the burden of our present effort. 
 
 . The importance of this work is self-evident and needs 
 no comment. In coffin plate cutting, almost every imag- 
 inable style of letter and flourish is used. Owing to the 
 space on which to cut, and the increased size of letters, 
 one feels a freedom that has a tendency to inspire confi- 
 dence. Quickness and beauty are frequently the result- 
 ants. Of course we take it for granted that mastery in 
 
1 6 GENERAL LETTER ENGRAVING. 
 
 the use of the pencil has been acquired, and some prac- 
 tice had with the graver on metals such as we have 
 heretofore suggested. 
 
 Plate 2 shows the curves and strokes that it would be 
 well to practice. Parallel lines must be drawn across 
 the surface of material on which one is practicing, and 
 then some time given to acquiring ease and accuracy 
 in cutting the curves and lines. If one has a difficulty 
 in procuring the metals that I have mentioned for 
 practicing, a good substitute, and one I should strongly 
 recommend, is a piece of zinc. Take a thin piece of 
 board, say the cover of a cigar box, about 4^x6 inches, 
 and on it fasten a piece of zinc about one inch smaller 
 all around. Draw your parallel lines with a hard 
 substance, for instance a large needle fastened into a 
 handle with which to scratch the letter into the zinc, 
 taking the necessary care as to to form and space. 
 The outlines ffius scratched should be of the faintest 
 description, and close attention be given to the text 
 before you, presuming as I do, that you are making 
 use of a text-book. Plate 3 will give you some idea fo 
 what I have said. 
 
 You will observe that the graver is held in such a 
 manner that the handle rests in the palm of the hand 
 and that the thumb and index and adjoining fingers 
 grasp the steel in such a way as to give force and control 
 to the hand. The metals should be placed on a pad 
 resting upon a turntable, which acts on a pivot, and thus 
 perfect control is had. These things can be made by 
 any one having the slightest knack, or purchased at an 
 engraver’s supply store. It would be well, indeed, it is 
 essential, for every one to supply himself with such 
 articles, as there are so many things that cannot be held 
 in the hand, and even moderately good work be pro- 
 duced. It is advisable for e\ vry one, to ge^ tools already 
 
GENERAL LETTER ENGRAVING. 1 7 
 
 prepared, as it requires some skill and practice to be 
 able to temper them properly and sharpen them as they 
 should be. 
 
 The square graver in its rough state, ranges from four 
 to seven inches in length. Between 4^ and 5 inches, 
 including handle, is the best size, as it can be used for 
 almost any style of work. The bent graver will be found 
 to be the easiest to manipulate, as the hand will be in 
 nowise cramped, but on the contrary, will be raised so 
 that the fingers and wrist will be unconstrained and there 
 will be concert of action between the metal resting on the 
 
 Plate 3. 
 
 swivel and the graver, as both can be worked simultane- 
 ously. For convenience, it would be advisable to have 
 the handle of the graver flat on one side, so that when 
 discarded after use, it will not roll off the table and prob- 
 ably fall to the floor, breaking the carefully prepared 
 point. 
 
 Before proceeding further, I would like to offer a few 
 ^ggestions as to the treatment of the graver, i. e., how 
 to sharpen and the most approved kind of stone in use 
 for the purpose. Recent improvements in sharpening 
 instruments have facilitated matters so that now it is an 
 easy task to keep tools in first-class order. 
 
 2 
 
I 8 GENERAL LETTER ENGRAVING. 
 
 The stoning will require some little practice before 
 satisfactory points and edges can be put on tools. But in 
 this, as in all else, skill can be acquired. 
 
 An oil stone must be used, the graver placed almost 
 perpendicular thereon, and moved rapidly back and forth, 
 thus the face is made, and a little rubbing on the two 
 lower sides is necessary to smooth off any roughness that 
 may exist, and perfect a keenness to its cutting angles. 
 However, the angles must be made true one to another 
 to warrant accuracy in the work. 
 
 The stone I recommend most highly is a fine Arkan- 
 sas as a perfect finisher, but should the tool be too dull, or 
 
 Plate 4 . 
 
 too highly tempered, then a stone known as Wachita 
 should be used. It will be found to do its work well, and 
 a little touching up on the Arkansas will put the tool in 
 proper condition. Sperm oil is good fpr stoning, but I 
 use olive oil. 
 
 We have in Plate 4, a straight graver at fig. 1; you 
 will observe that its end or face is beveled to an angle of 
 45 degrees, A , which is considered to be a correct pitch. 
 It is square in tranverse section, figs. 2 and 3. The end 
 or face may become varied either on account of hardness 
 of temper or the material upon which the work is to be 
 done. This experience must teach you. Plate 3 shows 
 how the graver should be held. Plate 5 shows the paral- 
 lel and horizontal lines that a beginner should practice 
 
 ! 
 
GENERAL. LETTER ENGRAVING. 
 
 l 9 
 
 until he is able to cut light or deep grooves. In curved 
 lines the pivot will be a great assistance, for once you are 
 able to cut light or heavy, the hand controlling the pivot 
 will be as a rudder, while the other hand manages the 
 graver. Straight lines are cut by pushing the graver 
 forward, and are made light or deep by elevating or 
 lowering the graver. The arrows show the course the 
 tool should take. Learn to cut a straight line lightly and 
 of equal size from end to end. This should be practiced 
 
 Plate 5. 
 
 well before attempting to cut letters, for once a cut is 
 made in the metal, it is difficult to correct where an error 
 has been made, especially if the incision has been too 
 large. In making an incision in the plate or metal the 
 tool should be turned the merest trifle to the right, thus 
 producing a level groove as in Plate 4, fig. 3 and letter 
 C. To produce the bevel it is necessary to incline the 
 graver and the cut is easy and clean, and considerable 
 importance should be given to this. If the graver is held 
 tightly and used in position as in Plate 4, fig. 2, letter B , 
 
20 GENERAL. LETTER ENGRAVING. 
 
 it plows into the metal making an uneven and ragged cut, 
 the burrs being readily detected by the touch. To effect 
 a delicate line it is necessary to keep the point of the 
 graver almost parallel with the metal upon which you are 
 working. 
 
 Plate 4, figs. 2 and 3 show the gravers cutting a piece 
 of metal. 
 
 The grooves at B show the angular cut, at C the 
 
 Plate 6 
 
 bevel cut. Curves and ovals which form the principal 
 parts of script lettering, should be commenced by cutting 
 the hair lines without any swell or shading — see plate 6, 
 fig. 5. The reason for selecting these, is that they are 
 common in use, some portions are sketched and others 
 cut, showing how an engraver would begin the work. 
 The body strokes are cut first, the hair lines finished after ; 
 careful spacing is necessary; as there are but few definite 
 rules to guide one in formation regarding spacing with 
 the lower case, you can gain an idea with but little 
 
GENERAL LETTER ENGRAVING. 
 
 21 
 
 explanation. In the lettering we find the height correct, 
 though the space between some letters, if you notice, is 
 greater than others, for instance in the word, Died, the 
 space between the body strokes of ie, is less than in the 
 word, Days , between ay; this is attributed to the letter’s 
 hair line, which could not be crowded between the 
 strokes of the former, yet at first glance, the hair lines 
 appear to be equalized throughout. The capital letters 
 of this style are not so much at fault. The curvatures 
 are the principal features, they should be made in a flow- 
 ing style and with as few curves as possible. However, 
 equalization of spacing is particularly noticeable when 
 attention is called to it, and it is much more apparent in the 
 Roman letters than in the Script, where the letters are 
 not full or square, as you will observe between the L, O 
 and P in plate 6, fig. 6. We see this in type, which can- 
 not be remedied by taste, but must be set as they are 
 cast. In engraving however, we are not restricted in 
 this way, but are free to space our letters according to 
 the manner in which they appear best. To substantiate 
 what I say, I quote from Thompson’s Roman Alphabet, 
 an indisputable authority : “ The value of skill in design, 
 
 and of rules for composition and harmony in distribution 
 of lines, even in sign-writing, cannot be overstated. 
 Every reader of the printed page, who has an eye for 
 symmetry and graduation in the form cannot but take of- 
 fense at the want of harmony in ordinary print. This is how- 
 ever, unavoidable. Perfect legibility and accuracy are of 
 course, the first consideration; this being attained, mere 
 beauty of lines is less important and indeed, impossible. 
 The metal or wooden type or blocks are rigid and un- 
 yielding. They must be of uniform size, and inasmuch 
 as their combinations are infinite, there are no means of 
 accommodating their lines so as to produce that illusion 
 which alone can give harmony of effect. For instance, 
 
22 GENERAL, LETTER ENGRAVING. 
 
 the letters being either curved or angular, they must be 
 often compressed; at other times widely separated in 
 their main lines from each other, the result of which is, 
 that the lines, perpendicular or horizontal, appear now 
 crowded, now sparse, and display too much or too little 
 background, or, as the printers say, too much white paper. 
 At this point, art steps in, and the skillful sign-writer can 
 preserve harmony by the use of illusion ; all pictorial art 
 is dependent on illusion. The writer who stamps mathe- 
 matical lines is a mechanic; the artist who makes judicious 
 use of perspective by shading; even the application of 
 different spacing, increasing or lessening the actual dis- 
 tances, will keep the eye to a harmonious composition. 
 The sign-writer’s ability to describe curved or straight 
 lines and to master a variety of styles, is only half his 
 business. When the mechanical handicraft is perfected 
 by practice, then we come to the higher art of distribution 
 and arrangement.” Patience must be exercised in prac- 
 ticing cutting. The lines will at first be irregular, and 
 too deep, or you will slip or cut beyond the prescribed 
 limits of the parallel lines, which serve as both guide and 
 guard. But these and all other difficulties are obviated 
 by practice ; each mistake will have the effect of making 
 you more careful, and unless you become despondent, 
 success will soon reward your efforts. Endeavor always 
 to use good judgment in elevating or lowering your 
 hand according as you wish to produce a fine or heavy 
 line, deep or shallowo Bear in mind that the tools must 
 be kept in excellent order, and that the lettering must be 
 carefully traced on the plate. Accustom yourself to 
 holding the tool correctly and to use both hands in manip- 
 ulating the work; sit easily at the bench or table, and 
 have both elbows rest thereon. Look to these appar- 
 ently insignificant things; they are valuable and will 
 repay you for their observance. 
 
GENERAL LETTER ENGRAVING 
 
 23 
 
 CHAPTER III. 
 
 RACTICAL knowledge of your work is a mechani- 
 
 cal agent, but knowledge without practice is mere 
 theory. Taste in some is intuitive, in others acquired, and 
 yet it enters largely into the question of success in en- 
 graving, whether of letters or of general engraving. It 
 decides the style of letters, the size, width and bevel; 
 depth of strokes or limbs, scrolls and embellishments, all of 
 which have much to do, not only with beautifying, but 
 also in finishing the letters ; for discretion must be used in 
 the many different articles upon which lettering is to be 
 done where there is more or less wear: for instance, the 
 lettering of teaspoons as compared to that on a vase or arj 
 inscription on a watch, as opposed to one on a cane. On 
 the spoons and cane, the lettering or inscription should 
 be a trifle deeper than on the vase or on a watch cap; 
 this comparison of course holds good in all cases. Expe* 
 rience will teach you more thoroughly than any instruc- 
 tion or suggestion that I may give or offer. Cultivate 
 taste and seek to perfect it. It is averred that nothing 
 terrestial is or can be perfect. Well, if this be so, then 
 seek to be as perfect as anything earthly can be. Design, 
 size and equalization of lettering depend on taste, unless 
 where the party wishing the work done gives specific 
 instructions as to its execution, then of course you must 
 follow instructions. Never attempt to engrave before 
 first laying out your work, even experts should not hazard 
 this. The plate or article to be engraved should be prop- 
 erly prepared, but of that I shall speak anon. Let us now 
 take up a subject which I have already touched upon 
 
24 GENERAL LETTER ENGRAVING. 
 
 viz: Coffin plate lettering. The accompanying plate 
 
 will show the three tools used in this class of work. Figs, 
 2, 4, 6, show the under cutting side of each and are 
 stoned off on their faces A A A, at about the same 
 angle given to the square graver spoken of heretofore. 
 Fig. 1 represents a flat tool having the form of a knife 
 sharpened on its underside, and can be stoned flat to 
 different widths at point 2. Fig. 3 is an auglet took 
 oblong in diameter, its swell at the point, 4, is stoned to 
 give keenness to its cutting angles. Fig. 5 shows a 
 
 Plate 7. 
 
 knife-shaped lining tool having grooved lines, (o), on the 
 under side running the entire length; some blades have 
 fine, others coarse lines. 
 
 Before entering into a detailed explanation of the man- 
 ner of using the above described tools, I wish to say some- 
 thing of the method of treating coffin plates. As a rule 
 the words “died, aged,” etc., are done in script and cut 
 in opposite semi-circles, and the name on horizontal line 
 in center, in any of the many styles from which you 
 can select, Roman, Old English, Mediaeval or ornamental 
 texts. The manner of treating the center line may be 
 
GENERAL LETTER ENGRAVING. 
 
 25 
 
 varied as shown in plate 8. Again, it will be found 
 in the circular line in placing the name at top. This 
 is seldom done, however, but the plan is followed 
 which, by the way, is not much in use now, its substitute 
 being similar to the one we herewith present. An 
 important feature is distinctiveness, avoiding too much 
 flourish or embellishment; in fact, in my judgment, plain- 
 ness and simplicity are more tasty, and a coffin plate 
 lettered on three horizontal lines, the name in the center 
 in Roman caps, and the others in italic, would be vastly 
 more in keeping than a fancilv designed plate. Rich 
 and beautiful, but not gaudy, should be the judgment 
 passed upon it. 
 
 All coffin plates, whether of solid silver, plated or 
 white metal, are so highly finished that they have a 
 lustre which, if the sun strikes, will produce the dazz- 
 ling effect of a sun’s ray on a mirror. The eye can- 
 not endure it, and of course you cannot proceed. This 
 can be overcome to an extent by placing before you a 
 screen made of white tissue paper or fine muslin, which 
 will deaden the lustre. Owing to the high finish, a 
 great deal of diligence must be exercised in the hand- 
 ling, as even the touch may scratch or mar it. The 
 following suggestions then, in the preparation and treat- 
 ment of the plate, should be carefully followed. If the 
 finger tips are smooth, you can run the fingers through 
 your hair and enough of the natural oil will adhere to 
 them to cover the plate, and by a process of gently 
 patting all over the surface, you will produce a dull- 
 ness upon which you can design, but with this you may 
 mar the surface; this method is used more for smaller 
 articles. If the hair will not supply the oil, an easy and 
 better substitute is ordinary brown soap. Dip the fin- 
 ger in water and rub it over the soap a few times until 
 sticky, then apply it by patting, to the surface of the 
 
2 6 
 
 GENERAL LETTER ENGRAVING. 
 
 plate. In tracing upon a plate thus prepared, a pencil 
 or steel point should not be used, but a piece of box- 
 wood sharpened to a fine point, will do the work with- 
 out the damage of scratching the plate. If a mistake 
 is made in tracing, it can be readily detected and easily 
 rectified. After your engraving is perfected you can 
 remove the coating, by allowing water to flow over it. 
 After it is dry, use a fine, soft chamois, and the plate 
 will appear with all its original polish, unscratched and 
 beautiful. 
 
 Plate 8. 
 
 In plate 8, letters are outlined with the square graver, 
 commencing with the first letter as it is drawn, the body 
 strokes throughout, then the smaller portions. The plate 
 should be fastened on a piece of wood, cigar-box cover for 
 instance, and resting on a revolving pad as I have on a 
 former occasion suggested. The plate should be turned 
 around lengthwise in front of you to facilitate the cutting 
 of the strokes from top to bottom. This done, the plate 
 is reversed and the other portions are finished in a similar 
 manner. I am now speaking of the name that will occupy 
 the centre of the plate, but the remarks will hold good to 
 
GENERAL LETTER ENGRAVING. 27 
 
 the entire lettering. To finish the letters, cross-shade with 
 a coarse lining tool, (i) or line them length wise, (2) . I fre- 
 quently, for haste, wriggle the strokes, and when executed 
 nicely, it has a pretty effect (5). The method of doing it, is 
 rocking the graver from side to side quickly throughout 
 the stroke. Before the shading and wriggling is all com- 
 pleted, proceed to cut with the narrow flat tool, the right 
 side of each letter, (3). A square graver can be used for 
 this purpose, but the cutting may not present the same 
 evenness. These bright cuts will greatly add to the ap- 
 pearance of the lettering, and so will a few bright dots cut 
 with the auglet tool distributed evenly upon the frosted 
 strokes, (4). The lower cutting portion of the tool should 
 be nicely polished to produce an effect. A little diaman- 
 tine used on a flat piece of boxwood will produce the 
 polish. The tool should be held carefully, or the cutting 
 angles will be rounded during the process. 
 
 When the name is completed, the upper line should be 
 sketched, and the body strokes of the letters cut down- 
 ward, the entire length of wording, with a square graver. 
 The manner of proceeding is to start from the upper to 
 the lower parallel line, and so on with all the letters. The 
 hair lines are then cut as you read the inscription proper 
 from the lower parallel line upwards. The lower circular 
 line of inscription is similarly treated. Having finished 
 the lettering, begin the work of embellishing, cutting the 
 flourishes that encircle the entire lettering from top to 
 bottom, carefully preserving symmetry, and making only 
 few and delicate scrolls. There is a knack in cutting lower 
 case script which, if once acquired, will enable you to cut 
 with one sweep the crescent shape body strokes shown in 
 plate 8, fig. 6. In making the incision, the point of the 
 graver is started from the top as though to cut a hair line ; 
 urge the graver forward and gradually incline it to effect 
 the level cut and thus form the crescent. The method is 
 
28 
 
 GENERAL LETTER ENGRAVING. 
 
 to push the graver forward and upward quickly; that is 
 when the point of the graver approaches the lower end of 
 stroke, it should be lifted up in such a manner as to leave 
 no chip coiled up, though this little burr can be readily 
 removed by using the cutting angle, sharp side of the 
 graver. Very often the little chip will cling to the point 
 of the graver and interfere in making a cut. In such a 
 case, remove it by jabbing the point into the end of a 
 piece of hard wood. 
 
 If you will but examine a piece of engraving with a 
 magnifier, the method of cutting the strokes will become 
 quite evident. Letters with loops like b f h K L, even 
 those of df t, are commenced and cut from above the 
 parallel lines, and so with all the strokes or portions there- 
 of running below parallel lines downward. The terminal 
 strokes of g and y, are cut to terminate in a hair line, 
 similar to a line of beauty. 
 
 With these instructions, I would suggest that in pur- 
 suing this study, persons must not be in too much of a 
 hurry. One point of knowledge gained, one difficulty 
 thoroughly mastered, are mile-stones on the road to suc- 
 cess, but to know a little about a good many things, and 
 to have a confused idea of the whole is simply standing 
 still. 
 
