IMAGE EVALUATION TEST TARGET (MT-3) ^ ' 1.0 I.I |J0 ^ •2.5 2.2 Its lit I'' u 14.0 1^ |L25 1,4 |||.6 6" pt m W ^A /a om m Photographic Sciences Corporation 23 WEST MAIN STREET WEBSTER, N.Y. 14590 (716) i<72-4503 ■1 [^ ■ CIHM/ICMH Microfiche CmM/)CMH Collection de microfiches. m Canadian Institute for iiistoricai l\/licroreproductions / institui: canadion de microreproductions historiques ^ m Technical and Bibliographic Notaa/Notas tachniquaa at bibliographiquaa T t( Tha Inatituta haft attamptad t j obtain tha baat original copy availabia for filming. Faaturaa of thia copy which may ba bibliographically uniqua, which may altar any of tha imagaa in tha raproduction, or which may aignificantl^r changa tha uaual mathod of filming, ara chackcd balow. D i/ D Colourad covara/ Couvartura da coulaur I I Covara damaged/ Couvartura andommag6a Covers restored and/or laminated/ Couverture restaur^a et/ou peiliculAe Cover titie missing/ Le titre dti couverture manque Coloured maps/ Cartea gAographiquas en couleur Coioured ink (i.e. other than blue or black)/ Encra da couleur (i e. autre que bleue cu noire) D Coloured plates and/or illustrations/ Planches et/ou illustrations 9n couleur Bound with other material/ ReliA avac d'autres documanta Tight binding may cause shadows or distortion along interior margin/ La reliure serria peut causer de I'ombre ou de la distortion le long de la marge intArieure Blank leaves added during reatoration may appear within tha text. Whenever poaaibia, these have been omitted from filming/ II se peut que certaines pages blanches ajouties lors d'une restaurntion apparaiasant dans le texte, mals. lorsque cela Atait possible, ces pages n'ont pas 6tA filmAas. Additional comments:/ Commentalres supplAmentaires: L'Institut a microfilm* la mailleur exemplaira qu'il lui a it* poaaibia da aa procurer. Lea d4taila da cat exemplaira qui aont paut-Atre uniquaa du point da vue bibiiographiqua. qui pauvent modifier une image reproduite, ou qui peuvent exiger une modification dana la mAthoda normale de filmaga 3ont indiquAa ci-daaaoua. I I Colourad paigaa/ D Pages de couleur Pages damaged/ Pages endommagiaa Pages reatored and/o Pages raawtiiriea et/ou peliicuiiea Pages diacolourad, atainad or foxs Pages dicoioriea, tachatiea ou piquies V Pages detached/ Pages dAtachiea Showthrough Tranaparance Quality of pri( Qualit* InAgaia de i'impreaaion Includes supplementary materi Comprend du matiriai aupplimantaira Only edition available/ Seule Edition diaponible r~~| Pages damaged/ I I Pages reatored and/or laminated/ r^ Pages diacolourad, atainad or foxed/ I I Pages detached/ r^ Showthrough/ I I Quality of print variea/ I I Includes supplementary material/ I — I Only edition available/ Pages wholly or partially obscured by errata aiips, tissues, etc., have been refilmed to ensure the best possible image/ Lea pagea totalement ou partiellement obacurcies par un feuillet d'errata, une pelure, etc., ont M film4es A nouveau de fa9on A obtenir la meilleure image possible. T P o fi b tl si 01 fi si 01 Tl s^ Tl w M di er be rl« re( m( This item is filmed at the reduction ratio checked below/ Ce document est film* au taux de r4du'*tion indiqui ci-dessous. 10X 14X 18X 22X 26X 30X V 12X 16X aox 24X 28X 32X The copy filmed here hat been reproduced thanks to the generosity of: D. B. Waldon Ubrary University of Waatern Ontario The images appearing here are the best quaiity possibie considering the condition and legibility of the original copy and in keeping with the filming contract specifications. Original copies in printed paper covers are filmed beginning with the front cover and ending on the last page with a printed or illustrated impres- sion, or the back cover when appropriate. All other original copies are filmed beginning on the first page with a printed or illustrated impres- sion, and ending on the last page with a pHnted or illustrated impression. The last recorded frame on each microfiche shall contain the symbol —^^ (meaning "CON- TINUED"), or the symbol V (meaning "END"), whichever applies. Maps, plates, charts, etc., may be filmed at different reduction ratios. Those too large to be entirely included in one exposure are filmed beginning in the upper left hand corner, left to right and top to bottom, as many frames as required. The following diagrams illustrate the method: L'exemplaire film4 fut reproduit grice A la g«n4)rosit« de: D. B. WsMon Ubrary Univartity of Wattara Ontario Les images suivantes ont «t* reproduites avec le plus grand soin. compte tenu de la condition et de la nettet« de l'exemplaire film«. et en conformit6 avec les conditions du contrat de filmage. Les exemplaires originaux dont la couverture en papier est imprimte sont filmte en commen9ant par le premier plat et en terminant soit par la dernlAre page qui comporte une empreinte d'impression ou d'iliustration. soit par le second plat, salon le cas. Tous les autres exemplaires oiiginaux sont filmte en commenpant par la premiere page qui comporte une empreinte d'impression ou d'iliustration et en terminant par la dernidre page qui comporte une telle empreinte. Un des symboles suivants appara!tra sur la dernlAre image de cheque microfiche, seion le cas: le symbole — ^ signifle "A SUiVRE". le symbota V signifie "FIN". Les cartes, planches, tableaux, etc.. peuvent Atre film^s A des taux de reduction diffirents. Lorsque le document est trop grand pour Atre reproduit en un seul clich«. ii est film« A partir de I'angle supArieur gauche, de gauche A droite. et de haut en bas. en prenant le nombre d'images nicessaire. Les diagrammes suivants iiiustrent la mithode. 