AS 
 
Digitized by the Internet Archive 
 in 2016 
 
 https://archive.org/details/artofengravingprOOunse 
 
The 
 
 ART OF Engraving 
 
 A Practical Treatise 
 
 ON THE Engraver’s Art, with Special Reference 
 TO Letter and Monogram Engraving 
 
 SPECIALLY COMPILED 
 
 As a Text-Book for Students and Reference Book and 
 Guide for Engravers 
 
 Ol^ER TIVO HUNDRED ORIGINAL ILLUSTRATIONS 
 
 SECOND EDITION 
 
 PUBLISHED BY 
 
 THE KEYSTONE 
 
 THE ORGAN OF THE JEWEERY AND OPTICAE TRADES 
 19th & Brown Sts., Phieadelphia, U.S.A. 
 
 1904 
 
 All Rights Reserved 
 
%yOO.^y..i 
 
PREFACE TO SECOND EDITION 
 
 The great need which existed for a masterful treatise on 
 practical engraving has been conclusively proved by the quick sale 
 of the first edition of this work. Such has been the demand for it 
 that the entire first edition has been sold within one year from the 
 date of publication, an unusual record of sales in the case of a 
 purely technical treatise. The explanation lies in the merit of the 
 book and in the fact that previous to its publication there was no 
 treatise available which could be truthfully described as thoroughl}^ 
 covering this important subject. The want of a standard text-book 
 on the art of engraving was greatly felt by teachers and students 
 alike, and it was to supply this want, as well as to aid in the 
 advancement of the art itself, that this w'ork w^as undertaken. 
 
 It means much for the student that the author of this book had 
 the dual qualification of being an expert engraver and a successful 
 instructor of engraving. This ensures at the same time accuracy 
 and reliability of matter and such a course of instruction as expe- 
 rience has proved to be most effective in enabling the student to 
 master the art. 
 
 A helpful feature of the work is an unusual abundance of 
 original and carefully-executed illustrations. 
 
 The Publisher 
 
Copyright, 1903, by B. Thorpk, 
 Publisher of The Keystone. 
 
 Entereo at Stationers’ Hall, Tondon, Eng. 
 
CONTENTS 
 
 CHAPTER I. 
 
 Introductory 9 
 
 CHAPTER II. 
 
 Mechanical Drawing 13 
 
 CHAPTER III. 
 
 Tools and Materials for the Beginner 23 
 
 CHAPTER IV. 
 
 First Exercises in Engr.wing 30 
 
 CHAPTER V. 
 
 Block Letters 35 
 
 CHAPTER YL 
 
 Methods of Cutting Block Letters 40 
 
 CHAPTER VII. 
 
 Script Letters 47 
 
 CHAPTER VIII. 
 
 Cutting Sm.yll or Lower-Case Script Letters 54 
 
 CHAPTER IX. 
 
 The Formation of the Script Capitals 61 
 
 CHAPTER X. 
 
 Looped Script ' 68 
 
 CHAPTER XL 
 
 The PRACTIC.A.L Use of Script Letters 76 
 
 CHAPTER XII. 
 
 Engraving Coffin Plates in Script ; ...... 80 
 
 CHAPTER XIII. 
 
 Engraving on Thimblp:s .vnd Inside of Rings 86 
 
 CHAPTER XIV. 
 
 Engraving Inscriptions in Script 91 
 
6 
 
 The Art of Engraving. 
 
 CHAPTER XV. 
 
 Old English 97 
 
 CHAPTER XVI. 
 
 Method of Cutting Old English loi 
 
 CHAPTER XVII. 
 
 Some Uses and Styles of Old English iii 
 
 CHAPTER XVIII. 
 
 Roman Letters 117 
 
 CHAPTER XIX. 
 
 Odd Letters ...121 
 
 CHAPTER XX. 
 
 Engraving in Spoons and on Bangles 127 
 
 CHAPTER XXL 
 
 Shaded Old English 134 
 
 CHAPTER XXII. 
 
 Engraing Script Inscriptions 143 
 
 CHAPTER XXIII. 
 
 Inscriptions in Diffp:rent Styles of Letters 151 
 
 CHAPTER XXIV. 
 
 Engraving on Spoon Handles 155 
 
 CHAPTER XXV. 
 
 Letters on Spoon Handles and Lockets 162 
 
 CHAPTER XXVI. 
 
 Designing and Engraving Ciphers 165 
 
 CHAPTER XXVII. 
 
 Entwined AxNd Ornamental Ciphers 174 
 
 CHAPTER XXVIII. 
 