 One who proposes to make his mark as an artist, an 
 author, or a mechanic, must go about his work slowly and 
 surely until he has mastered it thoroughly. It is quality 
 that tells, quantity goes for nothing. It is easy enough to 
 cover any amount of canvas if brushes and paint be at 
 hand. Some men cover miles of it in a life time, and have 
 done nothing worth mentioning. It is the careful, watch- 
 ful, painstaking artist whose works are sought for and 
 whose small squares are secured as gems. 
 
 The same thing holds true in the mechanical and use- 
 ful arts; a man who will take time to thoroughly master 
 
GENERAL LETTER ENGRAVING. 
 
 2 9 
 
 every detail of his handicraft, will becomean expert. To 
 be in a hurry about it would be fatal, but to study each 
 new feature carefully and learn it thoroughly, means suc- 
 cess at last, no matter how long it takes. 
 
 From what I have already said, the systematic course 
 and manner of procedure can be readily understood; and 
 to the young engraver I will say, do not overreach your 
 mark by taking up the practice of cutting before you have 
 mastered the formation. This is a drawback in learning 
 this business, and is the main reason why many have not 
 succeeded so well. Good alphabetical books are the prin- 
 cipal thing, but it is difficult, I know, to acquire some por- 
 tions of letters without some one to guide you and to cor- 
 rect your errors and explain the point so as to improve 
 your style. You are apt to neglect the idea of the broken 
 lines, so essential in the lettering; it is not only necessary 
 in designing but in the cutting, as you do not cut the let- 
 tering as you write it, but portions of each letter on a line 
 in one continuous way, and the other portion should be 
 finished in a similar manner; now if you have mastered 
 your letters, you will know just what portions to cut for 
 rapid work, for having the knowledge of correct forma- 
 tion you are enabled to observe any imperfections which 
 can be easily remedied, at the time, with the graver. If a 
 person attempts engraving without having the idea of cor- 
 rect formation, he undoubtedly experiences difficulty in 
 the cutting; he acquires habits which become so estab- 
 lished that the simplest obstacles are the most trouble- 
 some. 
 
 I never start a scholar at engraving at the outset, but 
 first teach him the three alphabets, viz.. Roman, Script 
 and Old English, together with the lower case letters of 
 these alphabets ; he acquires the formation by drawing in 
 a copy book, allowing for the capitals the space of three 
 ruled lines, and for the lower case but two lines. The 
 
30 
 
 GENERAL, LETTER ENGRAVING. 
 
 Plate 
 
GENERAL LETTER ENGRAVING. 
 
 31 
 
 lettering can be learned in a short time, but it is advisable 
 to draw a little while every other day, for the reason 
 that it becomes tedious to be at work steadily, and the 
 pupil is likely to be careless in the formation ; as in Script, 
 he will design his lettering as he would write them; if it 
 be in Roman style, instead of keeping the letters perpen- 
 dicular, he has a tendency to lean them either to the right 
 or to the left, and when a number of letters are in a line 
 the irregular strokes are perceptible at a glance. The 
 width and spacing of letters are controlled by the eye. I 
 usually mark off the distances with a pencil, making dots 
 for guides when lettering, so I will know the relative 
 space and position the letters are to occupy, thus avoiding 
 crowding of letters in one place, and the bad effect of 
 spreading them in another. The study of good speci- 
 mens of lettering from text books will give the propor- 
 tions, also, the peculiarities of the different parts can be 
 discerned by the compasses. In plate 9 you observe the 
 various points to which I will refer. 
 
 It is very important to anatomize the lettering, and thus 
 become familiar with every limb and portion, so as to 
 readily design them without referring to the book. If this 
 skill is obtained it is apparent that you can combine the 
 letters into most any fancy form. Ornamental lettering is 
 subject to many changes. Their varied forms will admit 
 this more than any other style. The upper portions of B , 
 R, P , fig. 1, are so similar that it requires but a slight 
 alteration to their terminal strokes to make one of the 
 others. The rule for capital letters in all styles (I will refer 
 to the Roman, as it is the plainest), is to make the lower 
 portion larger and wider. You will notice this in the 
 snace below the center hair-line of H, though the angular 
 terminal stroke of K will not admit it, but in the B , 7 ?, S , 
 i* is readily perceived. The central horizonal line of P 
 should be the same distance below the center line as the 
 
3 2 
 
 GENERAL LETTER ENGRAVING, 
 
 other letters are above. The A is made a shade larger 
 at the base than the V is at the top, and so are other let- 
 ters of this style compared. The O , C, G , D , are simi- 
 larly constructed, the curved strokes of these letters being 
 patterned after the O. The M. W. are the two widest 
 letters. TheoS is considered the hardest letter to design. 
 The principal feature of lettering is curvatures. We 
 obtain these ideas from the Roman and practice them 
 with the Script. O is the letter which we are usually 
 guided by, as the Script alphabet is constructed upon an 
 oval form. Broken curved lines, are the fundamental 
 principle by which the letters are designed and engraved. 
 
 In fig. 2, you will observe that the portion of the curved 
 strokes in B, R, P, in some respects resemble those 
 above. The letter D has the largest stroke of any of the 
 letters. The body strokes of E are similar to the reverse 
 of B. To distinguish I from J, the scroll should be 
 placed where the dots are in front of the main body stroke. 
 The strokes of A, M \ V \ W, compare, although the first 
 heavy stroke of M , conforms more with the last heavy 
 stroke of W, though not so great an angle as JV. Ideas 
 can be gained by considering these differences which will 
 enable you not only to cultivate a taste in curving, but the 
 relative width of each individual letter. 
 
 Fig. 4 will show portions of curved strokes that can be 
 used for either letter. The swell of S is but the reverse 
 of the swell of O. Observe fig. 3, and similar compari- 
 sons will apply, and all the long loop strokes; with Z, the 
 same symmetry will be observed in the terminal strokes 
 below the line. The practice of curves, fig. 4, will aid in 
 the formation, the swell at A, Z, C, being the chief points 
 used throughout the lettering. In fig. 5, the body stroke 
 in last letter, Old English S , is somewhat similarly curved 
 as the Roman S. The Old English letters, C, < 9 , O , T, 
 are of crescent form. M , W, compare in body strokes, 
 
GENERAL LETTER ENGRAVING. 
 
 33 
 
 as well as other letters of this style; with the Roman, the 
 strokes being perpendicular and broad, the upper and 
 lower angular portions point from the dotted lines. 
 
 You should remember that in the cutting, especially of 
 script, the body strokes should be cut light, smooth and 
 regular, by inclining the graver sidewise, which is the 
 easier way to form the curved portions. In either style, 
 Roman or old English, the broader strokes are filled by 
 shading. For such engraving as coffin plates, I shade 
 with a lining tool or a flat tool, and wriggle the strokes 
 throughout. This ornamentation, when skilfully and 
 readily executed; is much more effective for this class of 
 work than cross-lining the strokes with a square graver. 
 However, if these letters are to be cut upon harder metal, 
 such as gold or silver, they can be ornamented much finer 
 by using several kinds of tools which would depend en- 
 tirely upon the style of embellishment selected; but coffin 
 plate work requires to be done rapidly. The price regu- 
 lates the skill, and whatever style is requisite for the out- 
 lined skeleton letters. These should be nicely propor- 
 tioned, but if the designing is neglected irregularities of 
 form are likely to result. For instance, if you were re- 
 quired to cut a name, it would be annoying to be obliged 
 to copy from your text book every time, and perhaps 
 then it would be difficult to make perfect letters. On the 
 other hand, if you constantly study, although it takes three 
 to six months of diligent practice in both designing and 
 cutting, you would become independent of a copy and 
 make your letters almost as readily as you would write 
 with a pen; but do not stop at this; you must become 
 perfect in the proper arrangement of lettering; remember 
 that the greatest obstacle to success is lack of patience. 
 Persevere and you will conquer. Criticise your work. 
 If your cutting does not seem exactly right, a little ragged, 
 deep, though necessary skill you think has been applied; 
 
 s 
 
3 $ 
 
 GENERAL LETTER ENGRAVING. 
 
 the lettering would be apt to run beyond the limits of 
 space. We can take a certain space and place either 
 name within it without the fear of falling short or ex- 
 tending too far on one side, by drawing perpendicular 
 center lines, as you will observe in the examples Com- 
 mence with the middle letter and space the others each 
 way. This method will appear unnatural at first, but you 
 will find it a sure method of procedure. It will be al- 
 most impossible to acquire the latter, without painstaking. 
 Each and every little portion must be arranged syste- 
 matically. This is the source of rapid advancement and 
 is the principle by which you are to be guided in other 
 styles of letters which require to be entwined. Com- 
 plementary curves within proper spaces add to the beauty 
 of a cipher or monogram. All must be governed by 
 good taste and judgment. The object is not only to de- 
 sign in a mechanical way, but to create a style, as in Aged 
 and Marie. Neither these nor other specimens can be 
 learned without persistent efforts. Learn them slowly at 
 first and it is with practice that they are cut quickly 
 afterwards. 
 
 You may perhaps say that you have carefully con- 
 sidered these matters, but you are still discouraged be- 
 cause you do not make much headway ; the work is slow, 
 etc. A friend may exhibit to you a plain-cover silver 
 tobacco-box, on one side of which is a monogram, and on 
 the reverse side an inscription. 
 
 You exclaim: “Ah, that is an excellent idea, and the 
 
 execution neat and artistic. I have not tried to design 
 anything like that. But I can take an impression of that 
 inscription with a piece of paper, transfer it to a piece of 
 polished metal, and endeavor to imitate the cutting. If I 
 take time and great pains I don’t see why it can’t be 
 done. I will try it, and if my first performance is unsatis- 
 factory, I will do it over again.” You take a piece of 
 
GENERAL LETTER ENGRAVING. 
 
 37 
 
 cap paper, two thicknesses; cut it to cover the inscription 
 or monogram, leaving enough margin to hold it when 
 laid upon the article; but before you dampen one piece of 
 the paper by licking your tongue over one side, you must 
 prepare the article. If there is nothing else handy you 
 can take a little piece of brown soap, which you rub the 
 index finger over and get it sticky (but a prepared tallow 
 substance is better); then you rub the substance into the 
 cuts and carefully wipe off the surface of the article with 
 a dampened piece of tissue paper, but not too much, as 
 there is danger of wiping the grease out of the cuts. 
 Then lay the dampened piece of cap paper over the 
 article and the dry piece on top. These are held over 
 firmly by the fingers of the left hand so the paper will not 
 move, while with the right hand use a burnisher, and go 
 over carefully until you think you have all the lines im- 
 pressed. This much completed, catch the corner of the 
 paper and gradually raise it off. Next cut the paper to 
 the size required; then lay in position on the polished 
 surface of the plate to be engraved and press lightly with 
 your index finger until you think the print is made per- 
 fectly. Then lift off. All this requires care. If the 
 print is too obscure, wipe the marks off with a chamois 
 skin, and lay the paper in position again; but this time go 
 over it gently with a burnisher and get a clearer proof. 
 This is simple enough, and after a little practice can al- 
 ways be readily done, though if the print is likely in 
 handling to become blurred, you can scratch the letters 
 in with a steel point; then produce the cuts, according to 
 your former practice. 
 
 It can be seen how you become interested from one 
 thing to another. Your enthusiasm develops as you 
 improve. Your first lessons may be hard and become 
 tiresome, but stick at them until you know they are simi- 
 lar to those in your text book; then engrave them, 
 
GENERAL LETTER ENGRAVING. 
 
 learning by repeated strokes till you gradually become 
 accustomed to the work. Day after day you cut lines, 
 curves and portions of letters on various pieces of zinc 
 before you attempt any kind of engraving proper. 
 
 You must be able to draw, space and arrange your 
 lettering before advancing to the cutting; thus, if all be 
 laid out properly and proportionately the difficulty in the 
 cutting will become less. 
 
 Your tools play an important part, and the preparation 
 of them should be continued regularly. This accustoms 
 you to the handling, which necessarily aids in the cutting ; 
 but an inferior tempered graver which occasionally proves 
 too hard or soft may be annoying to you and a hindrance, 
 especially to a beginner. I may here state, the best 
 kind of graver for use is the prepared one. I should 
 recommend it because it is more convenient; the temper 
 is superior to others; besides, being fitted for use, gives 
 you a better idea of preparation. There are several 
 widths of flat and line gravers, also oval and bent gravers, 
 with which to produce the different styles of cutting 
 smooth or wriggled strokes, and with the sharpening in- 
 strument you can treat a common tool, which may first 
 be used to practice with, to the correct and requisite form. 
 
 You should learn to look upon the work as a pleasant 
 pastime, and as you advance in practice and you feel de- 
 lighted with the success you attain, imperfections will be 
 observable which by a little effort can be overcome ; but 
 don’t flatter yourself that you have achieved the desired 
 object. You require practice to keep your hand in pro- 
 ficiency and advance your ideas. It is possible that you 
 will be able to do ordinary engraving in a few months 
 by knowledge and diligent attention to practice. 
 
 It is a matter for judicious consideration, especially ta 
 a beginner, when about to lay out an inscription — such as 
 those ordinarily placed on coffin plates — to adopt a style 
 
GENERAL LETTER ENGRAVING. 39 
 
 of lettering for the name proportioned to the shape and 
 extent of the field of operations and the number of letters 
 which constitute the name. The horizontal space on the 
 plate should, of course, be covered and occupied within 
 the prescribed limits in order that the effect, as a whole, 
 may be good; yet the lettering if too crowded or, per 
 contra, too greatly extended, violates the essential re- 
 quirements of the art, and produces an indistinct and 
 faulty appearance. A great deal depends on the size or 
 length of the name selected or presented for the engrav- 
 er’s work, and also on the space in which the letters com- 
 
 3ofin Has. 
 
 Plate 11. 
 
 prised in it have to be placed. For instance, a short 
 name, such as 5 f ohn Ray , requires peculiar characteriza- 
 tion in adapting the space to the number of letters, differ- 
 ent from what would be suitable for a medium-sized or 
 long name. To represent with harmonious proportion 
 the above name we should employ either a full, bold 
 Roman lettering or Old English extended, either of which 
 may, with careful handling and conscientious attention to 
 details, be wrought into an inscription exhibiting judg- 
 ment and taste. 
 
 Plate 12. 
 
 Should, however, a long name be the subject, such as 
 William H. Van Schoonhoven , a different form of letter- 
 ing will necessarily be demanded, as the extent of the 
 name shows that it cannot be conveniently portrayed on 
 an ordinary space without using condensed characters. 
 
4 ° 
 
 GENERAL LETTER ENGRAV T NG. 
 
 These lengtny names must have requisite spacing be- 
 tween the words or portions of the name and at either 
 end a proper and equal space must be preserved from 
 the edge of the plate, so as to insure distinctness in ap- 
 pearance and propriety of execution. 
 
 It often happens that you are required to cut long 
 names, such as represented, and by choosing a style of 
 block lettering of this description, the cutting can be per- 
 formed with rapidity and precision. For the latter name, 
 if the plate is to be cut in a common style, which can be 
 cheaply and quickly executed, I usually cut such letters 
 with a flat tool, wriggling the strokes throughout, and 
 make a bright cut on the right-hand side of each letter 
 with the square graver. 
 
 Kittie Lee Williamson. 
 
 Plate 13. 
 
 In order to establish guides for the stems of certain 
 letters, such as Old English and long capitals, running 
 above or below the normal space, two extra parallel lines 
 should be drawn to insure equal size to the lettering. It 
 requires great care to lay out your work, as in your pre- 
 liminary operations much is possible to mar or make the 
 design and finish. If you assume a careless manner of 
 sketching, your failure or negligence leads inevitably to 
 imperfect cutting. This class of work necessitates a 
 quick motion, combining the essential requisites of skill 
 and exactness both in conception and operation, as you 
 must be sure of the correctness of formation before you 
 apply the tool to carry out your design 
 
 Perfect sketching of letters or characters, minute and 
 critical attention to form and proportion, ratio in size and 
 space are all necessary adjuncts of the beginner’s or stu- 
 dent’s practice. You must give to each letter such a 
 squareness or angularity of form as will be in keeping 
 
 r 
 
GENERAL LETTER ENGRAVING. 
 
 4 1 
 
 with the style and preserve the harmonious grouping or 
 arrangements of the several lines of wording as regu- 
 larity demands. If you do not improve in the art, which 
 you pursue for pleasure or profit, for recreation or remu- 
 neration, you may be negligent in trying your skill or 
 in properly training yourself. I would again impress 
 on my readers who have thus far followed my course of 
 instruction, and explanation in these pages, the expediency 
 of devoting their leisure hours to the work of practice 
 which leads to perfection, alternating the time in study, 
 and thereby learn what others, who have achieved suc- 
 cess, have to say for your benefit. By adopting these 
 suggestions, you will be surprised at the improvement 
 which is certain to follow real and earnest effort. 
 

 
 
 
 
 
 
 
GENERAL LETTER ENGRAVING. 
 
 43 
 
 CHAPTER IV. 
 
 To the student of art, whose experience is as yet 
 limited, or whose knowledge of the principles of drawing 
 is more superficial than sound, it may seem simple enough 
 to engrave the several styles described in the last chapter; 
 but to be able to execute either name with ease and readi- 
 ness, considering the manner and exactness in which it 
 should be done, with the facility and precision with 
 which you can write a word or line within a given com- 
 pass, is quite another thing. 
 
 I must again caution the learner that earnest endeavor 
 can not be too constantly applied; otherwise, notwith- 
 standing what profit you may have derived from caution 
 and instruction, heretofore given in these articles on this 
 subject, you will be certain to enter into the matter of 
 cutting your letters without proper conception or adequate 
 training; and, therefore, will do your work incorrectly. 
 
 Such failure may be attributed to the fact that you do 
 not, at the start, grasp the proper idea in regard to for- 
 mation and the proper location of your letters, with due 
 consideration to space and relative position. You may 
 also be too sanguine of your ability or the extent of your 
 attainments, when, in effect, your knowledge is but rudi- 
 mentary. and you may become careless from relying too 
 much on your own opinion as to how such matters should 
 be done. This over-confidence is a fault, although a 
 moderate amount of self-reliance — the product of expert- 
 ness and practice — is commendable, and almost indispen- 
 sable to proficiency, not to say perfection. When your 
 training is good, your eye quick and accurate in its grasp 
 
44 
 
 GENERAL LETTER ENGRAVING. 
 
 .fM' 
 
 of adaptation of means to an end, your hand steady and 
 skillful, you must necessarily have a good deal of confi- 
 dence in your ability, which will be a help to you instead 
 of a hindrance to success. A skilled engraver will go 
 about his work in a careful way, but with a quickness of 
 motion and ease of execution which enables him to accom- 
 plish his task with rapidity, making its performance rather 
 a pleasure to him than a troublesome and tedious task, as 
 must necessarily be the case with one who is deficient in 
 knowledge, skill or experience. 
 