1 2 3 1 2 3 4 5 6 University of Western Ontario LIBRARY LOMtOIN . CANADA Class Z^-S lY,!, if ^3 I . 00 3: 2- 1 -_ pi '-i Ul r— < -?• h- '^ii ■< -<■ =3 :z -J fc ^ to cy UJ Ul ty uu c/) h- LU < f^ 3: UJ ■< J- -J (X a. UJ —4 » ^J ^ . Uj LU 3- fc?^- o O LIBRARIES THE UNIVERSITY OF WESTERN ONTARIO LONDON CANADA eg o o ' 'l 11 V* .^^ ■N. & iRIO GRI T] Conta Tlie L PRICE ONE DOLLAR. GREATEST MEANS EVER KNOWN FOR LEARNING TO WRITE AN ELEGANT HAND. NOTHING LIKE IT EVER PUBLISHED BEFORE. SOMETHING ENTIRELY NEW. SOMETHINQ THAT EVERYBODY WANTS. SOMETHING THAT HAS THE MOST ENTHRALLING INTEREST FOR ALL. The Real Pen- Work Self-Instructor in Penmanship Contains more Co/'i'K, more Oniamen/nl M'ork, antJ more and hettvr Tnstric'tionK, for /irirnin;/ tin- M'liole Art of Pi'miuinn/iip trit/ioiif a teafher, than any other ioork ever Jlll/tfi.^hld ill the Wor/d. Kiierythin;/ i.t ex/ilained in snrh a plain and .lini/ilf >ra>/, that any one, no matter hoir dijUctdt irriting may natiirally lie to him, can learn to write a /leaiitifid hand in an incredihly nhort lime. No Other Publishers in the World are Giving the People as Much for the Money. Nothing Like it Ever Known Before. 27ie Largest and most eleynntly fllii.itrated Work on the subject of Pcnmamhip erer published in the World. Erpert Penmen and Men of Learning everyichere, all admit that the Ileal Pen- Work Self- fnstriicfor is the greatest ineuns ever known for learning to lerite an elegant hand. Copyrighted IMI, hj KsnWLES & Maxim, Publlataen. 68439 Re ThiaBook ■hip is the illiutrated w The Real P< Teraally acl en in busint indgeB everj fMrtitni; to all acknowli known for l •n kinds of THEBEALI A short t lected a net photo-electr and pen-wo sombinatioi the reprodu ■he original THE p: When wi for reprodu means for ] conceived o We resol by all the I the whole ' publish a ^ and as all ' stead of en the most qmred no teachers oi % T^ INTRODUCTION TO TIIK Real Pen-Wo;1k Self -Instructor in Penmanship, It ^ , . rUIILI8IIEl> BY " . - KNOWLES & MAXIM, PITTSF IELD. MASS- PRI CE ONE DOLL AR PER COPY. GREATEST MEANS EVER KNOWN FOR LEARNING TO WRITE AN ELEGANT HAND. Thii Book, The Real Pen-Work Si'lf-Inatructor in I'enmnn- •hip is the largest, and by far tlu^ hi-at and most elegantly iUnatimted work ever published oi. t)ie subjeet ut' iieninanship. THIS BOOK, The Beal Pen-Work Self-Instructor in Penmanship is uni- Tcrially acknowledged by expert penmen, writing teaeh- en in business colleges, and by men of learning and the best jlldgea everywhere, to be the ijreatesl means et-er knoiuii for haming to write an elegant hand; everybody, everywhere, ■11 •cknowledge this work to be the greatest means ever known for kaming to do pen-drawing and f1f>\irishing and •n kinds of the most beautiful ornamental pen-work. How "We Came To Publish TBEBEAL PEN-WORK SELF-INSTRUCTOR IN PENMANSHIP. A short time since, one of the partners of this lirm, per- fected a ncv and ingenious electrical jirocess, which we call photo-electrographing, by whieli process, all kinds of writing ■nd pen-work can be reproduced on paper in any color, or sombination of colors and gold, so perfect and exact, that ihe reproduction or photo-eh'ctrogrHi)h cannot be told from ahe original writing. THE PHOTO-ELECTROGRAPHING PROCESS. When we first perfected the photo-electrograpliiiig process for reproducing real pen-work, we realized we had found a means for publishing tlie greatest book on penmanshi|) ever conceived of. We resolved to collect all the best speciiiiens of pen-work by all the best and most skillful penmen and pen-artists in the whole world, no matter what tliey might cost, and to publish a work on penmanship that everybody would want, and as all the copies in the book would be real pen-work in- stead of engraved work, we realized that we could publish the most perfect self-instructor ever known. We have spared no expense to employ the very best penmen and teachers of penmanship throughout the world, to set all the copies and write instructions and full explanations all about everything so that any one can go riglit to work and make anything contained in the book, and be able to write an ele- gant hand, almost fnmi the start, with but very little practice. TIIK REST OF ALL that was ever thouj;ht of by all the very best writers and I penmen that ever lived, to make it easy fi learn to write, ^ to learn all the different anil iiioiit lienuli/itl styles of elegant writing and ornamental ]icnniaiiship. is contained in the Real I Pen-Work Self-Instructor. It is full of the prettiest things j ever done with a pen. Full of perfect real written copies, I and it contains full ane, as the above work ■hows, one of the most elegant writers and hnest ornamental peinnon in the whole world ! Sueii Wonderful Improvement must seen; more like a fairy dream than a reality to any one who never saw this Self-Instructor. But the fact is, it is easy cTioug'h to learn lo write well when you have the proper instruction. A person needs to be shown how. The Self-Instructor tells you all about it. It is tlio greatest means over known for learning to write nn elegant liaiid. 