 Parallel Line Ciphers 180 
 
 CHAPTER XXIX. 
 
 Flower I.eaf Ciphers 184 
 
 CHAPTER XXX. 
 
 Block Ciphers 187 
 
THE ART OF ENGRAVING 
 
THE ART OF ENGRAVING. 
 
 CHAPTER I. 
 
 INTRODUCTORY. 
 
 In taking up the study of engraving with a determination to 
 thoroughly master the art it may be interesting to look back over 
 the fading pages of history and learn whence this art came. If we 
 read the traditional story of prehistoric man down to and including 
 the men of the stone age we learn that back in those dark ages 
 when no other implements or tools were known save those made 
 from stone, some of the men of the period were spending their 
 leisure time whittling weapons and engraving on stone the forms of 
 animals with which they were familiar. 
 
 It is difficult for the modern engraver sitting in the front 
 window of a beautifully decorated jewelry store to conceive that 
 the art of engraving had its birth amongst the cave-dwellers of the 
 stone age, and that the first engraving tool was the hard stone with 
 which softer stones were engraved. But so it was, for we have 
 proof in abundance that the art of engraving was known to men 
 before the discovery of metals and previous to the bronze age. 
 
 This most beautiful art, -therefore, being the oldest known to 
 man and one which has come down through the centuries gaining 
 in excellence, popularity and prestige, it behooves the student who 
 decides to study engraving and to follow it as a business or a de- 
 partment connected with his business to realize that he is dealing 
 not with a mere trade, but with an art difficult of mastery and 
 capable of limitless development. 
 
 ADVICE TO BEGINNERS. 
 
 Considering the advantages with which man is blessed in this 
 age of higher education, beginners should so begin that the 
 work which they do from the very start may be of permanent ad- 
 vantage to them. Mention of this is deemed advisable thus early 
 because it is a well known fact that there are many who have been 
 
 9 
 
lO 
 
 The Art of Engraving. 
 
 doing “ engraving” for years with no apparent advancement. To 
 begin right is the first step towards success, and such a beginning 
 is not only advisable, but imperative, for we are living in a century 
 that demands from all artisans the most thorough workmanship. 
 The standard, too, is becoming more exacting. Indeed, the art 
 has progressed so rapidly in recent years that it has reached a high 
 point of perfection, far in advance of the workmanship accomplished 
 in earlier times. 
 
 The student to-day should begin by learning the rudiments, 
 that most valuable foundation which so many overlook. He must, 
 if he ever hopes to be master of his chosen profession, become 
 familiar with and an adept in all the details of the work which are 
 the stepping stones leading up to a high degree of perfection. Such 
 thorough study and mastery of detail are essential, too, as the 
 means by which the most perfect work is accomplished in the least 
 time. It is a fact that cannot be disputed that the great leaders of 
 recent years in many professions, trades or businesses are those who 
 have given strict attention to the study of little things, or the details 
 appertaining to their work, and by so doing have mastered the 
 work in much less time than they could have done so with any sat- 
 isfaction by the stumbling-over method. It has been the privilege 
 and experience of all teachers of engraving to observe students 
 study and practice in both the thorough and the careless method, 
 and the observation has proved that the student going about his 
 work with a determination and a knowledge of the rudiments is the 
 one who masters his work in the least time and the one whose 
 finished work is complete and correct. Following this mode of 
 procedure the engraver does not find it necessary to retrace his 
 steps, ‘ ‘ patch up ’ ’ and tamper with his work after it has passed 
 the finishing stages. 
 
 The necessity of beginning aright and following technical lines 
 cannot be too thoroughly impressed upon the student’s mind. To 
 the knowledge of the author there have been men connected with the 
 jewelry business for thirty or thirty-five years, during which time 
 they have made an attempt to engrave (if the term may be used 
 without discredit to the art) all the goods they sold that called for 
 engraving. After these years of nervous strain on all sides they are 
 aroused from their slumbers and find that the reason they cannot 
 do better after so much practice is because they did not know how 
 to do any of the work correctly, and they were willing to admit 
 
Introductory, 
 
 1 1 
 
 that a few of the necessary beginning points, if explained and fol- 
 lowed, would have enabled them to accomplish much better work 
 in much less time. How many pieces of gold and silver go forth 
 from a jewelry store simply to proclaim the awkwardness and in- 
 ability of the engraver? And if we compare such work with the 
 beautiful specimens taken from some of our high-class stores we are 
 convinced at once that the former show the lack of knowledge of 
 the first lessons while the latter show the highest degree of adherence 
 to the strict rules of detail. 
 