 The learner is frequently in the latter undesirable 
 predicament, and it sometimes appears to me strange 
 why he will not accustom himself to the more judicious 
 plan, previously indicated, which all must adopt who 
 aim at success in the art. He must first be sure that his 
 lettering is laid out correctly, and does not extend beyond 
 the limits either in size or space, and does not offend 
 good taste in style or formation. The tyro must also 
 avoid the faults of leaving his sketching in a condition 
 too obscure to follow, and be careful not to produce 
 noticeable scratches on a polished surface. He must 
 not trace his parallel lines too deeply, or leave outline 
 letters or finger marks which greatly mar the finish on 
 the polish, and stamp the embryo artist as a careless or 
 bungling practitioner. 
 
 There is another point to be considered in the practical 
 pursuit of this business, viz.: the amount of remuneration 
 which you can command as a reasonable recompense for 
 your skill, taste, etc. Perhaps you are not aware that 
 everything depends on this, and that it is left to your own 
 judgment about such matters. Good prices insure and 
 necessarily imply good work. Never imagine that you 
 are demanding or receiving too much ; as the time and 
 expense, which are always a precedent outlay in learning 
 the business will constitute an inevitable offset, and balance 
 
GENERAL LETTER ENGRAVING. 
 
 45 
 
 anything above the average which you may receive, 
 whether the work be done in the city^ or country. The 
 consideration of locality, however, is an important one, 
 and should be taken into account. 
 
 If your scene of operations is laid in the latter place, 
 prices should be higher in proportion to the labor involved 
 and the quality of work performed. Considering the 
 number and style of coffin-plates cut in a “ country town,” 
 the cost of the cheapest grade would not be unreasonable 
 at a dollar each. But in the city, where plates are 
 engraved by the wholesale, it appears that fifty and 
 seventy-five cents are about the average price to be 
 looked for. For instance, an establishment in New York, 
 within the knowledge of the writer, makes it the princi- 
 pal branch of its business to furnish coffin-plates to the 
 undertakers, having the inscription cut upon them in 
 fifteen minutes after the time of the order. The regular 
 form of lettering, such as “ Died,” the month, u Aged,” 
 and portions of numerals are cut in the engraver’s spare 
 time; so, when a customer calls for a class of plate that 
 is regularly sold, he simply states thQ name and dates, 
 and the plate is executed in short order. Now, in the 
 case of the engraver located in a small city or country 
 town, where his customer, the undertaker, furnishes the 
 plate, the artist exercises his skill accordingly, and for an 
 ordinary piece of work he seldom consumes more than 
 half an hour in its performance. 
 
 Has it come under the notice of the reader that in 
 designing letters or other characters, if the sketching or 
 “laying out” be imperfectly done, just so will the cutting 
 of the lettering be correspondingly faulty ? When the 
 line or job is performed, then it is observable that some- 
 thing is wanting; some carelessness, omission or defect, 
 radical and inherent, which calls for rectification before 
 comparative perfection is attainable. 
 
4 6 
 
 GENERAL LETTER ENGRAVING. 
 
 It is manifest to you then that something is not as exact 
 as it should be; either the line or the letters do not har- 
 monize with the other portions. This is a defect that 
 many have not considered, but which needs serious atten- 
 tion. It requires a thorough knowledge of this and 
 kindred matters to keep the sketching up to the require- 
 ments of the cutting. I am aware that the pupil is care- 
 less in such matters; as soon as he gets the graver in 
 hand, the principles of drawing are ignored. He acquires 
 his ideas of formation by the use of the graver, and the 
 
 Plate ri. 
 
 ''Born Feb?* 
 
 Bied Februar y ddt 1 Id 8 d 
 
 manner of cutting appears to him in another light so that 
 he forgets the essential requirements. 
 
 In Plate 14, in the italic lettering for an ordinary plate, 
 the word “ February ” could be abbreviated and the “M” 
 dispensed with; thus: “Feb. 14, 1824.” and other months 
 can be similarly abbreviated. 
 
 The dotted lines act as guides in 44 laying out ” an 
 inscription. Of course, other lines would be sufficient, 
 but the ellipse encompasses the whole, showing where to 
 begin and leave off. Besides this, your eye, trained to 
 relative distances, will enable you to know better where 
 
GENERAL LETTER ENGRAVING. 
 
 47 
 
 to lay out and cut the flourished lines, if, in your opinion 
 the plate requires it. However, the flourishes, if needed, 
 should be cut very light and “ balance ” each other; as 
 heavy lines, running in different directions, will tend to 
 obscure much of the lettering, especially if the style of 
 the latter be fancy. 
 
 For those who have had but little experience in cutting 
 coffin-plates, it would be best to first try their skill on 
 many pieces of metal, endeavoring to imitate the sev- 
 eral prevailing styles of lettering, and when a plate is com- 
 pleted, lay it aside for comparison and subsequent im- 
 provement. I would suggest to the student to be careful 
 not to fill the plate with cuts or odd letters, which can be 
 placed just as well on some spare piece of metal. Each 
 plate should be regarded and treated as if it were a regu- 
 lar job left to be done according to order. In this man- 
 ner careless habits, which are easily contracted, will be 
 avoided. 
 
 Having gained a fair extent of practical knowledge in 
 the important parts of the work, conceived and formulated 
 ideas of planing and “laying out ” of the designs to be 
 cut, the learner may frequently compare the result of his 
 efforts with his preceding crude and irregular achieve- 
 ments, and note with satisfaction the difference and im- 
 provement. The hints in regard to the kind and use of 
 tools, heretofore given in this work, must be well ob- 
 served and faithfully followed, in order that the learner’s 
 skill may be supplemented by the best facilities. Even a 
 person with a good appreciation of the art, with ideas quick 
 and precise, and a correct understanding of methods and 
 means, will fail of good accomplishment if he neglects to 
 acquire an easy, graceful habit of handling his tools, 
 usually the unfailing characteristic of the skilled workman. 
 
 Some engravers who assume to teach the principles of 
 the art assert that when you cut a letter or a line, whether 
 
48 GENERAL LETTER ENGRAVING. 
 
 imperfect or otherwise in its execution, the work must 
 stand as it appears after one cut of the graver to each 
 portion. This is an error; for, though it be advisable 
 and expedient to grave your lines and curves with a steady 
 and accurate motion of the tool, yet none can do this but 
 the finished expert, and even he may deem it convenient 
 to retrace his steps once in a while, and touch up points 
 where his critical eye can discern a fault or imperfection. 
 Those who have had but little experience had better pay 
 some attention to this matter, and busy themselves about 
 all the little parts of the cutting and formation that help 
 to build up the lettering as developed in the process of 
 cutting. This will aid much to overcome any imperfec- 
 tion that may exist, not alone in the construction but the 
 faulty cutting, which may be the result of careless sketch- 
 ing or may be independent of it. 
 
 I would herein caution the studious reader who is 
 endeavoring to progress himself in the art, against the 
 prevailing blunder of amateurs; that is, irregularity of 
 space between letters in a word and words in a line. 
 Further, he must avoid discrepancy in size and between 
 letters; and be careful to preserve uniformity in spacing 
 and harmony in size, style, slope, etc. Practically a line 
 of lettering must be kept on the same angle or slope 
 throughout; whatever decline from the perpendicular, if 
 any, you give your leading letter, the same must prevail 
 to the end of the line. In other words, a modified paral- 
 lelism must be observed. 
 
 The injurious effects of vicious or careiess habits, or 
 faulty methods, which you allow to grow up and keep 
 pace with your advancement in other respects, and which 
 you cannot readily perceive or become sensible of till, 
 perhaps, a friendly critic or a querulous censor point them 
 out to you, must be guarded against, and your attention 
 is especially called to the fault and its correction. I 
 
GENERAL, LETTER ENGRAVING. 
 
 49 
 
 respectfully direct your reference to page 21 where I treat 
 incidentally about spacing between the letters. What I 
 said there, with but little further definite explanation, will 
 enable you to understand fully the importance of my pre- 
 cept; and when the results of the erroneous method and 
 the absence or avoidance of it be placed in juxtaposition, 
 you will more readily perceive the practical need of ad- 
 monition. 
 
 I prefer to define my meaning and facilitate the incul- 
 cation of my instructions by means of an illustration. At 
 Plate 15, are, represented two lines of engraving; the first 
 showing how errors of habit lead to very faulty execu- 
 tion, easily perceived when placed in contrast with the 
 correct and more perfect line beneath. Your eye will 
 
 ' SuJ&Uci-/5:j886. 
 
 Plate 15. 
 
 teacn you more aptly than words the difference between 
 the false and the true method, and the necessity for aim- 
 ing at, or near, perfection from the “ laying out ” incep- 
 tion to the completion. Notice the irregularity of slant 
 and space in the first line, and the uniform slope and even- 
 ness of curve in the lower. These are only specimen 
 results of habit; the one careless and inaccurate, the other 
 in accordance with taste and judgment, - and in keeping 
 with the recognized principle. 
 
 Nothing is better calculated to teach you the correct 
 method of procedure than practice with the manner of 
 cutting the body strokes continuously throughout the line, 
 making but one cut the one way and with uniform even- 
 ness; then turn back and finish up the body strokes from 
 the place of beginning, with the same evenness of cut. 
 
JO GENERAL LETTER ENGRAVING. 
 
 The hair lines are produced by similar action, but with 
 such delicacy in the cutting as would make it appear they 
 were light scratches. You should learn to make the cuts 
 on a bevel for this increases the width of stroke and pro- 
 duces a keener and easier cut. Besides, hair-line curves 
 are formed more readily by inclining the graver. By way 
 of suggestion, the practice lessons in Chapter II. will aid 
 your instruction ; but the method you require after 
 advancing, you will remember, is to cut the body stroke 
 the proper width, with one cut, if possible. 
 
 There are two important considerations in connection 
 with the script, in giving a bevel to the stroke which may 
 serve you as a guide in the future when making incisions 
 with the square graver to show the lines on the metal 
 more prominently; such as in bright cutting so frequently 
 applied for effective borders, or for small monograms, 
 especially on coins. The first is the width of stroke which 
 is given to script, and in making those letters the down 
 stroke which is first cut continuously along the line is pro- 
 duced with one sweep of the graver, giving to the stroke 
 at the same time the proper width. This is correct 
 enough, and this is the proper way to produce these 
 strokes, as it is the most expeditious; besides, if keenly 
 cut, it shows nice work. The hair-line strokes are read- 
 ily made, but seldom any one but a skilled workman can 
 cut body strokes in a finished manner throughout the 
 extent of a line. Even he is occasionally obliged to go 
 over some of the strokes to trim them, so as to impart to 
 them a similarity of appearance as to width. I have been 
 frequently consulted by those in need of information as to 
 whether I cut over the body strokes a second time. I 
 invariably answer : “ Certainly, if the stroke needs it.” 
 
 This point I again wish to caution the learner about, be- 
 cause of the false teaching already alluded to. Endeavor 
 to make the strokes at first as near perfect as you can, 
 
GENERAL LETTER ENGRAVING. 
 
 51 
 
 and then retouch them if necessary. To make the stroke 
 a little wider, simply insert in the cut and incline the 
 graver well down on one side, very lightly. Do not cut 
 your strokes deep, and thoroughly master this with the 
 same tool before taking up the cutting with other tools. 
 
 Neither the square graver nor the flat tool requires pol- 
 ished sides to cut upon coffin plates, nor for any practice 
 work during your early experience in the use of the 
 graver, as a polished tool is more difficult to use and more 
 likely to slip. You should not handle this kind of graver 
 or resort to its method of use till you are further advanced 
 and have gained knowledge sufficient in the. use of your 
 tools to qualify you for engraving on jewelry, etc. 
 
 The second consideration is that of copying from good 
 models, and this cannot be too faithfully done, in order to 
 acquire a correct idea. It may be objected that a designer 
 should learn to depend on his own ideas; but the reply is, 
 that self-taught pupils require the aid of good models when 
 they have not the advantage of a teacher to direct them 
 and point out the intricate parts of lettering. It is compar- 
 atively easy for an embryo engraver to learn rapidly and 
 to acquire correct methods when his course is laid out for 
 him, his hand guided in the proper treatment of his work, 
 and above all the practical effect of the teacher’s own work 
 and methods before his eyes. The engraver who, on the 
 contrary, has to depend on his own resources for acquiring 
 a knowledge and mastery of his art needs to be observant, 
 and to avail himself of every advantage afforded by speci- 
 men books, or better still, models from good workmen. 
 He must learn to build up his ideas on correct principles, 
 and this is very difficult for the ordinary learner to do 
 without help from correct specimens, well designed and 
 executed. Let the learner copy all that is of merit that 
 he sees, improve on it, or portions of it, if he can; or the 
 copy may suggest something better or finer, which may 
 
5 2 
 
 GENERAL LETTER ENGRAVING. 
 
 be regarded as practically original. The learner can 
 derive much benefit from good specimens, either printed 
 or engraved, also from impressions taken from engrav- 
 ings. By such means, together with what instruction he 
 receives through different media, his ideas of construction 
 of the various styles of letters will be materially aided, 
 and after a while he becomes independent of copy. Be- 
 sides he may learn in this way the different styles and 
 sizes of plates he may be obliged to cut upon in the future 
 when he has “cut his engraving teeth.” 
 
 Speaking of this matter, I may as well point out to you 
 
 Plate 16 . 
 
 the difficulty you may have to surmount in peculiar classes 
 of plates. The miniature specimens shown in the cut 
 will tend to give you a better idea of the taste and judg- 
 ment needed to lay out the lettering on the several sizes 
 and shapes of surfaces. Flat and convex surface are 
 different as to facility of treatment; also the relative sizes 
 may be taken into account, to adapt the style of lettering 
 to the space intended for it. As stated in Chapter III, 
 there are, of course, some plates easier than others to 
 work upon, because of flatness and size; but you may 
 find yourself in a quandary when you are called on to 
 place an inscription on the cross, or on the plate of book- 
 form, which, with its crease or fold in the center, repre- 
 
GENERAL LETTER ENGRAVING. 53 
 
 senting the back, is more difficult of handling artistically. 
 I would suggest a perfectly plain style of engraving, in 
 the manner shown in Plate 1 6. This peculiar and 
 unhandy style of work should, of course, command a 
 peculiar rate of compensation in the line of charges. 
 
 Thus far my course of instruction, theoretical and 
 practical, that I have endeavored to lay down for my 
 readers who are ambitious of art knowledge, has been 
 devoted mostly to initiating the beginner into the mysteries 
 of coffin-plate engraving. This course has been pursued 
 for the reason that this branch is acquired with greater 
 ease; because the lettering is much larger, corresponding 
 more nearly to his lessons, that of drawing the several 
 alphabets, which is necessary previous to entering upon 
 cutting. Besides, the plates are much larger than most 
 surfaces which call for engraving in other departments of 
 the art. They are also soft in material, which is more 
 advantageous to the beginner than if he were to practice 
 upon harder metal — copperplates — for jewelry engraving. 
 Through this course, such as experience has taught me 
 to be commendable, the student is best prepared for 
 advancement in the further pursuit of the art. On this 
 division of the subject, however, I have already written 
 sufficient to place the student on the right and practical 
 course ; so accordingly, I will henceforth devote my atten- 
 tion to tools, their uses and methods of progress in the 
 line of art embraced in the title of this work. 
 
GENERAL LETTER ENGRAVING. 
 
 55 
 
 CHAPTER V. 
 
 I propose now to direct the attention of my readers 
 more particularly to the different tools and other appli™ 
 ances, their respective uses and adaptation to the different 
 lines of work, and how to keep them effective and use 
 them to the best advantage. 
 
 If you have not reached that stage of perfection where 
 you are qualified to use good tools with good effect; when 
 you are as yet unable to prepare your own tools, it is 
 natural to expect that your progress in cutting — that all 
 important branch of the manual portion of your work — 
 will be necessarily retarded. If, however, you have 
 wrought with sharp gravers, properly prepared, and kept 
 so for you by experienced hands, you will realize when 
 left to your own resources that the ability to keep your 
 tools in proper condition is a great advantage, and one 
 which you at once recognize as indispensable to success 
 in the practical prosecution of the art. You will realize 
 when left to take care of your tools, that neglect in learn- 
 ing to keep them in proper condition will have a discour- 
 aging effect on your efforts and interfere with your 
 advancement. It will be seen, therefore, that instruction 
 in this department is essential to all who aspire to become 
 adept engravers. 
 
 Sharpening gravers to a nicety requires more than 
 ordinary efforts. With the engraver this is unques- 
 tionably an important point which must never be lost sight 
 of, and one upon which much, if not the material part of 
 his ability in rapidity and precision of execution depends. 
 To attain proficiency in this line, however, is not very 
 
56 
 
 GENERAL LETTER ENGRAVING 
 
 simple and easy, although desirable and necessary. A 
 knowledge of the proportionate angles must be first 
 acquired to skillfully set up a graver to the proper cutting 
 order; yet the student does not comprehend this until he 
 is fairly under way with his cutting. This is not alone 
 the case with the student of a few months, who is yet but 
 in the mere rudimentary stages of his education, but like- 
 wise applies more directly to the comparatively proficient 
 engraver who has carelessly over-looked matters which 
 at first seemed trivial and of little consequence until 
 painful experience taught him his error. He imagined 
 that too much attention to what he deemed minor 
 matters at first was irksome and the study of details 
 excessive, beyond the prospective reward to be derived 
 from an expert and intelligent pursuit of the business, 
 based on skill and adequate training. The engraver 
 who allows himself to gain a superficial knowledge 
 of his art without those fundamental principles by which 
 alone good cutting can be accomplished, will sooner or 
 later see his neglect reflected in the imperfection of his 
 work. 
 
 Graver incisions are, therefore, produced expertly with 
 none other than keen angles, and the quality and temper 
 of the tool have very much to do with the durability of 
 the point and edges. The square graver and others of a 
 pointed shape, so to speak, are used for cutting somewhat 
 similar lines and require appropriate treatment differing 
 from those of other shapes, needed for distinct kinds of 
 work. I refer more particularly in this and perhaps suc- 
 ceeding chapters to the gravers mentioned, and in order 
 to express my views more impressively, I direct attention 
 to the accompanying illustrations, in which you can per- 
 ceive, or form an approximately correct idea of, the sizes, 
 shapes and angles required to produce uniform cutting 
 upon the different surfaces. 
 
GENERAL LETTER ENGRAVING. 
 
 57 
 
 In Plate 17, figs. 1 and 2 represent the same graver. 
 One is for finer cutting; the larger is more adapted to the 
 performance of ordinary work. Fig. 3 shows the angle 
 of the face, with the parallel line, which is given to the 
 point of graver; while figs. 4, 5, 6 and 7 represent the 
 gradual ascent by which a graver is to be sharpened on 
 the under sides for the different kinds of work, such as 
 hollow ware, etc., where it is most difficult of access. 
 The dotted line AA represents the plane to which the 
 sides are whetted. You will understand, the more the 
 graver is stoned towards the face or top part of it, the 
 smaller it will become, and the graver stem more 
 elevated. 
 