'i^-ii.iik HOW TO SIT AT THE DESK HOW TO HOLD YOUR PEN. A correct position at the desk, and als- for luddiiii; the pen, nre iiuti.tpcn.tahic to pmd ])(Mun:in!thlp The foUnwitifr thnvtiontt nnd instructions shoiihl he rarefully hot'dtMl As tlic Tirsi act of a j ersori ill preparing to write is to take a position at the desk, this dcniiinds our tirst attention. It is a nuticcahle fart thnt in all oiTUpntionH there is some one position of tlic hody hotter adnpttMl tlian any "tiicrto each partifular kind of work ; and tliis is purtirularly true in ro<;ard to pennianship. As all written forms rorrofipDnd to the inoveinents that produce tlietn. heautifiil and syinnietrical Tetters ran l)e formed only hy free and rpu'ular mox puifuts ; and such movements depend npof those of the mnsclos of ttie arm, hand and tin;;i'rs, which are rhit^Hy ronncrtrd In the production of written f4)rm8. That position which ^'ives the nniscles a free and easy action is ))est suited to tlie purpose. It is impossible to assumtt a free and e;u»y ptisiiion while usinj; a desk or tul'h' that is iH)t of the [iroper heii;lit. The height of tahlc or desk is h»st, at which a per son, when sitting in an erect position, with the fpct ]ilaced firiuli upon the lioor, and the tdliow on tlie desk, tinds tliiit his shonhh'r is in'ither elevated nor depressed. After tlius preparirijr yourself, tlie next thiiii; that requires the attention is tlie manner of holding tlie pen; there is no point in penmanship demanding: chpser attention than this. The demand arii^fs fri>ni the fact that he^inners almost invariahly hold the pen improperly, and that it is one of the most dillieult tilings to learn; yet care and patience will tier of losini: it. We present the ftdlowinir nicthod fe the most practi- i-aMe : Take the pen in the hand hetueen thethnmh ami tiie tirst :iimI second tlnjiers, in such a manner that the holder shall cross the tirst tinner just ahove the knuckle joint. Let the second tinjjer drop lielow the first .so that the holder Rliall cross it at the root of the nail. The tliinl and fonrtli tiu;:ers slxmld curve hene:iih the hand and rest upon tlie n.iiU. This is the most natural method for hohjing ihe pen. for wl " ..t rest the hand invariably assuniea this position. With these dip .ion« and tlie help of the accimipanyin^ cuts, the student cannot fail to acipiire a correct position ns readily iw with the assistance of an experienced teaclier. -^^ ■Ji The wnting. the v)hol Th( ing to a practice under e the mo'v By very eai Iti hand if eroises tellyov ^ Thii to make I little atte Thi( moving I the maw Ingnrk ALL THE MOVEMENTS USED IN WRITING THOROUGHLY ILLUSTRATED AND EXPLAINED. There are four principal movements used in writing. The finger, the ilide, the muscular and the whole-arm movements. The following exercises are arranged accord- ing to a new m?thod, and it requires but very little practice with the help of the instructions given under each exercise to get perfect control of all the movements. By a little practice on these exercises, it is a very easy matter to learn to write. It is easy enough to learn to write an elegant hand if you have the proper instruction ; these ex- ercises and the following analysis of all the letters tell you all about it. Exrrctfte for PrfUitlcn on the Flnfcer Moretnent. This movement !■ made by the fingers alone. It is so nataral to make letters with the Angers tliat this movement reqnires but little attention. ~4 Sxenslse* far Praetloe on the Slide Movement. This movement is a motion of the arm from the elbow withoot moving the joints of either the fingers or wrist. Rest the arm on the mnscle near the elbow and the hand on the ends ^f the iast two flogan. Exercises for Practice on the Finger and Slide Movements Combined. These are illustrations of the way in which all the short letters shonld be practiced. Use the slide movement as mnch as possible while practicing on these exercises, for yon are sura to use the fin- gers enough. Exercise for Practice on the Mnscnlar Movement. This movement is produced by rolling the arm on the mnscle just below the elbow, without moving the joints of either the fingers or wrist. Move the fingers, hand and arm altogether as one. This movement is always combined with the finger movement, but it is only the muscular movement that requins attention, for the fingers will take care of themselves. Exercise for Practice on the Flnirer, Slide and Mnscalar Movements Combined. Make the first line with the slide movement, the body of the letter with the finger movement, then finish by throwing a carved lino over and around the letter witli the muscular movement. Exercises for Practice Ok; the FInRer, SUde and Whole-Am Movements. Thi* is one of the very best exercises. A very little practiu. on this exercise will produce wonders. A person will sometimes get control of all the movements in this exercise by practicing five minutes. Exercise for Practice on the Whole-Arm Movement. This movement is produced by moving the whole arm from the shoulder, resting only the hand on the ends of the last two