 TECHNICAL TRAINING. 
 
 There are many technical points connected with learning the 
 art of engraving correctly and thoroughly that may be considered 
 unnecessary by many of our readers. It is true that some may 
 not be able to foresee wherein some one particular point to which 
 attention will be called will, in time to come, be of value to him, 
 nevertheless, the knowledge will help him in many ways, and at 
 times when he is least aware of the necessity or advantage of it. 
 Thus, readers who follow this work to the end will find only such 
 technicalities as are advantageous and worthy of careful consideration. 
 
 For instance, some readers may deem it unnecessary to possess 
 any knowledge of geometry or mechanical drawing to master the 
 art of engraving. While it is true that there are a great many 
 high-class artists who have overlooked some of these points, yet it 
 is possible that, had they deemed it advisable at the beginning to 
 study the little points in geometry, they would have executed the 
 work even better and easier. The error of not beginning properly 
 by the thorough study of the preliminaries 
 and technicalities can be proven in many 
 cases, but one reference will suffice. We 
 will suppose the engraver has to engrave 
 a duplicate of a watch dial on the front 
 case of a watch to enable the owner to 
 see the time by cutting out a small hole 
 over the center of the timepiece, as shown 
 in the demi-hunter here illustrated. An 
 instance of this came to the attention of 
 the author a few years since, it being nec- 
 essary to engrave on the outside of the 
 front case a fac-simile of the watch dial. 
 
12 
 
 The Art of Engraving. 
 
 Now, if we have no knowledge of mechanical drawing how are 
 we to do the work with such accuracy and rapidity as we would 
 if we were the happy possessors of such knowledge. It can be 
 done by guess work, but not with that degree of accuracy that 
 would be required by the customers who patronize high-class stores. 
 While, on the other hand, it could be easily accomplished by one 
 with but a little knowledge of mechanical drawing, which it will be 
 our pleasure to illustrate in another chapter. There are hundreds 
 of cases where such information will be found necessary. This 
 being true, and considering the short time required to learn this 
 branch, why neglect it ? It is safe to say that some engravers spend 
 more time in three months correcting errors that could be avoided 
 if they had some knowledge of mechanical drawing than would be 
 required to gain such knowledge. This treatise will, however, be 
 written with only such mention and description of geometrical 
 problems and other detail work as are considered by the author 
 necessary to expert work, and the judgment dictating these details 
 is based upon years of observation and practical instructing. There 
 are many ambitious young men, to-day, who would find their work 
 a pleasure if they had been properly trained in their work in the 
 beginning. 
 
 Appealing to the good judgment of the reader to admit the 
 advisability of thoroughness, it will be the author’s pleasure to 
 direct the reader correctly and with rapidity. The age in which we 
 live demands care and knowledge, and it is necessary that those 
 desirous of learning the art of engraving should have at their 
 disposal written instructions outlining the detail of the work in such 
 a manner that the treatise will be not merely a text-book for the 
 beginner, but a guide and book of reference for the qualified 
 engraver. 
 
 While it is true that the art of engraving, especially in mono- 
 gram and ornamental work, depends largely upon the artistic skill 
 of the engraver, it is also a fact that those possessing such artistic 
 ideas have passed through an early training of a character sufficiently 
 technical to give to a fertile brain and correct eye a broad conception 
 of the art. Taking for granted, therefore, that an elementary 
 knowledge of the art of drawing and an ability to represent outlines 
 by simple lines are among the accomplishments -a novice should 
 possess before proceeding with practical engraving, we will illustrate 
 and describe such as are deemed advisable. 
 
CHAPTER II. 
 
 MECHANICAL DRAWING. 
 
 At Fig. I is illustrated an instrument known as a protractor, 
 which is used for measuring or laying off angles, or for dividing 
 circles into a number of equal parts. The outer edge of the pro- 
 tractor is a semi-circle whose 
 center is O and is divided into 
 360 parts, each therefore being 
 equal to half a degree. There 
 are also protractors which are 
 divided into 180 parts, one-half 
 of a circle, in which case each 
 part would represent a degree. 
 Should we wish to use a protractor to measure or lay off an angle, 
 we must place it so that the edge O B will coincide with the line 
 that forms one side of the angle to be laid off or measured, and the 
 center O will form the vertex of the angle. For example, suppose 
 we desire to lay off on an angle of 45° with a line C D 2X the 
 point M, Fig. 2, .we would in such case lay the protractor on the 
 paper with the 
 edge O B, to co- 
 incide with the 
 line at the point 
 M\ then we 
 would make a 
 mark with a sharp 
 pencil at the 45° 
 division on the 
 
 outer edge of the protractor, as indicated at H, as that we wish to 
 lay off*. Now a line drawn from such a point through to the center 
 Af will make the required angle. 
 