 By the use of the bent gravers, fig. 8 and 9, a great 
 deal of the pitched under sides and degree of elevation 
 given to the gravers’ stem is obviated. Instead of the 
 sides being whetted away to a great extent, they are 
 smoothed sufficiently to insure a keenness to the point’s 
 cutting angles. These bent gravers are becoming very 
 popular in use. A feature about them is the little whet- 
 ting required, owing to the bent stem, which allows 
 more play for the fingers clasping the handle, which 
 greatly facilitates ease in the cutting, much more so than 
 in using a straight graver, whetted at such an angle as 
 at fig. 4. 
 
 I have heard engravers say they could not use such a 
 tool, being too narrow or too short. The handle is large. 
 Of course there are considerations an engraver must look 
 carefully to. For some purposes, gravers are required 
 to be a trifle longer than for others. Then a beginner 
 might select a chisel-sized graver, with a handle like that 
 of a chestnut; besides, the engraver will accustom him- 
 self to a peculiar, clumsy style of graver, yet it suits him 
 better than any other size or peculiar formed tool. The 
 latter may be well enough, but one should become 
 
58 
 
 GENERAL LETTER ENGRAVING. 
 
 accustomed to the use of almost any kind and reasonable 
 sized graver, for which the different classes of work 
 necessitate, and which require it to be used at such eleva- 
 tions. If you have or can afford to obtain a great 
 number of tools for as many different purposes as may 
 be required, such as sets for the soft, medium and hard 
 metals, you will have always at hand ready tools and your 
 work is not so liable to be delayed by reproducing a sharp 
 edge, if you happen to break a point; besides, your pro- 
 gress is not retarded as in the case with one who uses but 
 few tools and the same upon all classes of work. Figs, 
 io, ii, 12 and 13, show the several sizes of square grav- 
 ers in transverse section. Either 10 or 11 would be 
 good sizes for inscription cutting upon a watch cap or 
 jewelry; 12 would answer for coffin plates. Nos. 12 or 
 13 could be used as well for engraving upon tougher or 
 harder metals, as brass door and machine plates. How- 
 ever, the difference between the two metals, britannia 
 and brass, should necessarily insure a better temper to 
 the tool used upon the brass, as the points are more apt 
 to break than if they were applied upon the softer metal. 
 
 A good tempered graver, about the size of fig. 11, could 
 be used for general work, either for silver coin and 
 silverware, or plated spoons, forks, umbrellas and satchel - 
 plates, dog collars, etc. Such gravers as lozenge-shaped, 
 figs. 14 and 15, are used for fine and deeper lettering, 
 etc. Any engraver should be able to cut with any of 
 these sized gravers, but it is far better to reserve a cer- 
 tain sized tool, as your choice may approve, for the par- 
 ticular material upon which you wish to engrave. 
 
 If the engraver will observe these essentials, less diffi- 
 cult will be the task of cutting. The main points for 
 those who aim to become skilled in the art is to study the 
 principles, and to think before acting. One moment’s 
 thought upon what is best to do first to arrive at the 
 
Plate 77. 
 
 GENERAL LETTER ENGRAVING. 
 
 59 
 
6o 
 
 GENERAL LETTER ENGRAVING. 
 
 desired consummation, will amply reward the studious 
 learner, and produce more real benefit than much ill-con- 
 considered and negligent effort. 
 
 Before passing on from one portion of our subject to 
 the succeeding one, it would be well for those who have 
 thus far followed my course of instruction to thoroughly 
 master the sense and meaning, the intent and purpose, the 
 theory and practice, of each individual portion and thus 
 derive what advantage is inherent in plain, practical edu- 
 cation and illustration, and try to profit by the experience 
 of a veteran in the art. A superficial study of these 
 lessons will be of little permanent value. 
 
 You have probably studied the peculiar shapes given 
 to gravers, or you may have simply looked them over 
 and formed your own opinion about the requisite size of 
 the angles, etc., but your judgment (or intuition) will 
 probably prove defective in the manner of grading the 
 tools if necessity obliges you to produce a new point or 
 an accurate angle at short notice and strictly available for 
 your purpose. When this matter first engages your at- 
 tention is the proper time to test the reliability of your 
 opinions and to regulate your ideas on this very practical 
 point. In this manner, by convincing yourself wherein 
 you are right, by confirming and establishing your cor- 
 rect impressions, and weeding out your errors — due to 
 want of experience or to hasty opinions formed without 
 that knowledge which is a concomitant of, and equivalent 
 to, power — you will be able to prepare your graver with 
 ease in short order, so as not to retard your progress in 
 the work of engraving. Few beginners stop to consider 
 the important angles given to gravers to produce the dif- 
 ferent cutting; nor until they have progressed too far in 
 an opposite direction do they realize the trouble of being 
 obliged to commence over again to ensure perfect work. 
 I should here suggest : no matter what you attempt, be it 
 
GENERAL, LETTER ENGRAVING. 
 
 6l 
 
 ever so simple, perfect yourself in the matter before ad- 
 vancing to a higher grade. Although engraving is done 
 so readily and quickly, perfect work cannot be executed 
 without entering into cutting every peculiar curve, etc., 
 of which experience alone gives you mastery. 
 
 In regard to the tools, it is necessary that you should 
 know the principal features about them and to use those 
 that are best adapted to cut the different lines, curves, 
 etc., and which will facilitate the formation of lettering 
 in the shortest and easiest possible manner. Much 
 depends upon the kind of tools used in order to expertly 
 execute the work; if you have but few to perform a par- 
 ticular piece of engraving in an awkward place and prob- 
 ably, in addition, the graver being a little out of shape, it 
 delays the work and renders if difficult and unpleasant. 
 
 More or less experience in the choice of tools will 
 teach you that intelligent and earnest consideration should 
 be given to the selection and preparation of gravers, that 
 you may enter upon your work with the tool you feel 
 confident will do engraving in the best and easiest 
 manner. For this reason I introduce the square graver, 
 showing the difference of the angles at which it is pre- 
 pared for different surfaces of metal, expressly to enable 
 you to do the work more readily. 
 
 The square graver in Plate 18, as you will observe, is 
 bent purposely to facilitate the cutting of rings. All 
 expert engravers that I know of, have heretofore used an 
 ordinary straight graver for cutting rings, and no doubt 
 will continue to do so, as they can readily work with such 
 a graver, which they have become well used to. How- 
 ever, I would say this particular graver shown in cut, 
 gives an advantage in getting at curves easier, for the 
 reason that its circular stem is not apt to strike the side 
 of the ring, as is the case with the straight one. En- 
 gravers usually hold the ring in their fingers, the ring 
 
V 
 
GENERAL, LETTER ENGRAVING. 
 
 ^3 
 
 resting upon a very hard pad about three inches in size 
 — the harder the pad the better, as a ring can be turned 
 thereon during the process of engraving more advan- 
 tageously. A ring-holder would be of service to a begin- 
 ner, but expert gravers seldom use it, as they have be- 
 come accustomed to hold the ring by the fingers. The 
 adjustment of a ring holder takes time, and they prefer 
 their own way about the matter. 
 
 Engraving on the inside of a ring can be quickly 
 done by a system heretofore explained; cutting the body 
 strokes of letters all one way first; finishing them back 
 before cutting the hair-lines; the lettering should be of 
 medium size and in the center of the ring; all the letter- 
 ing should be properly laid out with a wood-marker or 
 ivory point before the cutting is commenced; if the traced 
 lines are likely to be rubbed out, then a steel point is 
 necessary to trace the letters in. A compass with a box- 
 wood point would be the first necessary tool to trace the 
 parallel lines after you have covered the inside of the ring 
 with wax preparation. 
 
 The best way for beginners is to supply themselves 
 with common rings for practice, and similar in kind to 
 plain rings, as stone rings are more difficult to handle. 
 
 You will see by the foregoing that the shape of the 
 graver and the angle of its edge are by no means unim- 
 portant considerations, but matters that primarily demand 
 attention and much practice, before the hand and eye of 
 the workman become trained and skillful. Do not be- 
 come discouraged by seeming difficulties in handling your 
 tools, but keep on thinking and working and you will 
 make progress and succeed. 
 
 The beginner naturally dislikes to mark finger rings 
 for cutting, as it taxes his patience to a great extent, the 
 work being out of the ordinary range of facility in hand- 
 ling, and difficult of execution even when he succeeds in 
 
6 \ GENERAL LETTER ENGRAVING. 
 
 its preparatory sketching. To properly set about the 
 matter he should first consider the amount of letters to be 
 put in a given space, and then inscribe them in an appro- 
 priate manner, so as to make them appear to the best 
 advantage. The size and angle of a letter has a great 
 deal to do with this. To be in accordance with good 
 taste must naturally be the governing principle of such 
 an inscription, and of course much depends on the size and 
 narrowness of the lettering, which in such cases must be 
 very small. 
 
 It is a safe rule to be guided by in such work to make 
 all your lettering of about a uniform height. Do not 
 imagine that because one ring has a greater width of 
 band than another that you must make the lettering 
 "hereon correspondingly large. The idea *s erroneous 
 and should be discarded, because if persisted in, it mat- 
 ters little how nice the letters are cut, they appear too 
 large, and usually look out of place. 
 
 The shanks of finger rings are made in many different 
 forms, and the work should be almost as easy of execu- 
 tion on one ring as another but to this general rule there 
 are a few exceptions. Plate 19 shows a few varieties of 
 rings and the arrangement of lettering for such spaces, as 
 will appear to best advantage and cut in the easiest 
 and most appropriate style. 
 
 The styles of rings marked figs. 1 and 2 have even 
 bands, and will present about the same degree of 
 difficulty to engrave, but those marked figs. 3 and 5 
 are, by the nature of their construction, less easy to 
 operate upon, by reason of the shank and stone. Be- 
 sides, the open space where the stone is set, and also 
 owing to the tapering thinness of band in the case of 
 fig. 3, precludes the practicability of putting in of but 
 few letters to keep in harmony with taste, except at the 
 shank. 
 
GENERAL LETTER ENGRAVING. 
 
 65 
 
 The large seal ring, tig. 5, should be engraved in the 
 manner delineated, for practical reasons; first, because 
 you are able to cut better on the large interior gold sur- 
 face than you can do otherwise, as the size of the stone 
 hinders you from seeing the lettering if done inside on the 
 band. In the second place, the extent of surface at the 
 back of the stone in this style of ring presents a space 
 for a very handsome inscription, which, if nicely executed 
 and conformed accurately to the extent of surface, will 
 
 appear tasteful, and owing to its position, is capable of 
 being displayed to advantage. 
 
 Figs. 4 and 6 exhibit styles and letters which are usu- 
 ally placed on such rings. In the case of fig. 4, it is not 
 in correct form to crowd three letters on the outside 
 heart, though it is sometimes done. It is better to dis- 
 tribute the letters as shown in the cut, as then art and sen- 
 timent both combine in harmony. In the case of two let- 
 ters, it is better to place one on each heart, and where 
 only one letter is used it can be placed near the center or 
 contact of the two hearts, 
 s 
 
66 
 
 GENERAL LETTER ENGRAVING. 
 
 For all lettering on the inside of rings I use a straight 
 stem graver, with the under side at the point slightly 
 pitched, stoned at even angles. Owing to long experi- 
 ence and almost constant practice I am perfectly able to 
 cut on the inside of rings with such a tool without the 
 slightest hindrance, but some engravers prefer a bent 
 graver, as represented in plate 18, on account of the 
 curved stem, which enables them to cut the hair lines bet- 
 ter. Much depends, however, on the kind of tool you 
 become accustomed to, and your method of handling the 
 same. In the hands of a practical man either of the 
 gravers I have indicated, the bent or straight stem, is 
 well calculated to produce as good work in as feasible a 
 manner as can be ordinarily produced by the progressive 
 and experienced artist. Individuals have peculiar hob- 
 bies, but however warmly they may advocate their adop- 
 tion, it would not be wise to recommend anything that we 
 know is contrary to the methods which have long been 
 found to be successful, and which not only contravenes 
 the rules of experience — the certain criterion of success — 
 but which are at variance with the principle that the en- 
 graver must aim at performing the best work in the sim- 
 plest manner, and with the tools best adapted to the par- 
 ticular class of work on which he is engaged. 
 
 The old saying that “ a bad workman quarrels with 
 his tools,” holds true in the art of engraving, as it does in 
 most of the mechanical and liberal arts. The reason 
 seems to be that an imperfect or inexperienced operator, 
 at any trade or calling, usually handles his instruments or 
 “ tools of trade ” awkwardly, and necessarily fails in pro- 
 ducing finished or elegant work. The primary cause of 
 the trouble is that unskilled artists or workmen are slow 
 to acquire the knack or accomplishment of keeping their 
 tools in effective condition, consequently their efforts in 
 their line of business is attended with bad results. Thus 
 
GENERAL LETTER ENGRAVING. 67 
 
 N. 
 
 cause and effect combine to defeat progress, except in 
 the case of the practitioner who diligently tries first to 
 master the secret — if it may he termed a secret, which 
 practice and study will reveal and develop — of manipula- 
 ting his tools in the most practical manner, and then learns 
 to maintain them in the best possible state of effectiveness. 
 This skill in the use of engraving tools is indispensable to 
 the learner as well as to the professional. 
 
 In the use of engraving tools to-day, as well as in most 
 other avocations, a great stride has been made in the line 
 of improvement. What the old-time artist used in pro- 
 ducing his best effects, would now be regarded as clumsy 
 or obsolete. The great desideratum is to possess the best 
 means of executing work in the easiest and most complete 
 manner. To this end the inventive faculties of many 
 original minds have been brought into active play, and 
 very valuable results have been accomplished. 
 
 It has been my aim to invariably direct those whom it 
 has been my pleasure and privilege to instruct in engrav- 
 ing, to the choice of the most practical — not necessarily 
 the most complicated — accessories with which to learn the 
 art in the shortest time, and with the least amount of 
 trouble or disappointment. During my career I have be- 
 come perfectly acquainted with the relative merits or 
 demerits of nearly every tool and appliance brought out 
 by the leading manufacturers of the country, and am con- 
 sequently in a position to advise and direct pupils aright 
 in selecting tools to work with ; an advantage which I 
 invariably exercise for the benefit of those who follow my 
 instruction, without favor to, or discrimination against any 
 maker. The experience which I have gained is not con- 
 fined to myself alone, but is cheerfully imparted to those 
 who follow my directions ; in a like manner that a college 
 professor leads his class to the choice of the best text-books 
 and adopts the best modern methods of instruction. 
 
68 
 
 GENERAL LETTER ENGRAVING. 
 
 Most engravers have felt at the very outset of their 
 career, the need of some appliance by which the object 
 on which they work will be firmly held, or upon which 
 plates or other flat surfaces can rest, so as to be easily 
 handled and operated upon. The pad is the most obvious 
 appliance for the generality of beginners, and is quite 
 extensively used by the more advanced operators. Bu 
 
 Plate 20. 
 
 it will be readily seen that a pad is, after all, a very un- 
 satisfactory arrangement in some parts of the work where 
 both hands need to be kept free and busy, and where the 
 trouble of keeping one hand on the work while the other 
 operates the graver is to be avoided. Practical men recog- 
 nize the utility of some appliance by which the work— a 
 coin, a ring, a spoon, bangle, or other small article — can 
 be firmly kept in position, while it can be at the same 
 
GENERAL LETTER ENGRAVING. 69 
 
 time easily turned to help the process of the graver, and 
 relieve the wrist from unnecessary curves and tiresome 
 movements. In this way the “ block” or “stand” came 
 to be invented. The stand, which is made in sections, is 
 so adjusted that the upper part revolves upon a pivot or 
 axis, while the base, which is made somewhat heavy and 
 solid, keeps the whole steady on the table. The upper 
 part is fixed with various devices wherein the work is 
 held, and thus the engraver’s task is facilitated and his 
 labor materially lessened. 
 
 But here the inventor has again been at work, and 
 has produced an admirable improvement which I shall 
 endeavor to briefly delineate for the benefit of my 
 readers. It is the ne plus ultra of engraving stands, and 
 effects an incredible saving in work, besides allowing it 
 to be done more skillfully than by the aid of any pre- 
 ceding device. 
 
 In proportions it stands about eight inches in height, 
 and is divided into two principal parts — the base and the 
 stem or body. The base is very solid, and of the usual 
 trumpet-like shape, to insure steadiness under all opera- 
 tions. The whole is of very graceful outline, nickel-plated 
 and polished. The base and stem are both pierced with 
 a hole, through which passes a cylindrical rod or axle, 
 which is tapered off to a pivot on top, and on which the 
 body of the instrument turns freely, on a perfect center. 
 The base is furnished with a screw, at the end of which 
 is a lever or handle, by means of which the axle is 
 adjusted, so as to keep the body at the desired elevation 
 and admit of easy and absolutely correct revolution. The 
 body turns upon the axle pivot, but so perfectly fitting is 
 the axle in the perforation of the body that if the stem be 
 removed and again replaced on the axle, the air will be 
 confined so as to prevent the stem from descending on 
 the pivot for several minutes. 
 
70 GENERAL LETTER ENGRAVING. 
 
 A glance at Plate 20 will give a general but very- 
 imperfect idea of this invaluable adjunct to the engraver’s 
 table. Fig. 1 represents the instrument in its usual work- 
 ing condition, with the axle held in position by the base 
 screw. Fig. 3 shows the top part of the stem, whereon a 
 portion of a spoon is held fast for working. Fig. 2 shows 
 a small case or stand for holdings pins or pegs used in 
 working with the instrument. It is fitted with twenty 
 receptacles for holding as many pegs. Some of the latter 
 are straight, round pins, while a few have triangular flat 
 heads, thereby providing grooves for keeping watch- 
 cases or other small articles firmly in position. 
 
 The top of the stand is two-fold, and suited to receive 
 any kind of work. There is first a fiat steel plate, divided 
 into two equal parts, each part being connected with a 
 screw which is adjusted by a key from the side, and 
 opened or closed to suit the engraver’s convenience. In 
 these divided plates are numerous holes to receive the 
 pegs aforesaid, and by means of these, and by adjusting 
 with the screw, rings, coins or other things are held and 
 easily turned by the hand while the graver does the work. 
 
 Above this plate can be placed a flat disc, about equal 
 in circumferente to the upper portion of the stem. This 
 disc is fixed to the top of the stem, when required, by 
 means of two large vertical screws, furnished with wide 
 flat heaps, which latter feature are for holding spoons or 
 larger articles while being engraved. 
 