fingers. In making large flourished capitals and doing all kinds of off-hand work, this movement is the best. Exercises for Practice on the Finger, Slide and Mnscalar Movements, also Shading Exercises. Exercise for Practice on the Capital Stem. The capital stem is the most important principle used in mak ing capital letters, and it is one of the very best exercises for prac. ticing on the whole-arm movement. Exercise for Practice on Direct and Indirect Oval, also 8hadlB« Exercise. This exercise is adapted for practice on either the miucnlar or whole«rm movement. II! thorou each 1< write you ca - . -^m-m ANALYSIS. * We give on vhis and the following six pages a complete analysis of all the letters. Every letter of the whole alphabet is taken all to pieces, one at a time, and thoroughly analyzed and explained by itself, in such a plain and simple way, that you cannot help seeing and understani _ Thli aoala or aqiurs showB ttaa length of all the tmall letters in thettsndard huid, or the lUe ot letters uied in ordlnnry practical and bu«ine« writing. The standard hand is the beet sise for all praetlcal purposes. In the standard hand the spaces are just one-elffhtb of an inch, and the latter u, whloh U used to mMSure both the height and width of all written letters, is just one.ei|htn of an iuob high and one^lghth wide. This soale or square shows the length of all the capital letters, which In the standard hand are all three-eighths of an inch long, except J, y and s, which are full length, or STe^eighths of an Inch long. to Copyrighted 1382, by the Publishers, Knowlks & Masiu. [^ thing Scale Showing How Much to Slant Letters. When letters are put together to make words thoy must all have the same slant in order to look well. All good penmen agree that letters look the best when slanted about 52° (fifty-two degrees) from the horizontal, the same as you see them in the above out. By comparing the letters with the scale of slant, the same as you see in the above cut, you will see at once just how much to slant all the letters. m)w much to slant letters is one of the first and most important things to learn. By the use of the above cut and these instructions, it is also one of the easiest things to learn, for you can see at once, without any trouble at all, just how much to slant letters. Copyrighted 1883, by Knowles & Maxim, Publishers. — i.-^-f. iiM iH i WUiMH wa ■#•: Principles and the Capitals A, N, M, T, F and K Thoroughly Analyzed and Explained. The flrit principle Is oalled the straipht line and In usiiatly one apace In length, and in all letters, except small x, has a slant of AiJ degrees. The seooml principle li called the right rurre and Is thus named because It Is found on the right side of any oval figure. It Ih usu' ally made on the conmctive tlant uf 'M dei{rec'«. The third principle Is called the /^rtirre because found on the left of anx oral tlgure. It is usually nude on the slant of 'M do- greea. The fourth principle is called the ertended loop and is f. Capital T conaista of the capital stem modi* fled by being bent and shortened one-half ipaoe at top. over this Is plaoeKl the oap of let- ter, oonalfftiDg of left curve, Inverted loop and left and right onrre. At left of oapltal ■tarn, three eqnal spaces. The oap should be made first. Analjals: Prinoiplea 7. 8, S, 3. Capital F la formed the same as T, except that the last carve of the oval of capital stam la bent downward and extended upward acroas the capital stem, terminating with left curve extending from one-half the height of letter downward one-fourth space. Analysis: Principles 7, 3, 2, 3. Capital K consists of the first two lines of H, to which is added a left and right curve unit- ing by loop at half the height of letter to a right and left curve Joined on base line to a right carve terminating at head line. Analytla: Principle! 2, 7, 3, 2, 2, 3, 2. Copyrighted 1882, by the Publishers, Kxowles & Maxim. t pom tbat rtl The Capitals H, P, B, R, G and S Thoroughly Analyzed and Explained. tmtfnmmmmm^nm't^—9'**f—mtr •«•>■••••. • ■ ■ • x^" ^.^.y^- ^y g Capital ir frinslau of left curve extending upward from tiiui' tine two ami ono half Hpacee, diiitinte angularly to a capital ntem itralghten- eil at top; to thin portion are added lines Rlml- lar to the laat two In A, except that the flrit ot theie lias greater curraturo at top. The portion of onl above dividing Hne Is one and one-half timM ibat below. Analysis: Principles 2, 7, 3, A, 2, ! Gapltnl n U formed the Aame as B dovn to and inoluding loop, from which it Joliii a right and left ourve united by ihort turn at base line to a right ciirvo terminating one space from base line. Analysis: Principles T, 3, i, S, 3, 2. Capital I* begins two and one-half spaoea aboTebase line with first two curves of capital stem, uniting by hrojid turn to left curve as- cending tu ftill height of letter and uniting by broad turn to right curve, crossing first left curve two and one-third and one anil on^half spares above base line. Widtti of oval, one and one-half spaoM; between capital stem and last right curve, ou»-hal( space. Analysis: Principles 7, 3, 2. Capital G consists of right curve extending upward from liase line tliree spares, where it unites by short turn to left curve, crossing first curve one spnoo atmvo baoe line and unlt- Inj; by broad turn to a riRht curve, which joins angularly at half the height of letter, to the lower half of capital stem. Analysis: Principles 2, 3, 2, ti, 7. Capital B Is formed like P, and has small loop crossing capital stem at right auglew at half height of letter, Joined to risht curve, uniting one-fifth space below base line to left curve eztondtng tu one-half height of letter. Analysis : Principles T, 3. 