 One of the first instruments aside from the protractor that the 
 beginner in drawing should have, is a square known as a carpenter’s 
 square. For engravers’ use one three inches horizontally and two 
 inches perpendicularly would answer very nicely. Such a square 
 could be made of celluloid by the aid of mechanical drawing or by 
 
 13 
 
H 
 
 The Art of Engraving . 
 
 the use of a steel square. The object of suggesting celluloid is that 
 it is pliable and would conform to some of the uneven surfaces 
 which the engravers have to deal with with some degree of accu- 
 racy ; but it must be remembered that a metal square is far more 
 accurate, as it is perfectly solid and firm. 
 
 The beginner should also possess a parallel rule, shown at 
 Fig. 3. These rules could be easily made, or can be purchased at 
 any book store. He should also have a 6-H pencil, or one equally 
 
 Fig. 3 
 
 hard, and two pencils of a softer lead. A pair of compasses of 
 good quality is also one of the instruments with which a beginner 
 should familiarize himself and have in his stock of tools. Triangles, 
 such as shown at Fig. 4, are made in celluloid and can be purchased 
 at book stores. All beginners should have such an instrument, 
 which, if it cannot be conveniently purchased, can be easily made. 
 
 Mechanical drawings are usually made by the aid of a drawing- 
 board, which will simplify and facilitate the work. I would advise 
 
 the beginner, in learning to make accurate drawings, to use a 
 drawing-board, a diagram of which is shown at Fig. 5. Drawing- 
 boards are usually made of some soft wood. Well-seasoned white 
 pine of straight grain is considered good. The grain should run 
 lengthwise of the board and should be free from knots, so that it 
 will easily receive the thumb tacks used to fasten down the corners 
 of the paper. The surface should be flat and smooth, in order that 
 
Mccha^iical Drawing. 
 
 5 
 
 the paper will lie smoothly and close to the board. The edges 
 should be smooth and must form right angles one with the other. 
 To prevent warping, strips should be tongued into the ends, as 
 shown at Fig. 6. This board should be about 12x18 inches. 
 
 The T-square, shown at A, is used for drawing horizontal 
 straight lines. In using it the short piece of square is placed 
 against the left edge of the drawing-board, as shown at Fig. 5, and 
 the upper edge of the blade is brought over near to the point 
 through which the line is to be drawn, so that a straight edge of 
 the blade can be used as a guide for the pencil in making such 
 lines. If the edge of the drawing-board is constructed as it 
 should be, all lines drawn in 
 this manner must of necessity 
 be parallel. Now we will sup- 
 pose that it is desired to make 
 lines parallel or at right angles 
 with these parallel horizontal 
 lines. In this case the triangle 
 illustrated at Fig. 4 and shown 
 also at Fig. 5, resting against 
 the T-square, is used. The 
 edge of the triangle slides freely 
 along the edge of the blade of 
 the T-square and, by virtue of 
 
 
 
i6 
 
 The Art of Engraving. 
 
 the high degree of accuracy of its shape, the lines drawn along the 
 left side of it must necessarily be perfectly perpendicular. The 
 object of making these lines in this way is that, if equi-distant, they 
 can be used for increasing or decreasing the size of an object by 
 the process which is often used in enlarging and diminishing large 
 paintings, such as the paintings on the curtains of a theater or 
 others of like character. 
 
 The process thus described is as follows : Draw across the 
 
 original picture a number of equi-distant and horizontal lines 
 forming perfect squares and number the two sets of lines in succes- 
 sion, as shown at Fig. 7 ; then draw a simple series of lines on a 
 clean sheet of paper, setting the lines an equal, a greater or a less 
 distance apart and copy in succession the parts of the figure that 
 are enclosed within the several squares. At Fig. 7 such drawings 
 
 are illustrated in the two 
 sizes, which will explain 
 this method. As it is not 
 always possible to draw 
 lines across a figure, they 
 may be replaced by a frame 
 carrying fine threads or 
 wires stretched in the two 
 directions. The frame can be laid oyer the original drawing, which 
 can then be copied, as we have explained, on a sheet of paper 
 divided into squares. Having placed the frame above or in front 
 of the object and in contact with it, copy 011 to the sectional paper 
 the contents of each corresponding square, taking care to look at 
 each perpendicularly. With a little practice and by placing in 
 a correct position with and always at the same distance from the 
 frame, a distance which may be regulated by a glass, a sketch may, 
 in fair proportions, be obtained. This method of enlarging or 
 diminishing the size of objects may not be of much value to most 
 engravers, but cases will arise in which a knowledge of such a 
 
 method will be useful. 
 