 The entire arrangement is, notwithstanding its com- 
 plicated appearance, very simple, easily adjusted and 
 understood, and not liable to get out of order. It is a 
 wonderful help to an engraver, and in saving of time and 
 aid to better work, soon pays for the outlay of its pur- 
 chase Other stands have preceded it, and there is an 
 excellent one somewhat similar in general appearance. 
 
GENERAL LETTER ENGRAVING. 
 
 71 
 
 CHAPTER VI. 
 
 I have necessarily treated of the formation of the 
 different styles of lettering with which the student of 
 engraving must make himself familiar. A practical 
 knowledge of how to cut letters with ease, quickness and 
 precision being indispensable to the engraver, whether he 
 is a beginner or an expert, I very naturally devoted a 
 large share of attention to this subject; and as the lessons 
 are intended to be progressive, they begin with the rudi- 
 ments of the art, so to speak, and proceed to the more 
 elaborate and complicated. I have not tried to transcend 
 the limits of plain and practical advice and instruction, 
 and have endeavored from the start to present my subject 
 in as popular a style as the matter would admit, adapting 
 the various stages of the work to the comprehension of 
 every learner who was in earnest in the effort to attain a 
 a knowledge of engraving or to add to what he had 
 already acquired. 
 
 I have laid down certain rules and suggestions for the 
 laying out or sketching and arrangement of various classes 
 of letters, as regards size, proportion and adaptability to 
 space, and also the manner of cutting them to the best 
 advantage and so as to produce the best effect. This was 
 done to train the learner to acquire this very essential 
 branch of the engraving art before attempting anything 
 more ambitious. The practical engraver must thoroughly 
 familiarize himself with the ordinary run of letters, such 
 as will be required in his every-day experience, before he 
 takes up a more delicate and artistic style, which he may 
 not be obliged so frequently to exercise, or which he may 
 
72 
 
 GENERAL LETTER ENGRAVING. 
 
 lack the time or skill to become proficient in. The 
 engraver who has a taste for his work and who pursues 
 his art for the profit as well as the pleasure of it, finds 
 that the bulk of his work must be done according to the 
 methods I have explained ; that the ability to sketch neatly 
 and execute his cutting with a quick, clean, steady stroke, 
 are the chief accomplishments which are most reliable, 
 and which pay the best in ordinary business. ,It will be 
 certainly no detriment for him to be able to accomplish 
 the finer grades of work, on the contrary a great acquisi- 
 tion. Most people are unwilling to go to the expense of 
 elaborate designs, and choose the least expensive. 
 
 The professional engraver who has to please various 
 tastes and execute all kinds of work which his customers 
 require, from the coarse to the finer grades, must apply 
 his skill and endeavor to expertly accomplish his task in 
 a satisfactory manner both to himself and customer, and 
 this will of course, keep him in steady practice in the line 
 of ordinary letter engraving, which I have purposely 
 devoted so much space and time to, to make easy and 
 practical to the learner. 
 
 Having treated at much length on this portion of my 
 subject and given adequate attention to essentials in 
 sketching and cutting plain letters, with occasional direc- 
 tions as to the choice and use of tools and other adjuncts 
 of the art, I will now touch upon a higher grade of 
 lettering, and give a few plain hints and directions as to 
 the manner of its execution. My present instruction is 
 intended chiefly for the benefit of those who are fully com- 
 petent to cut ordinary lettering, which I feel confident they 
 are able to do if they have followed my previous instruc- 
 tions and adopted my advice as to study and practice. 
 
 Combination of lettering requires more than ordinary 
 taste in having it drawn and engraved in a flowing, 
 delicate arrangement. Skill is needful, combined with 
 
GENERAL LETTER ENGRAVING. 
 
 73 
 
 judgment and perfected by constant practice; and these 
 are necessary to the engraver, whatever may be his 
 ability and however perfect his education. No amount 
 of theoretic training or judiciously imparted instruction 
 can compensate or be a substitute for constant and careful 
 practice with a desire and an aim to improve. Let this 
 point never be lost sight of. 
 
 Blending several script capital letters together — for 
 such is the style used more fully, to a certain extent, than 
 
 Plate 21. 
 
 any other for medium work — must be done not only dis- 
 tinctly but the several limbs of the letter should harmonize 
 on all sides. This is what adds to the beauty of the cipher, 
 and for which the designer has to depend upon his own 
 taste and judgment to entwine them, as to copy altogether 
 from books for examples would soon give a tendency of 
 sameness of style. Ideas of any design should be 
 sketched first in mere outline upon a piece of paper, before 
 you design it properly on metal. Then, to give you 
 better style, other specimens are referred to. Thus books 
 
74 
 
 GKNERAL LETTER ENGRAVING. 
 
 are intended to aid you, but to depend upon any book of 
 letters is not quite reliable, as such styles, more espec- 
 ially monograms that in print, are too stiff and do not 
 represent all the requisites of one that is shown in all its 
 flowing form and embellishment. Therefore engraved 
 specimens are far superior to acquire ideas from than 
 printed ones. 
 
 A cipher can be made, when ornamentation is added 
 to the letters, limbs and body stroke, to appear almost 
 equal to a monogram; and some tastes much prefer them 
 to the latter. The regular cipher for ordinary spoon 
 work needs careful study and expertness to develop 
 elaborate formation. 
 
 The foregoing selections of letters have been taken 
 from “The American Text Book of Letters” but modified 
 somewhat to meet the requirements of the present instruc- 
 tion. 
 
 In the first example, Plate 21, tig. 1, the cipher “ H T” 
 is outlined, after which the body strokes are formed 
 in the manner at fig. 2. The cutting can be accomplished 
 by either threading the strokes or the more expert way 
 of beveling the stroke. In doing this the graver is 
 
 C 1 V* O 
 
 inclined to the side and the stroke cut is made very 
 shallow. Fig. 3 shows the letters as they should appear 
 ornamented with little sprigs evenly arranged about the 
 different limbs.. These are produced by short quick 
 light “digs” from the several sides of the limbs of the 
 letters which are easily acquired. Ciphers as a rifle 
 should be so arranged as to stand and read in the regular 
 manner and the delicate hairline curves free from one 
 another, avoiding a tangled mess which is apt to confuse 
 one not acquainted with their structure. 
 
 Fig. 4 represents a more plain and perpendicular style, 
 while fig. 5 gives the arrangement of a larger number of 
 letters, though systematically entwined. Each individua 
 
GENERAL LETTER ENGRAVING. 75 
 
 letter is prominently discerned. Fig. 6 shows the manner 
 in which body strokes are ornamented (bright cut) to 
 produce a showy effect. This is an instance of elaborate 
 style, and is a class of work not remunerative enough, as 
 the ordinary line of custom goes. 
 
 Script letters should be cut with no other tool than a 
 square graver, as flat, or round bellied, or lining tools, are 
 more adapted to other styles of lettering, such as Roman, 
 Old English, or an ornate letter of a conventional type, 
 having broad body strokes where the latter tools can be 
 used more advantageously. 
 
 In copying designs, to produce an exact presentation 
 of a letter, cipher or monogram, etc., upon paper, it is a 
 ready means for the learner or even the skilled artist to 
 accomplish his object by means of the transfer process, 
 I have explained the method of transferring by wax or 
 tallow substance, and taking an impression from an en- 
 graving. No doubt you have traced lines through tissue 
 or tracing paper, and perhaps have even tried to transfer 
 the object or design to another paper. Simple as it may 
 appear transferring by this process may frequently aid 
 you and save time in re-sketching accurately the design 
 you intend to imitate. When the outlined drawing is 
 made on the thin tracing paper, cover the under-side by 
 blacking over with a lead pencil, or other similar material 
 of any color. The tracing paper is then laid on the paper 
 you wish the design drawn upon. Holding the tracing pa- 
 per, blackened portion down, trace the outlines over again 
 slightly with a steel point about the size of a crochet 
 needle, but not too sharp. Each line will be found black, 
 as you desire it for re-sketching, after raising the trac- 
 ing paper. 
 
 This method is resorted to for other purposes, such as 
 transferring upon metal. When you wish to transfer the 
 reverse of a letter, monogram, etc., trace over the outline 
 
76 
 
 GENERAL LETTER ENGRAVING. 
 
 pencil marks with common indelible ink, using a gold or 
 quill pen, then by breathing twice or more on the metal- 
 lic surface of the article press the design against it with 
 your index finger. It will be found that the lines of the 
 indelible ink will adhere and show plain enough to follow 
 with the graver. 
 
 I shall now try to explain another very useful and 
 practical branch of work, worthy of close application 
 and imitation by the engraver, whether he devotes his 
 whole attention to his art or combines it with his business 
 as jeweler. In fact, as I have often tried to impress on 
 my readers, that every jeweler should be able to do ordi- 
 nary work with the graver, and in this way derive profit 
 as well as pleasure from this accomplishment. 
 
 It is of advantage to the learner who has acquired a 
 knowledge of the different alphabets to be fully conscious 
 as to what defects in letters pass usually unnoticed in the 
 hurry of execution, but which are plainly discernable to 
 the critical eye of the expert. The best work is that 
 which is produced easily and rapidly, with good judg- 
 ment as to size and harmonious arrangement, skillful 
 adaptation to space and the conditions of the articles to be 
 operated on, with steady and elegant cutting, in body 
 strokes, curves and ornamentation. 
 
 When articles of almost any kind are presented you to 
 be marked with a name or initials, required to be done in 
 a passably good manner, your first consideration is the 
 style of letter to be employed and the position and manner 
 where the inscription should be placed. You will have 
 to be guided by the make-up of the article, so to speak, 
 where to place your letters to the best advantage, and 
 having decided this point, you proceed to sketch your 
 letters according to what you have previously been 
 taught in this series, and which we shall assume you are 
 competent to do with reasonable expedition. You must 
 
GENERAL LETTER ENGRAVING. 
 
 77 
 
 perceive, through the skeleton outlines which you have 
 drawn on the prepared surface, the exact place where a 
 curved line or body-stroke should be cut. Next, you 
 have to consider that due proportion is given to the 
 letters during the process, that they may not be made too 
 large nor the incisions too heavy. Recollect, that the 
 faintest lines are all that is required, and these must be 
 evenly cut and the shaded strokes finished off nicely. 
 
 To entwine initials within a circumscribed space so as 
 to make them appear well, it will be necessary for you to 
 exercise some taste as to the matter of arrangement, and 
 to perform your work with rapidity, enhances its value, 
 inasmuch as it imparts to you a sense of satisfaction. If 
 the cipher is distinctly made and free from too many cur- 
 vatures, gracefully interwoven in its several parts within 
 each other, much is added to its beauty. The letters 
 may be made elongated or extended according as the 
 space upon the article will admit. 
 
 You may be required to cut, for instance, upon spoons, 
 forks, etc., where there is a concave or convex surface, 
 wherein the task of cutting becomes more difficult. It is 
 apparent that to engrave well on such surfaces, you must 
 not only handle the graver skillfully in producing the 
 cuts, but a greater than ordinary degree of knowledge is 
 requisite to make the curved parts readily and in good 
 proportion. 
 
 It is sometimes necessary to introduce several devices 
 or styles in the arrangement of letters in order to make 
 them appear to the best advantage. Spoons, forks, etc., 
 which present such a diversity of patterns, will admit of 
 this, and the specimens shown in Plate 22, taken at ran- 
 dom from the writer’s samples, may aid you to an under- 
 standing of the variety of the forms to be engraved on f 
 and in adopting the correct manner of placing the initials 
 or name on this class of work: 
 
78 
 
 GENERAL LETTER ENGRAVING. 
 
 In this plate, you will observe the many spaces in 
 which lettering is required to be engraved ; and though it 
 is but ordinary work, yet the amateur will often fail to . 
 plan and engrave his letters without patterns to be guided 
 by. Thus it proves an important matter to be able to 
 perceive instantly the style of lettering best adapted and 
 the easiest manner of engraving it upon the surface 
 of the article, of whatever pattern, brought to you to be 
 marked. Comprehending at a glance the difficult sur- 
 faces, you can evade them by recommending to your 
 customer the style of lettering you deem the best and 
 easiest, which will consume perhaps only half the time 
 to do it which a more difficult one would require, with 
 the same remuneration. For example, we take the 
 plain script at fig. 7. It can be executed much more 
 rapidly than if they were the same initials entwined, as 
 shown at figs, 3 and 8, they being on fiat surfaces or 
 nearly so. Yet at fig. 5, on account of the peculiar 
 pattern, with its convex surface the letters would be 
 about as difficult to execute as the ciphers referred to — 
 Figs. 3 and 8. 
 
 The plain, tipped pattern at fig. 2, or shell pattern 
 shown at fig. 6, would be much easier to engrave in that 
 manner than those below them, figs. 9, 10 and 11, 
 which are embossed fancy patterns, with uneven surfaces. 
 Fig 6 would be as difficult if the letters were engraved 
 lengthwise, as those patterns, owing to its embossed 
 shell interfering with the stem of the graver while* 
 cutting the letters. However, the manner of engraving 
 the lettering in the lower patterns, figs. 9, 10 and 11, 
 seems to be the prevailing style for all “ unique” solid 
 silverware; also with such ware as Japanese patterns, 
 the front being oxidized, the reverse (back) being plam 
 and usually engraved longitudinally, as in the latter 
 mentioned styles. 
 
Plate 22. 
 
 GENERAL LETTER ENGRAVING. 
 
 79 
 
8o 
 
 GENERAL LETTER ENGRAVING. 
 
 It is to these points you should direct your ideas, and 
 familiarize yourself with other practice, so that you will 
 be prepared to execute with dispatch anything presented 
 in the foregoing lines to be marked. 
 
 Figs. 4, 12 and 13, as you will observe, are patterns 
 with engraved ornamentation, and the lettering on these 
 must be graded accordingly, as shown. Fig. 1 is 
 intended to represent how a name can best be made to 
 appear on a flat surface in preference to a cipher, and the 
 mode of doing so is too apparent to need explanation. 
 The shape of the article is the guiding point in every 
 instance. 
 
 Of the several alphabets that engravers use, and whose 
 formation they must consequently well understand, script 
 is the most difficult to acquire a working knowledge of. 
 The script style is used by engravers to a greater extent 
 perhaps than any other ; and this fact alone should demon- 
 strate the necessity, even urgency, of laying stress on the 
 best means of learning the principles which govern its 
 formation. How many engravers there are who find 
 their lettering in this line imperfectly made, and who can 
 not, for some reason produce the desired effect, compared 
 with some good specimen sample which they have per- 
 haps casually observed, though they imagine their work 
 is skillfully done. 
 
 In all probability excellent specimens of script, such as 
 attract the notice and awaken the envy of imperfect prac- 
 titioners, whether in cipher or inscription, have come from 
 some of the large cities, some establishment, shop or 
 factory, where engravers are constantly employed upon 
 the several classes of work — perhaps one or all that cover 
 lettering, according to the rank the artist has attained, 
 viz.: he may be engaged on the fine class of work, such 
 as cutting script, or Roman, old English, block lettering, 
 used principally on inscriptions, or at larger work. 
 
GENERAL LETTER ENGRAVING. 8 1 
 
 Engraving these styles upon door plates, metal signs, etc., 
 constitutes very useful departments of the art; then, again, 
 excel at monogram engraving. But to be able to execute 
 all these in a high order is characteristic of the skilled 
 workman. 
 
 Apprentices employed in these establishments have to 
 undergo a thorough training, extending ordinarily over a 
 period of some years. It is this term of severe drill and 
 instruction which makes them experts — not as the self 
 taught engraver imagines, having become proficient at 
 penmanship, and having a few months’ practice with a 
 limited supply of gravers, which he thinks will enable 
 him to produce good lettering, according to his own ideas 
 or those of some one who knows as little or less about it. 
 This misconception, which is radical and highly detri- 
 mental to progress or the acquisition of sound rudimentary 
 knowledge, is the underlying cause of most of the imper- 
 fect lettering which offends our taste under the name of 
 engraving. 
 
 To the anxious and conscientious instructor who 
 observes the failure of those who are nominally under his 
 tuition, the question will ever recur: Has the self-taught 
 practitioner commenced the acquisition of the art as the 
 apprentice referred to is obliged to do ? Can he draw 
 the several alphabets, especially the script, i. e . round 
 hand, devoid of all flourishes, in a correct and symmetrical 
 form ? 
 
 In the latter work, which may appear simple to those 
 who do not understand it, great skill is required to form 
 the curved portions, limbs of letters, etc., to appear neat 
 and in correct proportion, and to make the combined 
 lettering properly sloped and at an appropriate angle. 
 Hence the apprentice is obliged to practice, at great pains, 
 to perfect himself for several months in drawing, design- 
 ing and shaping these various styles of lettering, before 
 
 ' 6 
 
82 
 
 GENERAL LETTER ENGRAVING. 
 
 he is allowed to properly commence to cut — from the 
 simplest lines to the boldest ones that produce formation — 
 thus building his ideas in cutting from fundamental prin- 
 ciples, hence the result, like everything in the art that is 
 to be done well, lettering must be acquired by analysis. 
 
 I would suggest a few more points before entering on 
 an extended explanation of the principles of correct 
 lettering, which will familiarize the reader with the custom 
 and surroundings of our work at the bench. In the 
 following illustration will be seen the engraver diligently 
 at work upon some piece of jewelry where the lettering 
 is to be cut fine and requires the aid of the glass. 
 
 He is apparently at ease, and in about the right posi- 
 tion to facilitate his cutting — 
 sitting at a curved table so 
 constructed as to provide all 
 conveniences while at work — 
 it may seem simple enough to 
 ordinary persons to consider 
 such matters, but even trifling 
 affairs may have a bearing or 
 influence in aiding the work. 
 The matter of getting a right start is a point of great 
 importance, of which I have spoken in some of the 
 earlier chapters; but with few exceptions, of the many 
 other tools necessary for all special portions of work, 
 such as the different widths of flat, lining and other 
 gravers, to produce the effect of such lettering as will 
 be observed in the examples to follow hereafter. An 
 engraver should not hesitate to supply himself with all 
 tools and convenient articles pertaining to the business. 
 Experience has taught me that often while at work 
 you need some peculiar graver (or something else), 
 to aid you in the work, whereby much time might be 
 saved. 
 
GENERAL LETTER ENGRAVING. 
 
 «3 
 
 Now-a-days almost everything required can be reasona- 
 bly obtained, and those who are not acquainted with the 
 articles they need, and know little about the business, 
 better leave the selection of articles to an instructor and 
 have their tools prepared for them. Then if they choose, 
 after a course of instruction, tempering, etc., they can be 
 guided by superior patterns, which the well-posted 
 engraver who supplies outfits will furnish, his judgment 
 in such matters is the best and should be implicitly fol- 
 lowed. It is the same in the matter of text books. It is 
 only a few standard works of undoubted authority where 
 selections can be profitably made, and where the speci- 
 mens can be relied upon to furnish correct examples for 
 the engraver who has not the hand and eye of a master 
 to guide and instruct him. 
 