2, 2, 3. Capital .^consists of right curve extending from base line upward three spaces, united by short turn to capital stem, modified by In* creased cnrvatnre. The oval is divided slmi- inrlv to If and K. Loop crossing one-half th^ height. Analysis: Priuolples 2, 7. Copyrighted 1882. by the P^ublishers, Kno tlbs & Maxim. Jk i. mm ^" The Capitals L, I, J, 0, E and D Thoroughly Analyzed and Explained. Copyrighted 1882, by tlie Publishers, Knowlks & Miixiu. "m Th y" ^ The Capitals C, X, W, Q, Z, V, U, Y, and the Character & Thoroughly Analyzed and Explained. f'ftpital C ("oiirtists of rijjbt curve Mi-emllnu three ^pAout*. Jniiiya b\ shtirtturiito left oiirve, fiirininn l'"»p <>IH' BiiRtH' »1>*>to I'We line, unit- hig nenr batio line liy lirottd turn to 1'ift curve aiut lit hiiir hctKlii by bmnil turn to left curvu tt'inilnntin^ uif-thinl Hpaoe nlxive baco lino. PistHuoo iHHween b'fi ciirvuH, one-tliinl space; bei\vf»Mi last iwo curving, Olio and une-ihlrd ttpiiccii. Capital G is formed by unititig the extended lp to n i^niall caplUlU. AnalysiH: Trinoiplei* J, S. Capital A* concifits of the Inverteil oval, to which is added a left eur\e uniting at base by pliort lurii ti> right curve exieiiding one s|>aoe above base line. Ptstnut'o between oval and left curve at top, oi.e and two-thirds spaces; at bottom, one and one-third spaces. Analysis; Principles ti, ;i, l'. Capital / ronaUta of the InverM nvtl which, ity •Untttiff loop croMing ont ■two* abovii buM ILu«, utiitM to « modiflcd InvcrtM cxtcndfil loop anA eoroplatci the latttr. Capital If consists of inverted oral Joined angularly at base line to a diveruint; riKhC curve, exiemlinj; upwanl three spacer, wlicre it unites aiiitiilarly to iliverKin^ left curve, which, at bnfe line. Jottis anuularly a left curve terntiiialiiiu; two s|Miceii above bime line. At lialf the height thi>re should Ih.' throe e«iual spaees. Analysis: rrlnclplea il, 'J, .1, 3. Capital V consists of the inverted ora], joinetl at base line b; sliort turn to ft right aiiit left eiirvo terniinatinu one space from oral nnd two spaces alH>Te base line. Analysis; Principles ti, l!, a. Tapltftl r consists of the Inverted oTftl nnitt^'d at base by short turn to a right curve which, at two spaces above base tine, unites angularly to straight line Joinetl by short turn at base to ri^ht curve, terminating one space from straight line antl fr^n base line. Dls- tftnce between oval and straight IlDe,onespftoe. Anftlytls: PrlnctplM 6, 3, 1, 3. Csvltil ; eonaitts of lBrs*tfld DTal.ahnrt Ivrn, ri(.hl '-nrv* and itnl^htltn*.*! Ii Ui tnt IstltrJolBlnR thf InTarttil and nvarafd tilPRdad lonp, complttea the lattar. DIatanca bftw«cn oval fend atradghl llat. ova apsca. Analytiat PHnelpIr* 6, |, i. The chanptflf * consists of l«ft right curve, broad turn, left and right eurve. upper turn, left and riglit curve, broail turn, left ourTo. Height, three spaces. Anftlyilt: Prlnclp^^- 3, ?, 3, 2, 3. Copyrighted 1882, by the Puhlishprs, KNOVt'LKS & Maxim, 1 J Tl Tl Tl Tl forr wur war basi tUrt II pw ■lid dow clow up* \d. Tl Ian upw •Inl Tt ear up« lint All the Small Letters Thoroughly Analyzed and Explained. The first principle is the straight line. The second principle Is the right curve. The third principle Is the left ounre. The fourth principle is the extended loop, it fs formed of the Itrst two principles, as follows: Up- ward right curre three spaces, turn, and do\rn- ward straight lino crossing right curve one space from tMse line. This principle Is jue-half spaoe wide and three spcces high. The letter I oonitsts of upward right curve one space high, downward straight line to ruled line, upward right curve, dot one space above lot:?r. Analysis: Princlplea J, 1, 2. The letter U eonsists of the three Hues of I with a repeti- tion of the last two lines. It Is one space high and one space wUe and is used for measuring both the height and width of all written letters. Analysis: Principles if, 1,2, 1,2. The letter W consists of the let- ter U cbangey permi tendium SPENCERIAN SCRIPT. Remarks -This nn-e a.ul tlif- prooorling page are specimens of real ^critten copies, by Spencerian Authors, who are known the world over as the ^est wnters that fever Ived^r'hesever pages are the best written pages in the world. They are the best specimens of elega-.t wr.t.ng ever done wuh a pen. ^ '^^'^ -" l"^^f;^^^^"„ g^"^ rype mission from the kew Spencerian Compendiun, of Fen.nanship published in five parts, by Ivnson, B akenjan 1 aylor & Co N^^^^^ BlaktnaT. TaXr & Co bendium illustrates to perfection the great skill of the Spencers, and the immense value of their system. Copyrighted 1880, by Ivison, Blakeman, laUor A. Uo. \ ■ ' "m PROMISSORY NOTES. /^M^^ C?k^(^^^^Z^jf. ms. 2///c^/^/c^i^i^^U^/ZM^^i^^U^C^ dJ^66. * <§ 7 On t Fi But CI (Ml SELECT VERSES FOR AUTOGRAPH ALBUMS. Go