 Regularity is an indispensable requisite in the matter 
 of laying out lines of lettering and in the arrangement of 
 scrolls about them. As an aid to the proper arrangement 
 of lettering, the learner would do well to trace guide 
 parallel lines correctly on the surface of the article, equal 
 in number to the lines of lettering intended to be pro- 
 duced. These must be laid down in due order and taste, 
 so as to enable the learner to cut them easily and nicely, 
 and in harmony with one another throughout the inscrip- 
 tion. This is the chief starting point, and one on which 
 great stress should be laid; and the primary endeavor 
 should be the marking of precise lines. 
 
 In Plate 23 will be found specimens of inscriptions and 
 the manner in which they should be formed. The first 
 two are somewhat limited in wording, while the latter 
 shows the several styles of lettering that can be used 
 tastefully throughout, to bring prominence to each line. 
 If, by chance, either a plain or elaborate style should 
 be selected, it might be best known how to adopt let- 
 tering for such style ; yet a greater or less display can 
 
GENERAL LETTER ENGRAVING. 
 
 Plate 23. 
 
GENERAL LETTER ENGRAVING. 
 
 85 
 
 be made according to the size of the inscription. Even 
 if you have some knowledge of the proper shapes of 
 letters and a fair idea of the manner of cutting them, 
 you may be perplexed in laying out an inscription with 
 precision and proper order, and in cutting it with pro- 
 portionate exactness as shown at fig. 1. Experts care- 
 fully compass the different lines upon a prepared sur- 
 face, using great pains as to size of letters and spac- 
 ing, After the wording is sketched out with a wooden 
 marker, some retrace them over with a steel point to 
 prevent the lettering from being rubbed out while the 
 work of cutting is in progress. Body-strokes are cut 
 first, throughout a line, one way — downwards — and fin- 
 ished in a similar way, by reversing the article wrought 
 upon ; then the hair lines are cut in similar order. This 
 method insures the cutting of even strokes throughout the 
 line. Then you have also to consider the arrangement 
 of the several styles of lettering, using those only that will 
 be in keeping with the whole. 
 
 If the inscription consists of but a few lines, the down- 
 ward cutting of the body strokes is usually made all 
 through the several lines. In this way all the lettering is 
 made regular and on a proper angle. After this the 
 flourished lines are added from the top to the bottom, 
 made to balance on either side in oval proportioned curves. 
 A similar method of treatment is applied in cutting the 
 inscription shown at fig. 2, where a diversity of styles of 
 lettering is introduced. 
 
 Finishing each letter separately, or cutting from defec- 
 tive tracing, not only leads to irregularity in shape and 
 size and deviation from parallelism in the lines, but the 
 cuts will be dissimilar in width and angles. I have seen 
 self-taught engravers cutting an inscription in all sorts 
 of ways, English, Roman or ornamental styles, but they 
 invariably fail to produce a regular or agreeable effect. 
 
86 
 
 GENERAL LETTER ENGRAVING. 
 
 In adding other kinds of lettering, as in the first and 
 second lines of fig. 2, a flat tool of the width of the stroke 
 is used to cut the heavy strokes out smooth, which 
 enables the operator to finish such lettering more easily 
 and regularly. In the large inscription, fig. 3, attention 
 is directed to the manipulation displayed in the different 
 tool work, wherein skilled and delicate workmanship is a 
 necessary requisite to produce effective and artistic 
 strokes. The plan of wriggling well-proportioned letter- 
 ing produces a handsome and graceful appearance, 
 when performed by a hand that wields the graver with 
 dexterous precision; but this achievement is not so easy 
 of execution as a person of little experience or limited 
 skill may imagine. It is a nice matter to make such 
 strokes so as to make them show up throughout a line 
 even and without defect. None but a practiced hand can 
 succeed in doing good work of this description. 
 
 Let us now take, for instance, Old English, or other 
 style of lettering somewhat similar in method of execu- 
 tion, and consider the best manner of cutting such. The 
 perpendicular body-strokes (leaving out the angular or 
 curved portions at top and bottom,) should be cut first. 
 Observe that the top and bottom angular strokes are made 
 a trifle wider, so as to give prominence to the letter at 
 either end. These angular portions, (more noticeable in 
 the lower case than in the capitals,) must be produced with 
 systematic regularity. The point at the top of the letter 
 should be placed directly over the left side line of the per- 
 pendicular body-stroke, while that on the bottom should 
 lie directly beneath the right side line. These points may 
 appear trifles, but they are very essential, and if attended 
 to will be found of importance in guiding the cutter to 
 correct forms and a harmonious appearance in a line of 
 such lettering, and will impart a finished effect on the 
 inscription. 
 
GENERAL LETTER ENGRAVING. 
 
 87 
 
 The same flat tool is employed upon the third, fifth 
 a^d seventh lines of fig, 3, while the first and fourth 
 require the use of a similar tool, but having the cutting 
 edge a trifle wider. To produce the heavy sideline, nec- 
 essary to all such lettering, as in the second line of the 
 same figure, whether the face of the letter is either plain, 
 shaded or ornamental, for effect, a two-line lining tool is 
 used, and the work wriggled in the manner described in 
 using a flat tool is more frequently applied on such work 
 and in cutting the line out smooth. 
 
1 
 
 Plate 24. 
 
GENERAL LETTER ENGRAVING. 
 
 89 
 
 CHAPTER VII 
 
 HE few specimens of cipher work which are pre- 
 
 sented in Plate 24, are designed to show styles of 
 script capital letters for ciphers, and the manner in 
 which they can be intertwined, with ornamental finish 
 appropriate to each group. 
 
 The learner should attentively consider these speci- 
 mens, especially as to the peculiarity of their form, com- 
 bination and ornamentation, in order to be able to utilize 
 his knowledge when similar pieces of work are pre- 
 sented to him for execution. He must notice where a 
 heavy or light shade is given to produce ornamentation, 
 and copy these examples until he produces the requisite 
 effect. To be able to execute such work one must have 
 practice in scroll engraving. It is not to be supposed 
 that a student would be advanced enough to sketch and 
 engrave any form of cipher with all its characteristics, 
 in the manner of a skilled hand, without some knowledge 
 and practice of details beforehand. So it is with orna- 
 mentation, which calls for trained ideas, skill and taste, 
 in regard to the shape of the line, scroll, etc., also the 
 manner of using the tool, making those quick, accurate 
 curves which alone produce finished cuts. 
 
 Ciphers of light but neat and artistic embellishment, 
 owing to the small amount which customers are willing 
 to expend, though at the same time desirous of having 
 handsome lettering engraved on their articles, form ex- 
 cellent substitutes for monograms, which being more 
 elaborate, consume much more time without correspond- 
 ing remuneration. 
 
9 o 
 
 GENERAL LETTER ENGRAVING. 
 
 Fig. i represents a style that can be used upon jewelry 
 or articles of silverware of medium engraving space, such 
 as a spoon, a small shield, a fruit-knife, a match-box, 
 watch, napkin-ring, etc. Figs. 2 and 3 are better adapted 
 for larger space. Some people prefer them to mono- 
 grams in having their initials engraved on a plain sur- 
 face, such as a watch case. To execute them nicely, 
 especially the style shown in fig. 3, requires about the 
 same amount of labor as a monogram. That shown in 
 fig. 2 produces a handsome effect upon a plain polished 
 surface, such as a watch-cap; and it has, when done 
 smoothly, the appearance of being raised. The same 
 method is employed to finish the letters as if they were 
 interwoven into a monogram. 
 
 This style of engraving, of simple lining, of different 
 widths, lengthwise of the letter, in the form of either 
 cipher or monogram, is one of the latest prevailing 
 styles. The letters are first outlined with a square 
 graver, and then gone over again with a polished hat- 
 bottom tool. In the case of the cipher — the work we 
 are considering — when finishing the letters, the tool in 
 cutting the incision is made to bevel towards the center 
 of the stroke, all around, using the flat tool when the 
 cutting is to be finished heavy, as will be observed on 
 the righthand side of these cipher letters. The fine 
 lines that run throughout the centre of the strokes 
 should be made so as to not quite touch each other. 
 In using either the graver or the flat tool, during the 
 process of the finishing, the flat portions of the tool 
 should be polished. If a monogram is to be engraved, 
 similar lines are finished alike on each letter, the only 
 difference being that a heavy shade should be cut all 
 around (on both sides of) the monogram’s stroke, 
 instead of confining the shade to one side only, as in. the 
 case of the cipher. 
 
GENERAL LETTER ENGRAVING. 9 1 
 
 The cipher would appear to the generality of people 
 as desirable for purposes of ornamentation as a mono- 
 gram, and yet there is a material difference in the con- 
 struction and execution. Matters of this kind must be 
 thoughtfully considered by the engraver, else the extra 
 time consumed in performing a job, if the design is ex- 
 ecuted in the best style, would be practically wasted; 
 whereas, as far as the customer is concerned, not ap- 
 preciating the difference, the engraver might as well, in 
 the first instance, have adopted a simpler style of letter 
 and form of embellishment, which might not take him 
 over a quarter, or one-half, the time to execute, for the 
 same price. In any case, the engraver must be expert 
 and quick in finishing off his monogram, or in the sub- 
 stitution of a style that pays within the price set for the 
 work. I have seen some engravers who were dexterous 
 enough in working on a monogram and comparatively 
 slow in cutting cipher, or on inscription work, by reason 
 of practical skill in the former and being inexperienced 
 in the latter. However, it is chiefly to the learners that 
 I address myself in these pages, who build up their 
 ideas from what they see, and hope for success in course 
 of practice. 
 
 The following example of monograms are intended to 
 bring to the view of the learner a representation of the 
 step of transition from the group of ciphers given in the 
 preceding pages, to afford a chance for observation and 
 comparison. These are selected more for their face em- 
 bellishment than as being strictly in accordance with pre- 
 cision of design in the matter of intertwining. 
 
 These monograms are suitable for plain surfaces, such 
 as watch cases, silver-cased mirrors, silver-backed brushes 
 or other such articles, and are best adapted for an oval 
 or oblong space, where the combined letters will show to 
 the best effect. 
 
9 2 
 
 GENERAL LETTER ENGRAVING. 
 
 It will be observed that each group of lettering has 
 ornamental scroll work, given merely as an additional 
 embellishment to the form. This may appear to com- 
 plicate the formation of the letters and render them more 
 difficult to design and cut; but the learner must not be 
 discouraged by this seeming difficulty. Let him first 
 study the form of the letters, without their ornament, 
 
 Fig. d. Fig. 3. 
 
 Plate 25. 
 
 and then go over the combined group and observe how 
 the scroll work is added and try to appreciate its effect. 
 Then, when familiar with these examples, he may try 
 to design others of his own creation or fancy, and add 
 the ornamentation as before ; only take care to give each 
 letter its appropriate shape and relative prominence in 
 the figure. The dominant letter of the group must be 
 treated as such, and not sacrificed at the caprice of the 
 designer, to the elaboration of its subordinates. 
 
GENERAL LETTER ENGRAVING. 
 
 93 
 
 In designing scrolls in connection with such lettering 
 as above, it is necessary to produce them in graceful, 
 rolling curvatures, and judiciously employed, so as not to 
 crowd the space about the letters. If a vine or ovaloid 
 tapering scroll is requisite to fill up spaces and add to the 
 effect of letters, it should be made light, and with har- 
 monious uniformity. 
 
 The polished square and round gravers are used to 
 great advantage in this work ; also flat tools and lining 
 gravers, to some extent. Of the latter there are many 
 sizes, of different degrees of fineness and closeness of 
 line. With those the finish is made effective when they 
 are called into use by the nature of the work. 
 
 Fig. i, Plate 25, — C P B — will present a pleasant ex- 
 ercise for the learner for designing and cutting. The 
 parallel lines in B should be finely shaded, and bright, 
 effective, even “digs” and ornaments should afterward 
 be put in. The same rule applies to the B in fig. 2 — B 
 S C — but the C should be shaded the most conspicious, 
 and the ornamented parts of S are to be brought out in 
 relief. Fig. 3 — J. B — has the handsomest embellishment 
 of the three specimens, and some careful study is required 
 in the tool work to do justice to such a design. 
 
 My readers who have endeavored to imitate the speci- 
 mens contained in the preceding pages, must have ex- 
 perienced a measure of success in proportion to their 
 ability to design them correctly. If not properly sketched, 
 however well the graver has been handled, the result 
 can not have been satisfactory. Perfection in designing 
 is an aim important enough to engage the ambition of the 
 learner, and an indispensable requisite in the pursuit of 
 his calling. The draughtsman who can form his lines 
 and curves accurately and in harmonious arrangement, 
 could never do so if he had not practiced his art a long 
 time, and it is so, in a great degree, with the engraver. 
 
94 
 
 GENERAL LETTER ENGRAVING. 
 
 In laying out a monogram, first design it as correctly 
 as you can. Learn to do this rapidly and neatly. You 
 may not succeed on the first attempt, or several attempts, 
 but keep on trying and you will soon improve so as to be 
 tolerably skillful. Do not fall into careless habits; you 
 must rigidly adhere to the rules, and endeavor to do your 
 best every time. You gain ability by degrees, and will 
 wonder how easily you improve on your first crude efforts. 
 
 When you have formed the outlines of a monogram 
 on paper to your satisfaction, you can improve on it as 
 you lay it out on the prepared surface of the metal with 
 the wood marker. This process needs great care, for 
 if you commit any errors in this part of your exercise 
 you will reproduce them indelibly on the graved figure. 
 But there is no excuse for blundering. Try and be ac- 
 curate, at least, even if you can not produce nice work. 
 That will come later. 
 
 The figure engraved, whether cipher, monogram or 
 other device, should be so cut so as to have some ap- 
 pearance of relief, such as may be produced by the pen- 
 cil in drawing. All this can be seen and comprehended 
 at a glance on examining a piece of good engraving. 
 Observe a thin gold watch case, having engraved bevel 
 shields, scrolls, flowers, etc., thereon, and you will per- 
 ceive an apparent solid, deep cutting of the designs, but 
 they are actually and necessarily cut with very shallow 
 strokes. This illusion is useful for effect, and it must 
 be thoroughly studied and mastered, as all monogram 
 work where bright cutting is required demands the bevel 
 method. Heavy cutting would be very likely to show 
 through the case, even if the latter were of passable 
 thickness, and this error can be avoided by taking the 
 necessary precautions. 
 
 The following examples of monograms furnish differ- 
 ent styles of face embellishments. In Plate 26, fig. 1 — 
 
Plate 26 . 
 
 95 
 
 GENERAL LETTER ENGRAVING. 
 
96 GENERAL LETTER ENGRAVING. 
 
 P T F — the shading in the letters P and F are pretty 
 much alike, but the lines in P are horizontal, while those 
 in F run diagonally. Either one of these letters requires 
 care and nice handling to cut the lines true, so as to ap- 
 pear equal throughout. After the letters are outlined, you 
 should recoat the surface and trace the lines as you want 
 them to appear, with the aid of a flexible steel straight 
 edge, graduated. These lines must not be marked too 
 close together, because if left far enough apart they will 
 act as guides, and the eye being trained, you can easily 
 cut one or two lines between the ones so laid out. 
 
 After sufficient practice these lines can be cut very 
 rapidly. The less retouching or recutting your lines, the 
 better your work will appear. The shading has a 
 brighter appearance when commenced at the top and 
 worked downwards. The work may be just the same 
 in the reverse operation and yet the difference is quite 
 perceptible. 
 
 Such ornaments as beautify the strokes of the letters, 
 as I mentioned in the preceding pages on the topic of 
 embellishment, are added later. This applies also in the 
 case of letters which engravers call open-faced. 
 
 Fig. 2 — R V W — makes a handsome monogram of 
 the simpler ornate kind. The shade lines in W are made 
 closer than in those just referred to above. The orna- 
 mentation in V is coarser for the sake of contrast, and 
 made with a fine flat tool. The ornaments on R are pro- 
 duced by keen cuts of the square graver from the center 
 of a circle in the manner of sun-rays. They are very 
 effective when systematically done, either on a plain or a 
 satin-finished surface. 
 
 Fig. 3, the four letter monogram — W B G R — has 
 upon two of its members a considerable amount of orna- 
 mentation, each necessarily distinct in this particular. The 
 black lines in the letters represent the cuts on the metal 
 
GENERAL LETTER ENGRAVING. 
 
 97 
 
 in these as in the preceding examples. In the dominant 
 letter R, the dark portion is supposed to represent “digs” 
 made with the square graver, cutting the surface away 
 and leaving the white herring-bone center running through 
 the letter. After a little close observation, almost any 
 engraver can see how this work is done 
 
 Fig. 4 — 1887 — is what may be termed a cipheroid 
 monogram, and with its pretty circular border, makes a 
 handsome combination. It is, as will be apparent at a 
 glance, composed of shaded scroll lines throughout, and 
 differs in this respect from the preceding groups. Simi- 
 larity and evenness of design are here requisite. Many 
 designs, like the border of this figure, variable in pattern, 
 may be observed in the outer surfaces of watch cases. 
 
 Plates 27 and 28 show two specimens of monograms 
 somewhat different from the examples shown hereto- 
 fore. 
 
 It will be noticed in the monogram T J S — Plate 27 — 
 that there is not a great amount of work placed upon the 
 face of the letters, the principal feature being the peculiar 
 manner and exactness of detail in which the embellish- 
 ment is executed. While the T is cross-lined, the J is 
 left plain, except the addition of a hair-line running around 
 the inner edge, and a few dots, evenly spaced, throughout 
 to relieve the monotony of uniformity. The dominant 
 letter S has minute beaded circlets on its surface, which 
 in the engraved letter on metal are left in bas-relief while 
 the surrounding portions of the surface are cut away with 
 a square graver. These little rings are marked out with 
 a steel point at first, then an inner line is cut around, simh 
 lar to the lining of the letter J. The rings are then picked 
 around with the graver, and finished by cutting a little dot 
 from the center of each with a dotting tool. 
 
 All the shaded portions and the little ornaments on 
 the outside of the letters must be carefully observed and 
 
98 GENERAL LETTER ENGRAVING. 
 
 minutely attended to. No dot or stroke should be 
 deemed by the learner too trivial to reproduce, as they 
 are, each and all, distinct and material adjuncts of the 
 complete letter. 
 
 The rules as to drawing and cutting are about the 
 same as in the case of previous combinations of letters. I 
 presume my readers have paid attention to these obvious 
 instructions, and that needless reiteration is obviated. 
 When the subject demands it, particular directions as to 
 designing and cutting will be given. 
 
 In Plate 28 — 1887 — a difficulty is presented at the 
 start in the matter of intertwining, by reason of the num- 
 bers 1 and 7 being both perpendicular in their main por- 
 tions. This is met by the peculiar shape given to the 7 » 
 
 Plate 27. Plate 28. 
 
 which, while it makes a handsome, even if slightly fan- 
 tastic and far-fetched figure, varies gracefully from the in- 
 evitable perpendicularity of the unit figure. This device 
 must be resorted to also when two or more letters present 
 a similar dilemma by reason of uprightness of formation. 
 They must be twisted and curved in such a manner as to 
 secure diversity in the combination. Observe the same 
 peculiarity and the mode of arrangement in the case of T 
 and J in Plate 27. These examples will give a fair idea of 
 treating letters and figures that approximate in shape. 
 
 The two figures 8 are usually made similar in form, 
 while the 1 and 7 require different shading. The domi- 
 nant figure should receive the more elaborate treatment. 
 
GENERAL LETTER ENGRAVING. 
 
 99 
 
 The style of embellishment suitable for either of these 
 specimens may be varied according to the circumstances 
 of each particular piece of work, or the learner may exer- 
 cise his ingenuity in this direction, by drawing several 
 designs, each with different ornamentation. So long as 
 the work is done in good form, the style of ornament is 
 immaterial. Bizarre and incongruous ornate fancies are, 
 however, to be avoided. Every step taken by the en- 
 graver must conform to good taste. The formation of 
 the designs and outlines are the prime points in this work, 
 to which all subsequent details must be subordinate. 
 
 In pursuance of the subject of monogram engraving, 
 there is a source of danger against which I wish to cau- 
 tion the learner. To guard against it will require a de- 
 gree of care and delicacy of handling which will be amply 
 repaid if the trouble be obviated. This is in the matter 
 of engraving monograms on elegant and costly articles 
 highly polished, or of Etruscan finish— especially the 
 latter. 
 
 I was peculiarly sensitive and nervous on this point in 
 my early attempts at monogram engraving on the class 
 of articles mentioned. It was my fate to have to deal with 
 articles of very delicate and difficult workmanship, which 
 called for the most thorough and elegant engraving, at a 
 time when my knowledge of the theory and practice of the 
 art were far from being perfect. But the work had to be 
 done, nevertheless, and I was obliged to meet and master 
 the difficulties of the situation. 
 
 As the same trouble may possibly beset the readers 
 for whose benefit these pages are written, it may be well 
 to point out how to proceed under similar circumstances. 
 Those who learn under the eye of a master are necessarily 
 posted on this subject in the course of their instruction. 
 
 When the monogram is designed in a careful and cor- 
 rect manner, on the class of work referred to, and the 
 
IOO 
 
 GENERAL LETTER ENGRAVING. 
 
 graver is brought into play, the most careful and exact 
 cutting is required on the strokes of the letters, and the 
 slightest slips or scratches must be rigidly avoided. The 
 design must be, in the first place, clear and accurate, and 
 the cutting must follow the lines so marked out without a 
 particle of deviation. Any slight defect or scratch in the 
 cutting will spoil the effect of the work unless it can be 
 remedied, and it is such cases where the attempt to 
 correct a trivial blunder or slip is hazardous or imprac- 
 ticable. The color of the gold being brought to the sur- 
 face by an operation well known to gilders and jewelers, 
 it forms, so to speak, a thin coating or crust, through which 
 even a slight scratch or incorrect cut will show distinctly; 
 and it cannot be erased by the burnisher, as it would 
 spoil the effect in the case either of a polished surface or 
 deadened Etruscan finish. On the Etruscan, or satin fin- 
 ish, the process of erasing, a scratch or cut by the bur- 
 nisher is even more difficult than on a polished surface; 
 for on the latter some effort at correction is possible, and 
 very slight scratches may be obliterated by the burnisher, 
 though the surface be left impaired; while in the former 
 case, the burnisher will change the nature of the surface, 
 and its use is therefore unauthorized. Burnishing on 
 satin-finish, to rub out erroneous cuts, therefore only sub- 
 stitutes one kind of blunder for another. When a scratch 
 or false cut is made on the deadened surface of gold 
 work some artists imitate the ostrich when pursued, 
 which hides its head in the sand, and leaves its body ex- 
 posed to the hunter. That is, they improvise a scroll or 
 some quasi-ornamental work to cover the fault, but usu- 
 ally leave a conspicuous evidence of failure plain to be 
 seen. Such work manifestly appears to have been 
 touched over to conceal a defect. 
 
 As we have seen, a light scratch or line made by a 
 graver or steel point may be erased by the use of a 
 
GENERAL LETTER ENGRAVING. 
 
 IOI 
 
 polished burnisher, or by rouge with a hand or wheel- 
 buff; but these appliances must be used to only a limited 
 extent, otherwise creases or ridges will be perceptible. 
 For instance, if a deep cut were made on a watch case 
 with the graver, where no engraving or ornament was 
 necessary or allowable, the cut would have to be filled 
 out, and the case would have to undergo repolishing. 
 
 To the engraver who has but little experience of mono- 
 gram work, the preceding hints may be suggestive and 
 useful, as upon any work there is always a liability of 
 making scratches, more or less serious; but when these 
 occur on very fine work, or on surfaces that must not be 
 tinkered with, the necessity for the exercise of caution 
 becomes emphasized. Any engraving, however well 
 done, will present a faulty appearance if the cutting is 
 not made clean, regular and distinct in all its parts, and 
 this is especially so where the surface is peculiar and will 
 not bear any marring or trespass. 
 
 If care is taken in handling and laying out the design, 
 much is gained, not only in effective production, but even 
 moderate specimens of workmanship show to greater 
 advantage if the surface of the metal is kept free from 
 defects; and if polished, this polish must be carefully pre- 
 served. When working on small polished articles, such 
 as a locket, a watch-case or piece of plate, a piece of 
 chamois is usually interposed between the article and the 
 pad on which the work is done. Even then, the constant 
 turning in the course of engraving will cause the surface 
 to become slightly scratched, and these scratches, how- 
 ever infinitesimal in point of depth, will mar the beauty of 
 the article. To obviate this, engravers trim a piece of 
 paper of about the size of the article and gum it on the 
 lower or reverse side, and in this manner wholly prevent 
 any marring or scratching of the surface. When the 
 work is complete, the paper and gum are easily washed off. 
 
102 
 
 GENERAL LETTER ENGRAVING. 
 
 I referred to the difficulty presented in intertwining the 
 members of a monogram where two of the letters or 
 figures, as the case may be, exhibit a general similarity 
 in shape. The perpendicular strokes were difficult to 
 entwine, and so in the case of the mongram made from 
 the letters J T G, (Plate 29,) a script form of letter is 
 introduced, and by a very slight alteration, by making the 
 top of the letter T smaller, and by taking off the inner 
 curve encircling portion of the J, it would answer as J J G. 
 This feature will be observed in the matter of intertwin- 
 ing all such letters having general similarity of outline, 
 such as J J, J L, I I, and others. A script style or odd form 
 of letter must be adopted, topreserve 
 harmony by creating variety. 
 
 In ornamenting the face of the 
 letters, the discretion of the de- 
 signer is left to be exercised, as 
 taste and invention have to be devel- 
 oped. The principal point consists 
 in making the last letter the most 
 conspicuous; the others may be left 
 to the engraver’s fancy or judgment. Much depends upon 
 the remuneration received for the work, as the workman 
 cannot waste his time, for trifling compensation, in mon- 
 ograms of intricate design and elaborate finish. 
 
 It frequently happens that it is quite difficult to form a 
 monogram that will be at once neat and accurate, on 
 account of the shape of the letters which must be inter- 
 twined. In the real work this often occurs, as then we 
 can not select our letters, but have to deal with those sub- 
 mitted to us; and in practice we have tp accustom our- 
 selves to realize this possibility and arm ourselves against 
 it. The chief way to accomplish this is to practice on 
 letters difficult to combine and vary their forms and 
 arrangement to suit active use in emergencies. 
 
 Plate 2g. 
 
GENERAL LETTER ENGRAVING. 
 
 103 
 
 Amateur designers aim to select styles or shapes of 
 letters to combine with others, which produce a flowing 
 and graceful effect, but in such cases the principles of 
 formation are often violated or ignored. Art is inexora- 
 ble and no departure from correct standards of form, no 
 infringement on proportions of arrangement, can be toler- 
 ated . If these matters were studied and considered more 
 closely, so as to enable the amateur or learner to become 
 familiar with them, combinations of letters would not alone 
 be more readily understood, but practical and precise 
 arrangement would be much facilitated. 
 
 For instance, three letters of a kind, of the same gen- 
 eral tendency of structure, may be required for inter- 
 twining. Should the form and finish of such letters be 
 made alike, even if faultless in design, the result would 
 be indistinct and unsatisfactory. It is obvious that in 
 such a contingency some one or more of the letters 
 require modification of outline, and it is here where the 
 skill and originality of the designer come into valuable 
 requisition. 
 
 Another point: Some letters, component parts of mono- 
 grams, are made with their limbs twisted around the 
 strokes of other letters, and in some cases, owing to pecu- 
 liarity of form, this style is unavoidable; but good taste 
 demands that limbs of letters should run over and under 
 adjacent portions of others, alternately, in regular order, 
 so as to lap gracefully. 
 
 The outlined specimens are intended to convey the 
 idea and impart the method of forming odd combinations; 
 that is, grouping letters in a monogram, which from the 
 peculiarities of their structure, are not easily entwined to 
 advantage. How this trouble is obviated is better shown 
 by sketches or diagrams than by any reasonable amount 
 of verbal description. An object lesson teaches easier 
 and faster than a lecture or disquisition. 
 
104 GENERAL LETTER ENGRAVING. 
 
 The combinations presented in Plate 30, are made 
 severely plain, for the benefit of learners. They are not 
 designed as models of elegance, but are easily susceptible 
 of elaboration and ornate development, so as to appear 
 finished specimens. Superfluous ornamentation in dia- 
 grams for purposes of plain instruction would be incon- 
 gruous and out of place. Neither are they what we 
 would term good letters to select for a monogram, or as 
 having requisite gracefulness and development of por- 
 tions to exhibit as specimens of art. Still, where letters 
 
 Plate jo, 
 
 are of a kind, having limbs running generally in a similar 
 direction, making them difficult to entwine, something 
 must be done, some peculiarity of shape must be given to 
 one or more letters, not only for convenience but for effect 
 and variety. 
 
 The round form of E, and the W, with its loops, 
 are not acceptable styles, and so with some of the 
 mediaeval letters, owing to their spreading or extended 
 form. They should not be chosen if an ornamental style 
 of letter would answer the purpose as well. The substi- 
 
GENERAL LETTER ENGRAVING. 105 
 
 tution, where permissible, is always desirable for the con- 
 venience of the designer, and enhances the appearance 
 of the work. 
 
 Monogram designing depends, to a great extent, on 
 the taste and skill of the designer; but this discretion 
 must be exercised within proper limits and must not be 
 capricious or arbitrary, but so as to retain harmony in size 
 and due prominence to the dominant letters. Variation 
 of form and outline does not involve contrarieties of style 
 or militate against relative proportion, which must be 
 inseparable from every group. 
 
 Monograms are sometimes engraved upon such sub- 
 stances as ivory, pearl or other material of light and soft 
 texture, and in such situations show to little advantage 
 except where filled in with some colored substance. Of 
 these filling-in substances, “black ball” is the readiest and 
 most convenient, and therefore the most practical, as it can 
 be rubbed in and cleaned off the surface of an article with 
 the least trouble so as to remove all superfluous portions. 
 Engraving upon the materials mentioned, however, calls 
 for more than ordinary care and the most minute atten- 
 tion. Every line and curve has to be cut true, as the 
 slightest defector scratch is brought to view when the let- 
 ters are filled. The work of engraving is made much 
 more difficult, as the whiteness of the material, when cut, 
 is not so readily apparent as the brightness of the in- 
 cisions made on metal. 
 
 The usual process of preparing the surface for such 
 material is with wax preparation, as has been previously 
 explained in these pages; but a little dark-colored, pow- 
 dered chalk is sprinkled over the wax to make a more 
 distinct and effective surface. 
 
 To cut the strokes of the letters entirely out to the 
 full width of the outline of the present examples would 
 not exactly suit, as, if the incision was of an extraordin- 
 
io6 
 
 GENERAL LETTER ENGRAVING. 
 
 ary width, there is a liability of the soft filling being 
 easily rubbed out. Fine lines engraved lengthwise and 
 bearing minute ornamentation of almost any shape, or 
 cross-lining at various angles, constitute about as effect- 
 five a finish as can ordinarily be given to the face of let- 
 ters cut on the materials aforesaid. It is not advisable 
 for engravers to attempt cutting monograms on materials 
 such as those mentioned until they are pretty well skilled 
 in sketching and cutting on metals. 
 
 The examples given in Plates 31 and 32, are intro- 
 duced to show monograms which bear a general resem- 
 blance in’ point of ornamentation while the component let- 
 
 Plate 31. Plate 32. 
 
 ters are dissimilar in form. They may be considered as 
 comparatively fair specimens for practical purposes, 
 which is the end in view. These comprise five letters 
 each, with such initials as McC. and McH. With other 
 letters to combine with these, such monograms are ordi- 
 narily difficult to construct. 
 
 It may be here observed that in the monogram C. J. 
 Me H. (Plate 31,) also the larger one, J. R. McC. (Plate 
 32,) the manner of their intertwining and embellishment 
 is so distinctly represented that those who are quick 
 enough to perceive, and are ingenious with the pencil and 
 graver, can readily master the details of their formation, 
 and substitute other letters in place of one or more of 
 
GENERAL LETTER ENGRAVING. 107 
 
 those here given. They may be practiced freely, accur- 
 ately copying each detail of construction, as to inter- 
 twining and “lapping,” and cut according to instructions 
 heretofore given. 
 
 The monogram represented in Plate 33, M. J. G., is of 
 the kind denominated elaborate, and is quite unlike the 
 preceding specimens. In some points it may be deemed 
 to resemble some of those already shown in these pages, 
 but a casual inspection will show a wide distinction be- 
 tween them. Indeed, a mere repetition of any mono- 
 gram which we have heretofore given would be super- 
 fluous and uncalled for. 
 
 Flute 33. Plate 34. 
 
 A good monogram engraver cannot execute other 
 styles of lettering with the same facility as he does mono- 
 gram work. It is claimed that very few monogram de- 
 signers have such originality of talent as to avoid repeat- 
 ing themselves. This may be true in a general way, but 
 if an engraver is versatile, possessed of skill, and is ac- 
 quainted with good styles of embellishment, whatever 
 repetition he commits may not be in bad taste. Such 
 repetition may be more admirable than originality and 
 variety, if at every step accompanied with error and want 
 of skill. 
 
I08 GENERAL LETTER ENGRAVING. 
 
 The letters S V V H (Plate 34,) are so arranged as to 
 be quite distinct and readable at a glance. The heavier 
 letters S H, as you will observe, are of ordinary combina- 
 tion of style, but the two V’s are introduced to give the 
 whole a variety and striking appearance. 
 
 One fault about copying specimens from books is that 
 there is but trifling variety about this class of monograms, 
 and a heavy and intricate combination, often difficult to 
 decipher, is the result. Most of the book specimens have 
 that tendency to sameness which is not relieved by good 
 design and finish. They are stiff and mechanical; either 
 
 finished too light or too elabo- 
 rate, according to the caprice of 
 the designer. The artist errs 
 on the question of outline, and 
 then aggravates his error by 
 excess of ornamentation on fan- 
 tastic forms. These heavy and 
 uncouth monograms are not 
 only offensive to artistic taste, 
 but are difficult to engrave. They 
 sometimes appear well printed in 
 good ink on well calendered paper, but when the 
 engraver endeavors to reproduce them on jewelry, which 
 is, of course, our province, their defects will become 
 apparent enough to be embarrassing. We have lately 
 examined some imported sheet samples of monograms, 
 which are very faulty in many respects. A definite style 
 of cutting, showing heavier or lighter strokes, lines, etc., 
 somewhat similar to bank-note engraving, must be adhered 
 to, in order to represent the designs distinctly. 
 
 It would be easy enough to devise more showy, flashy 
 and elaborate designs, fearfully and wonderfully inter- 
 twined, than that shown in Plate 35; but those who want 
 neatness and elegance, absolute harmony of detail with 
 
 Plate 35. 
 
GENERAL LETTER ENGRAVING. IO9 
 
 correctness as a whole, simplicity of arrangement with 
 sufficient elaboration, will prefer this specimen to the 
 more exquisite and fanciful designs of the professional 
 dude. 
 
 The manner of placing the three eights in combination, 
 with the figure one running through the center, is about 
 as good as can be selected to preserve distinctness and 
 give prominence to each figure. The style of embellish- 
 ment can be easily understood, as the work is quite similar 
 to that on the preceding monograms in this series. 
 
 If it is desirable to place the eights in a different 
 form, which for practice and variety may become 
 necessary, to familiarize oneself with the method of inter- 
 twining them, it may be well for the reader to refer 
 back to the pages where the figures of the year 1887 
 are blended together, in different arrangement. These 
 will probably afford ample ideas to learners, to modify 
 their construction. 
 
 Having given my readers a general idea of the con- 
 struction of monograms of the description that it will pay 
 them to imitate, having also warned them against the 
 false and flashy species, you will now, I trust, be ready 
 to resume some miscellaneous instruction in general 
 engraving. 
 
 In regard to letter engraving, there appears to be a 
 healthy demand for a widespread knowledge of the art 
 at present, and it would be safe to predict an even better 
 outlook for the future. It is possible that much greater 
 advancement will be made in this direction in the time to 
 come, for the sphere of its operations will probably be 
 widened by more persons learning the art than in the past, 
 and by the adoption of labor-saving methods to accom- 
 plish what is now performed by slow manual operations. 
 The tendency of the present time is undoubtedly in the 
 direction of jewelers becoming their own engravers, that 
 
I IO 
 
 GENERAL LETTER ENGRAVING. 
 
 is, such of them as can spare the time from their ordinary 
 business to a branch that will save them money and 
 exercise their skill at the same time. 
 
 This tendency might seem to discourage professionals 
 who work for the trade, and whose custom would be 
 threatened with serious diminution if jewelers would, 
 from motives of expediency, do their own work. But 
 there is no serious cause for alarm. There will always 
 be demand enough for skilled work, and the remunera- 
 tion for it will always be such as to repay the time and 
 trouble devoted to acquiring the art of executing it. 
 
 In order that professionals and amateurs of engraving 
 should keep ahead in the march of progress, it is neces- 
 sary that they become acquainted with the improvements 
 that are being made in this art as well as in all others. 
 Keeping secrets appertaining to this business strictly among 
 the craftsmen is a thing of the past. Some time since very 
 little could be learned of engraving except in the regular 
 establishments, or from instruction books, which were 
 far from being practical helps. 
 