forth, thou little volumi', I leave thee to tliy fate ; To lovf iiiid friendship truly Thy leaves 1 dedicate. The purest treasure Mortal times iifford, Is spotless reputation. '^l^^i^ccit^um/ On the broad highway of action Friends of worth are far and few, But when one has proved her friendship, Cling to her who clings to you. What's the use of always fretting At the trials we shall find Ever strewn along our pathway — Travel on, and never mind. On this leaf, in memory prest, May my name forever rest. If you wish to laugh Glance at my autograph. /i/Jtr^ As sure as comes your wedding day, A l)room to you I'll send ; ^n Hiinshiin; use the hrushy part, In nlorm, the other end. Man's love is like Seotch snuff — You take a pinch and that's enough. Profit i)y this sage advice, When you fall in love, think twice. Fee simple and simi)le fee, And all tlie fees in tail Are nothing when compared to thee — Thou best of fees — fe-male. •/^yyyi-\ tile/ jook this department throufrh and you will la^ a greater variety and more designi? ofheaii- wkl flourishing and ornamental pen-Wdrk, than be found in any other eolleetion in the irld. jThis department eontains speeiiner.s oforna- ttal pen-work l)v nearly all the i)est per .;en have ever lived, hiss department is complete in everything til the torm of ornamental jiemnanship. |Tlie original drawings ol" the pen-work ^ms contained in this department cost us Iny thousands ()rd.)llars, and these perCect loto-eleetrographs of the original drawings. HO perfect and exact, that they look just luctly as well as the originals themselves, and a perfeit countei'part and fac-simile in every Irticular. And as far as actual value is con- rned, these photo-i'lectrogi-aphs are worth Bt as nnich as though tlu\ wi're each done parately with a pen at great cost. ' Photo-eleetrographing is a new process re- cently perfec ted by us, by means of which we are able to repi'oduce ival pen-work, in any color, or in all colors and gold, so jterfeet and absolutely exact, that the reproduction or pholo-electrogra])h, cannot he told from the original pen and ink work. j When we flrst perfected the ])hoto-electro- gra|)lnng process we realized that we could jtublish the most perfect self-instructor in jku- manship ever known. "\Ve saw at once, that we could ])ublish aii;l furnish at very small cost, an amount and va- riety of ri'al written copies that would cost several thousand dollars for the execution of the originals, and which would be just as good in every way, and in i'act, real pe"-work the same as the original drawings. We have |»aid large simis ot money to all the greatest penmen, pen-artists jukI expert writers all over the world, and the >Self-In- jstructor is in reality a collecticm ofall the best things and best si)i'ciniens of elegant writing and oi'uamental pen-work ever done by all the best penmen, everywhere, who havt' ever livetl j on till' earth. ! All the best copies and all the best instruct- |ions and very best methods for learning to do ornamental jjcn-work, (piickly and easily, ever I taught by all the very best penmen and writ- |ing teachers in business I'olleges and wi'iting schools in the whole world, are contained in this department of the Keal Pen-Work S-lf- Instructor. Evervthing necessary to make it la veiT easy matter to h'arn all about ornameii- [tal pemnanshii) is contained in this depart- jment. I Again we sity. look this department through laiei'ully and vou will lindthe greatest variety I of best specinu'Us of oi-namcntal pemuanship ever seen, and the best co|)ies. and best in- structions, and best methods ever known Ibi- learning the beautiful art yourself. „.<^^ ( Full Inatructlani for milking tliMe letten giron In tlic Tracing Proccit. Copyrighted 1883, hj the Publiaheni Kl(OWt.» Jb Haziii. I i -^ /' Full instructions for making these Letters given in the Tracing Process. Copyrighted 1882, by tlie Publishers, Knowles & Maxim. ~;3a III n The Tracing Process. INSTRUCTIONS -IN— THE TRACING PROCESS. The Tracing rroucss hiis for a long time been liiiuwn to leading pen- len and ]ier.-artiiit!i. It Ima always l>ucn kept a sort of secret. It is the icicest and best way in tlic world to make an exact copy of any kind of naniental pen-work. The Tracing I'rocess is so simple, plain anil easy, that a child can make I exact copy af any kind of ornamental pen-work, and do it to wonder- 1 perfection. The Self-ln.slruclor is the only work ever published, which teaches this imenscly valuable and important Process, in connection with penman- lip. '■,.i* DO NOT FAIL! £, Be sure to read these instructions over very carefully, then you will jmow all about this process, and you will see and understand for yourself, j|Bw it is that you, or anyboily, can di^ t\.