 However, to look at practical results, probably not one- 
 third of those who take up the study of the art persevere 
 in it so as to become proficient. The reason is not diffi- 
 cult to divine ; it is because they despair of being able to 
 devote the necessary time, and also to a lack of confi- 
 dence in themselves to acquire a knowledge of the busi- 
 ness without the superior care and training of a teacher. 
 Those who fail for these reasons have themselves chiefly 
 to blame; though of course we do not expect that all 
 those who embrace the business, will succeed. There 
 are failures in every business, through want of adaptation, 
 or lack of skill and application, which renders success 
 under the circumstances impossible. Still a great num- 
 ber will become proficient enough to do much of the 
 ordinary kind of work, even if their ability is not of a high 
 
GENERAL LETTER ENGRAVING. 
 
 Ill 
 
 order. These will be able to save much time, trouble 
 and expense, and being able to fill a want, prevent many 
 disappointments. 
 
 This consideration alone is of great importance to jew- 
 elers, for it is a great convenience, upon which many a 
 sale may depend, to be able to have marking promptly 
 executed. It is for just such reasons that our jewelers 
 — not alone the isolated and remote, but our neighbors 
 in large cities and flourishing towns — should become 
 familiar with the engraving art. The watchmaker and 
 manufacturing or jobbing jeweler should aim to attain 
 this proficiency, so as never to be placed at disadvantage 
 in their business when a brief job of engraving, not re- 
 quiring uncommon skill, is to be done. 
 
 It should be borne in mind that professionals, however 
 much they may excel in their business, do not reach 
 their ability without great labor and industry. Expert 
 bank note engravers have been known to study chemistry, 
 printing and electrotyping, as well as engraving, so as to 
 excel in their business. It will be inferred from this that 
 those who wish to do engraving ordinarily well cannot 
 hope to learn without giving considerable study and at- 
 tention to its details. 
 
Perfection in Motor Lathes! 
 
 SEN FOB LIST OF RELIABLE UNSOLICITED TESTIMONIALS. 
 
 The W. Green & Co. No. 4 “IMPROVED COMBINATION” Noise- 
 less, Polishing, Buffing, Grinding, Drilling and Turning Electric 
 Lathe Motors (4 Lathes in one at price of one.) 
 
 For Watchmakers, Jewelers, Opticians, Silversmiths, Dentists, 
 
 Machinists, Electricians and for all trades and purposes. . . . 
 
 Showing Direct Current Motor with Showing Direct Current Motor 
 
 Buffing and Polishing Attachment. with Drilling Attachment. 
 
 “Nothing better can be made; absolutely 
 dust-proof, air and water tight, and fully 
 warranted.’'' Instantly adjusted to electric 
 light socket. 
 
 With reasonable care these motors will 
 last, in constant use for 20 years. Speed, 1200 
 to 3000 revolutions per minute, as desired. 
 All chucks adjustable and interchangeable. 
 
 MONEY REFUNDED IF FOUND UNSATISFACTORY.’ 
 
 Showing Alternating Motor with 
 Grinding Attachment, 
 
 Showing Direct Current Motor with 
 Pulley Attachment. 
 
 NET PRIE LIST 
 Voltage. Horse-Power. 
 
 62 to 110 
 
 OP LATEST MODEL. 
 
 115 to 220 
 52 to 110 
 
 115 to 220 
 52 to 110 
 115 to 220 
 52 to 110 
 115 to 220 
 
 1-5, including 5 new-style solid brass adjustable chucks, 
 1*5, 5 
 
 1-4, high ease and heavy frames, with eztra long adjustable 
 spindles and grinding attachments, 
 
 1-4, same description, 
 
 1-3, “ 
 
 1-3, “ 
 
 1 - 2 , “ 
 
 1 - 2 , 
 
 W. GREEN & CO 6 New York, U.S. A. 
 
 Price of 
 
 Price of 
 
 DIRECT 
 
 ALTERNATING 
 
 Current. 
 
 Current. 
 
 $30.50 
 
 $42.50 
 
 35.00 
 
 47.00 
 
 50.00 
 
 82.50 
 
 55.50 
 
 95.00 
 
 60.00 
 
 97,00 
 
 65.50 
 
 110.00 
 
 75.00 
 
 120.00 
 
 80.50 
 
 130.00 
 
 Watch Materials, Tools, 
 
 Jewelers’, Engravers' 
 and Opticians' Supplies. 
 
 Importers, Exporters, Manufacturers. 
 
 “WE HANDLE EVERYTHING EN0WN TO THE TRADE AND SOLICIT CORRESPONDENCE.'' 
 
 When answering advertisers mention this book. 
 
THE LEADING STYLES 
 OF FOOT WHEELS.. 
 
 No. 3 Improved. No. 3 Ball Bearing. 
 
 Original and only manufactured by us. Sold 
 by the Tool Jobbers throughout the World. 
 
 Our 1905 Catalogues Are Divided as Follows: 
 Catalogue A-15— Rolling Mills and Rolls. 
 
 Catalogue B-15— Lathes, Drills, Counter Shafts, Shears, 
 Fibre-faced Hammers, Ring Benders, Ring Stretchers, Etc. 
 
 Catalogue C-15— Drop Presses, Draw Benches, Polishing 
 Machinery, Foot Wheels, Ingots, Etc. 
 
 On application for catalogues, designate those you require. 
 
 The W. W. Oliver Mfg. Co. 
 
 1488 Niagara Street 
 
 Buffalo, N. Y. - - = U. S. A. 
 
 When writing to advertisers please~mention?General Letter Engraving. 
 
MOSELEY 
 
 H AS been spending his time for many years in 
 making Moseley Lathes as~’good as lathes 
 can be made. 
 
 Nothing is overlooked in their manufacture and 
 no expense is spared to make everything about 
 them Right. 
 
 It’s no wonder that Moseley Lathes are good 
 Lathes. 
 
 They are the result of years of painstaking, 
 systematic and skilled endeavor to satisfy the exact- 
 ing requirements of the most critical and experi- 
 enced workman. 
 
 Moseley Chucks are of Best Quality and are 
 
 made in all sizes, covering every need of the expert 
 watchmaker and repairer, and at the present low 
 prices a very complete assortment of Chucks may 
 be had at very moderate expense. 
 
 Good Chucks and Plenty of them is the secret 
 of rapid, accurate and therefore profitable work. 
 
 Write your jobber for price list, or to the manu- 
 facturer. 
 
 Moseley Lathe Co., 
 
 ELGIN, ILLINOIS, U. S. A. 
 
 When writing to advertisers please mention General Letter Engraving. 
 
0 
 
 HA RA WALTHAM DIAL C 
 
 MANUFACTURERS OF 
 
 :o 
 
 Watch Dials, Clock Dials, Meter 
 
 Dials, Ash Trays and Enamel 
 
 Novelties of All Kinds 
 
 
 We are this year making a very fine line of Ash 
 and Pin Trays, made from metal, heavily silver plated, 
 oxidized and containing an enamel center with various 
 designs as Golf, Football, etc., which are burnt in same 
 as on China Ware. 
 
 O’HARA WALTHAM DIAL CO. 
 
 WALTHAM, MASS. 
 
 Jrwrlrrfi 
 
 Wheresoever situated and who desire pos- 
 itive reliability as regards quality and pri- 
 ces on all lines of goods, should avail them- 
 selves of obtaining one of our ... 
 
 ffrarly datalagurs 
 
 With the assistance of our book it will be 
 impossible for you to pay too much for your 
 merchandise, or be fooled in buying some- 
 thing that will not give your customers 
 the best of satisfaction. ADDRESS . . . 
 
 ©Hkamp, Nulling & (fin. 
 
 MAMMOTH WHOLESALE JEWELERS 
 
 413-415-417 Elm St. - Cincinnati, O. 
 
 When writing to advertisers please mention General Letter Engraving. 
 
THE BEST WAY 
 
 Many first-class workmen throughout the country 
 recommend a young man to the horological school for his 
 training of head and hand when he has decided to take up 
 watch work and its kindred trades. This is proven by the 
 fact that seventy-five per cent of our students have been 
 recommended by the leading jewelers and watchmakers 
 of their community, and twenty-five per cent are the sons of 
 parties who are in the jewelry business, and in many cases 
 represent the largest establishments in their section. They 
 realize that they will get many times more attention in a 
 thoroughly equipped, well-established watch school, where 
 there is a full corps of competent instructors, than they can 
 possibly receive as apprentices in a store where the watch- 
 maker is too busy to take time for the proper instruction, 
 or the jeweler is rushed without being plied with questions 
 from a novice, and the engraver has something else to do 
 when not at work on his own line, waiting on customers or 
 other work about the store which demands his attention. 
 
 At Bradley the work has been systematized so that 
 a student can get the greatest possible amount of work 
 in the shortest time, and the grade of his work is many 
 points ahead of the average appprentice who has put in five 
 or six times as much work and time in a store. 
 
 Bradley Horological Department is no experiment — 
 it is the oldest school in the country, has the largest build- 
 ing in the world that is used exclusively for the purpose of 
 instruction in watch work, jewelry and engraving, is the 
 best equipped as regards tools and instructors, with finan- 
 cial backing which guarantees everything as represented. 
 It is the only Endowed Watchmakers’ School in the United 
 States. 
 
 You can get watch work, jewelry work, engraving 
 and optics. 
 
 Send for catalogue to horological department. 
 
 BRADLEY POLYTECHNIC INSTITUTE, 
 
 PEORIA, - - = ILLS. 
 
 — 
 
 When Writing to advertisers please mention General Letter Engraving" 
 
We Are Not the Largest but our customers tell us 
 we are the BEST; we are the MOST PRC>MPT; we are the 
 MOSTjCAREFUL; and our PRICES are the LOWEST of any 
 house in America. 
 
 The “ACME” Engraving Block. All parts nickel plated. Our price, $2.70 net. 
 Any jeweler will do well to give us a trial in our Tool, Material, 
 Findings and Optical Department. You will And the entire line. 
 
 If you know anyone who is going to start in business, he will find that we can 
 make prices, time, etc., to his entire satisfaction. You will like our methods 
 and we solicit your business. 
 
 151=153 Wabash A ve., Chicago, HI. 
 
 WHOLESALE JEWELERS’ 
 
 • AND WATCHMAKERS’ SUPPLIES 
 
 Galvin Claner Co 
 
 The American Jeweler 
 
 CHICAGO, ILL., U. S. A. 
 
 Has Readers in Every Country Where 
 the English Language Is Understood. 
 
 The reason is that it is a thoroughly practical Technical Journal, 
 devoting its entire contents to original practical matter which is of 
 value to the Watchmaker, Jeweler, Optician, Electro-Plater and En- 
 graver. Not a dull or impractical article in it from one year’s end to 
 the other. 
 
 Send us One Dollar and we will mail you the Jeweler for a year and 
 a cloth copy of “The Watchmakers’ Hand Book,” revised American 
 Edition. It contains 273 illustrations, 506 pages, thoroughly indexed. 
 It is brought down to date with special reference to the wants of 
 American Watchmakers. This book will not be sold and can only be 
 had by subscribing to The American Jeweler. Fine cloth binding. 
 Gold side and back stamps. 
 
 This Journal is up=to=date and progressive and 
 is worth many times the subscription price 
 to all progressive Watchmakers and Jewelers. 
 
 HAZLITT & WALKER 
 
 PUBLISHERS 
 
 373 Dearborn St. - - CHICAGO, ILL. 
 
 When writing to advertisers please mention General Letter Engraving. 
 
PRACTICAL BOOKS 
 
 FOR 
 
 Watchmakers and Jewelers, Electroplaters, 
 Engravers, Opticians, Etc. 
 
 PUBLISHED BY 
 
 HAZLITT 8c WALKER, 
 
 373 Dearborn Street - Chicago 
 
 Abbott’s American Watchmaker and Jeweler. By Henry G. 
 
 Abbott. An Encyclopedia for the Horologist, Jeweler, Gold and Silversmith. 
 Containing Hundreds of Private Receipts and formulas, Compiled from the 
 Best and Most Reliable Sources. Complete Directions for Using all the Latest 
 Tools, Attachments and Devices for Watchmakers and Jewelers. 
 
 Among other things contained in this volume may be 
 mentioned a thorough explanation of adjustments, 
 both to positions and isochronism; directions for mak- 
 ing all the alloys used by a watchmaker, jeweler and 
 metalworker; a review of all the escapements, their 
 action, construction and proportion, together with 
 diagrams of each escapement; an exhaustive treatise on 
 balances, their expansion and contraction, auxiliaries, 
 sizes and weights and direction for poising; the balance 
 staff, and full and complete directions for making and 
 replacing new staffs, together with the use of graver in turning and the 
 manipulation of measuring instruments; directions for making twenty differ- 
 ent cements of great value to the watchmaker and jeweler, including lathe 
 wax; directions for cleansing, pickling and polishing all kinds of metals; 
 magnetism and the use of various demagnetizes; electro- plating, bronzing 
 and staining all metals; gauges of all kinds, and directions for using; solder- 
 ing and directions for making all kinds of hard and soft solder and fluxes; 
 steel, its treatment in annealing, hardening, tempering, etc.; watch cleaning, 
 repairing, etc. ; a treatise on wheels and pinions; directions for using all mod- 
 ern tools and appliances; and hundreds of miscellaneous receipts, formulas 
 and hints on all kinds of work, of great value to every workman. This edition 
 contains forty-four pages more than former editions, and each page contains 
 one-third more matter than the pages of former editions. An alphabetical 
 list of all books on horology published in the English or French language, 
 prior to 1850; portraits and sketches of all the celebrated watchmakers of 
 the world from 1600 to 1893. 378 pages. Illustrated with 317 engravings. 
 
 Fine muslin, $1.50. Leatherette covers 1 25 
 
 The Watchmakers’ and Jewelers’ Practical Hand Book, a guide 
 
 to the student and a workshop companion for the practical watchmaker. 
 Hundreds of valuable suggestions from private formulas and the best authori- 
 ties, together with hints on making certain repairs. An invaluable book for 
 the workman. The most valuable book for the money ever offered to the 
 trade. Fifth edition, revised and enlarged. Edited and compiled by Henry 
 G. Abbott. Illustrated with 154 zinc etchings. 118 pages. Paper covers 25 
 Flexible Cloth - 35 
 
Acme Record of Watches Bought and Sold. A complete record 
 
 for dealers in watches, by which they can at all times tell what watches have 
 been sold, by whom bought, profit made, etc., and in case of the watch being 
 imperfect, the dealer can readily ascertain from whom he purchased it, or if 
 stolen he has a full description of them which should materially aid in their 
 recovery. Books of 3,000 Entries, substantially bound 1 00 
 
 The Acme Record of Watch Repairs. A simple and economical 
 
 method of recording watch repairs. Book of 1,000 entries, substantially bound 1 00 
 
 The Acme Record of Jewelry Repairs. A simple and economical 
 
 method of recording jewelry and miscellaneous repairs. Book of 1,000 entries, 
 substantially bound „ 1 00 
 
 The Acme Optical Record. A Cash Book, Ledger and Record 
 
 Book in one. In it the optician can keep a full record of each case, showing the 
 name of customer, by whom sent, his address, history of case, physical ap- 
 pearance, vision R. and L. before and after fitting, ophthalmoscopic exam- 
 ination, absolute refraction, exophoria, distance and near; esophoria, distance 
 and near; hyperphoria, right and left, cyclophoria; prescription R. and L. 
 who filled prescription; pupillary distance, hesd space between temples, 
 height of nose piece at crest; width of nose piece between curls; crest of 
 nose piece forward or back of plane of lenses, size of eye - style of nose piece, 
 style of temple, material, cost charge, and when paid. Ruled and printed 
 on first class blank book paper, and bound in full cloth. Books of igo pages 125 
 Books of 200 pages 1 50 
 
 Repairing American Watches. By “Detent.” An essay on the 
 
 repairing of all kinds of American watches. Written in a practical manner 
 by a practical workman. It is a work of unusual merit and deserves to be 
 
 on the bench of every practical workman. In paper cover, 48 pp 25 
 
 The Escapements. Their Action, Construction and Proportion. 
 
 All watch and clock escapements thoroughly illustrated and described. Illus- 
 trated with twenty diagrams. Paper Covers Price 50 
 
 Same in cloth binding 75 
 
 The A B C 0! Fitting Glasses. A manual for the optician. By 
 
 Edmund T. Allen, M. D., Ph. D. Contents: The Fitting of Glasses; The Rec- 
 ord Book; Hypermetropia ; Etiology, History and Diagnosis; Symptoms, 
 Objective Signs, Test Type, Pin Hole Test, Ophthalmoscopic Test, Treat- 
 ment, Regimen, Prognosis; Correction of Hypermetropia; Myopia; Etiology, 
 Diagnosis, Objective Signs, Tests, Treatment, Prognosis; Correction of My- 
 opia. Astigmatism; Etiology, Diagnosis, Objective Signs, Tests, Ophthalmo- 
 copic Test, Treatment, Prognosis; Correction of Astigmatism. Presbyopia. 
 Correction of Presbyopia. Muscular Asthenopia, Etiology, Diagnosis, Objec- 
 tive Signs, Hartridge’s Test, Treatment. Heteraphoria, Varieties, Causes, 
 Anatomy, Tests, Effects, Ocular Reflexes. Higher Prisms an aid in the treat- 
 ment of Incurables. Cataract; Classification, Anterior Capsular Cataract, 
 Posterior Polar Cataract, Lamellar or Zonular Cataract, Comical Cataract, 
 Nuclear Cataract, A Mature Cataract, A Hypermature Cataract, Etiology, 
 Diagnosis, Objective Symptoms, Differential Diagnosis. Prognosis, Treat- 
 ment, Surgically. Glaucoma; Iridectomy, Cyclotomy, Sclerotomy. In pa- 
 per covers, 75 cents. Cloth binding 1 00 
 
 Watchmakers’ and Machinists’ Handbook. Containing a few 
 
 Simple Rules and Explanations on the Relations of Wheels to Pinions, with 
 Methods of Figuring the same. By William B. Learned, late superinten- 
 dent of the E. Howard & Co. Watch Factory, Boston, Mass. Contents; 
 Sizing of Wheels and Pinions; Definition of Wheel; Pinion; Pitch Circle; 
 
Deni. Alien & Co. 
 
 Importers and wholesale dealers in 
 
 Watches 
 
 Silversmiths’ Building 
 
 Clocks 
 
 Diamonds 
 
 Jewelry 
 
 Silverware . . . 
 Optical Goods 
 
 Watch Materials, Watchmakers’ and 
 Engravers’ Tools of Every Description 
 
 The Silversmiths Building, 131 to 137 
 Wabash Avenue, Chicago. III. 
 
 We issue two Catalogues : One showing a com= 
 
 plete line of Watches, Clocks, Jewelry, Diamonds, 
 Etc. The other a full line of Watch Materials, 
 Tools and Jewelers’ Supplies. 
 
 When writing to advertisers please mention General Letter Engraving. 
 

 
 
GETTY CENTER LIBRARY 
 
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