^\i nice jien-work witiiout any Ifeouble at all, and right from the very start. Takeaslip orsbeetof tnins- fiirent tracing paper, and place it on the picture to be copied; then with a ■Dod lead pencil trace all the outlines and shadings of the entire picture. liftti\ you have taken a cum]dete and perfect outline of the original draw- ^Ig on your tracing pa))er. £ 5 After you have done this, turn your tracing paper over and black the ^ole other side of It with your pencil. Then i)lace your tracing paper, llUcked side ilown, on your drawing paper, or where you wish to make lur drawing, and take a hard, fine-pointed lead pencil anil trace over all the outlines and shadings of the entire picture. Thus you print in pen- eilings a perfect copy of the entire picture on your drawing paper. Af- ter you have done this, it is a very easy matter to finish the picture with pen and ink, by putting ink on in place of the pencilings. and shading according to the shading of the original, erasing the pencil marks with a rubber after the ink is put on. Now this is all there is to it. This is all you have to do to work by the Tracing Process, which you see is very easy. If you have read these few instructions carefully, yon can now sit right down and make anexactcopyof anyof thcdrav .ngsin the Self-Instructor, and do it so nicely and perfectly that you will astonish yourself, and as- tonish everybody else who does not know about the Tracing Process. You see that all the art or skill that is reipiired to draw anything, is to get the construction lines, or the outlines and shade lines that make up the picture. By the Tracing Process all you have to do is to trace the lines that make any picture on your tracing paper, with a pencil, and then trace the pencil picture to your drawing paper. The designs on this page are perfect photo-electrographs, from real pen and ink drawings, made l)y the Tracing Process, from designs in tlie Self-Instructor. The Trac- ing Process is certainly the greatest means ever invented, or heard of, for making an exact copy of pen-work. TRACING PAPER. As it is sometimes difficult to get a good article of Tracing Paper, we nave decided for the convenience of those who use tlie Self-Instructor, to furnish the very best quality of Tracing Paper for just what it costs us, which is six sheets for 2,'> cents. We send six full sheets for 25 oents post paid. Send ))ostage stamps in ]>avinent. KNOWI.E8 A MAXIM, Publishers. INSTRUCTIONS AND REMARKS I pictuii; of till- criiiii«iU D. T. Aini'9, the ffri'iit ppiiiimii, Etlit<»r ol clic Peniiiiii t JouraaL205 Briiiulwav, N. Y ...... .,.-.. . . 'he above 18 ^_ . .- ttiiiif ac li"i« ilesk flniTrlHliinir. lie is nuuof the grpat«'»t riuI t einluent penincii in the whole wr.irlcl. IIi> exrcutei! nil the work ou this pajre. lie flour- letl It uU riijht oiT, In a few miHuti'9. Tiiln purtrait wiis taken while he was (ioinff the work, id yryou once get the correct poftition, it reonircH but verv little practice to he ahle to do all "• kind of work. Full instniclions for niiikiiig tin's Fish jrivcn in the Trncing Process. r ^^ HOW TO MAKE A FLOURISHED BIRD. RcTerse your pen, holdlnff it in the position for flourlflhinff with till' pniiit t«wnni rou. Make tlir winsfsofthebtrJflrnt, Btrlklng voiir lines in the direction indicatpil hy tlir iirrows, in the or.liTtlit'y arc immberfid in the abnvr ropv. Th<'n turn vour pen, hnlilintc it in thi' tiirt'ct position, U^r pimitmn useii in writinir.) ami draw tht-'heaii, ntrk ami breast of tlie bird. Thi-ii turn y-el«'i'trcit'raph)» from the reut pen-work. Tlu'v were designed and llourisln'd tt> show the quickest and easiest wav to make an elegant flourished bird. Any one can see that it must be a very easy matter to learn tu niake the different partJ« of the above bird, and anybody can also see that it is easy to eombiue the different parts and so make the bird; therefore, it is very easy to make the bird. Anybody, even the dullest sebolar, can make an elegant flourished bird by a little praetiee from the above copy. All that is necessary is to sit down and Kxs. You will be ast^mished to see how easy it is. c:npyriithted I!^H4, by the l^ublishers, Knowleb & Maxim [•«:■":•*> INSTRUCTIONS. Thin pnf^ shows vuii just liow to iiiiiko itiiTemit kinds of Iiinls. ' It slutwn how to hr{;ni, how to proceed, aihl liow to Anish a hinl. This pa^o was deslf^ned and executed hv John T). Williams, and ii th6 Kivat*" iiieaiia ever kiiuwii [or leuriiiiiK to make all kinds of nourished liirds Takoii liy porioii^sioii from Williams & IVkiinl's Uenisof I'enmauship. Cop\ righted l8G(i, liv Wifliiims & I'nrkanl. These copies nceil no e.xplnimtioii.'t, iis thev explain iliemselvea. Kver\ ihin^ ia made so plain and limple, and easy to understand, that you can't help seeing just what to do, and huw to make different kind* mt bird* without any trouble at all. I Til etc kphi'il fr. iMttli' pi : Bj the 'r kiKiwi ORNAMENTAL DESIGNS FOR AUTOGRAPH ALBUMS. Sf ItM'ti'd iiitd rii<>ti>-KI('rir>»}!rit))|M'il (Vnm the Autoirmplis of rnilnont ppninrn, and nurh n« nr« huccI by tbcmt and by tlio tirst, ponmrn eTPrrwhoro, whrn they writr in nn Autoprnpli Alhutn thi'insx-lvrN, T)tftc .(t'Bigini arf crrtnUity i">u\v of tlit' finri) »i\A Iic«(, i'v«t Ci'On. All tin- tlrnlifii" on thi^ puff wprr actiiully takf-n from Autfi(rrupli Allium", an-l wcrr cxriuti'ii tiy tin- hi»t wrrihT^ uixl ppumrn of (In- .i^c. TKi-r arc ail IMi"to-Kl*'rtro- k^hi-fi fntiii r'-nl pen wnrh, fTri-titi-d with Minrr;i!inr Wrinnn Ink» ol .litlori iit (■•►[..m iiiitiir rutrm Ink ('iipsiilcft, tlif kiinl of inko tliut arc lunl hy all tlii' Insf wiiti rs ;iri make any of tliraA ilmi^in, ami for itn Autofn'tipli Alhtint nniliinu U no iirrtty, i^r ftn \iocnl, lu* u nrut, ni<-<> di'Hifcn littp nnt^ of tliciw. Hy thfl 'Iractuc IVuccit, lUiy unurun tracr nf t)u«4' dt'nUrnft and put II in itn AlbniD in ftinnrrtion with htn namo, with orarcrlf tuiyprttctli-f ett . 'Uiy ^r kiiDwn for doluK all kiiida ut p* it drnwiiii; akUl M a |M>ninai). Hlnr PtiotO'Electrographed fruni Ileal Pen- Work, by thf nuiiient John I>. WiUmnis. Tiikcii by pcrniiMioii troin M*illiuiii« & PiKknnrs (ieinA. Copyriglitcd 1866 by WUHainii & Fucknnt. I I i /" Full iiiRtriiL'tions for niiikiiif? tliin)cc§». C'op)trl|ibleil 1882, bjr Knowiin & SlAim. p. Real 1*kn-Wobk Stag amd Dohs. Full imtrurlloiii how lo mnkc thin Picture givpn in the Triirili([ ProicSB. Copyrilllitrd ISM, by ll"' rulili»liirii, KnonlcB & Mnxlii MHtHMHlMM ^1 liEAI. PenWobK DEBK. Full inMriiciious ."or ninkiiiK lliis Di'cr civ en in the Trin'ing Procp"!. Copyriulitcil IMS, liy Knowi.ks & MAXtu. mw 1 ilic Tnioiug Process. Copyrighted 1882, by the PuliU)herl>, Knowlcs & Mniim. .# .s % m ^T.-.W Rial Pin- Work Horses. Full IlulractioDS for making those horse given in the Tracing Pioccss. Copyrighted 1884 by the publisiierS: IlEAl. I'EN-WoitK KLOL'HISUKU HBAUH. Full instrurtiiiiis for iintkinc t!ie«e Heads givi'ii in the Tracinfr ProcesB. Copyrighted 1884, by the Publisher!', Kkowlks & Maxim •i '■^ '1 4 > vs --f" fTI ( fe ■in* Rial Pen-Wobk Sketcbino. Full inntructioni all nbout how to miike Uiese dedmu, given In the Traclnu Proceiw. Copyrighted 1884, by the PublUhcn, Khowlis * Maxih. ALL DONE WITH A SINGLE STROKE OF THE PEN .,QsQ Aff^A ^It Vtf f itt^M* IM. b7 lb* euMM«i, tMwiM « HuMi. '^■•r-/, '•A ■ \J i .-.« ■*■ Cop7r1ghi«d IMH. hj tiM l-ubllibwi. KnuslN* HulH. )■•> V ^ IMAGE EVALUATION TEST TARGET (MT-3) 1.0 121 12.5 |: E Ui I& I.I 2.2 2.0 1.25 1.4 1.6 - 6" W /a ^/,. V >> ■» *' °m /A Photographic Saences Corporation 23 \MFST MAIN STREET WEBSTER, N.Y. 14580 (716) 872-4503 \ ^1>^ ;\ LV \ pS\ '^ #^ '**. ■fr ^4b 5 t c 1 ■ \ HEAI, I*KN-\\'nRK UrwTic Alimiahbt. Full instructions for ranking these Icttrrp pivtii in tin- Timing Trorc?*. Copyriglited ISM, liy the Publishers, Kuowles Sc Maxim. ^a^i-^e^- Fr,„„ Ames- LesBons i„ Box Marking, Penman', 8 Art Journal, l-rp -,.- j-T Copyri till ted 1SH4, by tlie Piil)li<«lien), Knowlcs & Maxim. Co|iyrlKlit('il iss-l, by tin- i'uiilislitr.-', Kndwi.es A MAXiy J^^'i. '^/' t'opyrlffbtcd 18U, by the I'ubtihben), Kuowle^ & Muxinu S^jjj^^^^-- Copjrrlglitcil 1894, 1;.- the riilili-iiur'^, Knuwleh k Maxim. '■""■t Of T« n»W09' fOlM.NO THC r>^^ This Wonderful alphabet was all (Imic willi a .sloel pen. This Alpliabet is the greatest piooe oC artistic pen drawinjr in the iviirld. It is the most beautiful German Text Alphabet, and the most skillful and most wonderful piiTp of pen drawing ever done. Every letter is a perfect gem in itself, a wonder of artistic skill. This Alplialicl is of ininieuse value to every penman and pen artist. Hy the Tracing Process, any oiu' can make an exact copy of any letter of this Alphabet, without any trouble at all. All penmen who liave the Self-In.structor. use this Al- phabet for initial letters to begin an important word or a page, and for the initials of their own names. Yciu cannot make anything more beautiful or appropriate as a present for friend sj than the initials of your own name, orot theirmunes, taken from this Alphabet, and done with a pen by yourself, whicli yon can easily do by the Tracing Process. The origim.l Pen and Ink drawings of this A1|ihabet cost us an enormous sum of money, and this is a perfect Photo-Electrograph from the original pen and ink work. This Alphabet alone is worth the price of a dozen Self-Instructors to any pcn- nuiii, writing teacher, or pen artist, or anybody else who cares anything about learn- ing to write well or ilo nice pen-work. Remember, t-y the Tracing Process you can nuike an exact pen and ink copy of any of the letters of this Alphabet without any trouble at all. CopjrrighUHl 1884, h^ the Publlitaero, Knowleh & Maxim THF ABOVE IS A PICTURE OF FRANK BLISS, A BOY TWELVE YEARS OF AGE. We fiivi" on lliin pjii^i' two swaiiM nindi' l>y liim llic Miimc ilay i one niiulc bcldiT iiiiil one nfliT iifin;; llii' Triiciii^' I'ron-ss. Swim Ni). 2 is II iniist cxcclli'iil piiM'u of oniiiniontiil pi'ii- work iukI sIiipws wimt wdiiilcrl'iil improvement caii 1"' niiiilr \>y a child in only one ilii)' liy tlic 'rraciii^' I'roccss. Litlle Frank Illins ciiiiii' inio onr ollicc anil inade swiin No. 1, wliicli was tlie lirst he ronld do licl'ori' Iryin;.' the TrHi'inj; Process. Then lie made swan No. 2 the same day hy the Tracing Process. Such wonilerfnl improveinent l>y a idiild in only one day is siniipthini; never heard a Kpii iiiiin nf FllANK l)i.i»»'» iicii ilrnwiiiK lufim' inniK Ihi' I'riuiiiK ('mccm. ^^^g=:^=5??i=^Sv- ^i^m^^^^ '''■(^'-j' f :fr~ 'ijr ':*'.' '■' •' Swan No. 2. AFTER USING THE TRACING PROCESS. Tlif nhovi- wiis ilniwri wUli ii pi'ii liy Fh.^nk Hlihh, l»y tin- 'rniciiijf ProccHH, tin- llrxt tiim- tryinif tlip ^nu'cHs, mul rhf vory iliiy tliiit lie iniuli' hwiui N(i. I CHI tliis stuiK* pii^'c. It tilmws wliiit II liiiy twi'lvf yi-iirs iit<] niii luiirii to do iit only our dity hy tlit> Tnu-iii^' IVm-i'S.s. The uhuvc nwaii, No 'i, wiw math' tlie Hiime Hizf iis the ttwmi in tin- hook froui whidi it wiu* tiikcn, hut wi- hiivi- i-t>ihi<-i*i) it here to ccononiizp Bpiu't'