 The T-square is made of hard wood, rubber or steel and 
 should be of a simple pattern, as shown at Fig. 5 b. The 
 T-square should be provided with a hole at the end for hanging 
 up when not in use, and should always be suspended by the blade, 
 through which the hole is made, as shown. Great care should be 
 exercised with all drawing instruments. 
 
Mechanical Drawing. 
 
 17 
 
 MECHANICAL DRAWING EXERCISES. 
 
 One of the first things for a beginner to draw is a square, 
 which is made as follows : First draw a horizontal line measuring 
 3 inches long, then erect perpendiculars 3 inches long at A and B, 
 using the triangle shown at Fig. 4 ; then 
 draw C D 2X extremities of the perpendicu- 
 lars, which completes the square, Fig. 8. 
 
 The next exercise would be drawing 
 circles, which can be done with great accu- 
 racy with the compasses of their various 
 sizes. The student should bear in mind that 
 in drawing circles with the cbmpasses that 
 the hand should incline the compasses solely 
 in the direction in which they are moved. 
 
 Fig. s 
 
 circle, mark on the 
 circumference or on the 
 arc three points, ABC; 
 next join A to B, B to 
 C ; at the middle points 
 of these lines erect per- 
 pendiculars. (The 
 middle points are de- 
 termined in the man- 
 ner explained for 
 erecting a perpendic- 
 ular, Fig. 12, except- 
 ing that the intersect- 
 ing arcs are described 
 on both sides of the 
 
 In making equi-lateral triangle, 
 as shown at Fig. 9, draw a horizon- 
 tal line D D oi any desired length ; 
 then take iT as a center and D E sls 
 a radius and describe an arc ; then 
 take D as 3. center and D E as a 
 radius and describe an arc. Now 
 from the point E, where the two arcs 
 intersect, draw lines to the points 
 D and E. To find the center of a 
 
i8 
 
 The Art of Engraving. 
 
 line, the perpendicular being a line joining these points at the inter- 
 section. ) The point of intersection of these perpendiculars will be 
 
 the center. A like method can be used 
 when desired to describe a circle passing 
 through any three given points, shown at 
 Fig. lo. 
 
 To draw a spiral curve draw four 
 lines forming a small square, as shown 
 at Fig. II. O is taken as a center of the 
 first arc D Af; C is the center of Af E ; 
 f/ of E H; D oi HS; then, to con- 
 tinue, the curve O is once again taken 
 as the center of .S and so on. This 
 method produces a volute in which the coils are at a considerable 
 distance apart. 
 
 on 
 
 To erect a perpendicular 
 a straight line, either com- 
 
 
 E- 
 
 Fis. 12 
 
 
 passes or a straight square can 
 be employed. The use of the 
 latter is so simple that no fur- 
 ther reference need be made to 
 it. Let us assume E, Fig. 12, 
 to be the point in the line A B 
 at which a perpendicular is to be 
 
 drawn : on either side of E measure off equal distances E A, E B, 
 from A and B ; with any radius greater than E B or E A draw 
 
 two arcs intersecting 
 at E. If their point 
 of intersection, E, be 
 joined to E, the line 
 E E will be the re- 
 quired perpendicular. 
 
 To divide a line 
 into any number of 
 equal parts we pro- 
 ceed as follows : Let 
 
 A B be the given line 
 to be divided. With 
 
 any convenient angle to A B draw A C oi indefinite length. On 
 
 
 Q 
 
 A C lay off the required number of equal parts. 
 
 From the last 
 
Mechanical Drawing. 
 
 19 
 
 point of division, as i^(the angle MBA can be any magnitude), 
 draw M B through the extremity of A B as B. Then through 
 points //, G, /^and E, respectively, draw lines parallel to MB 
 and cutting A B 2X S\ B, Q, P and N respectively. Then A N= 
 JV P = P Q = P S = SB; therefore, A B is divided into the 
 required number of equal parts (Fig. 13). 
 
 This problem can also be used to divide A B into parts pro- 
 portional to given lines or parts by laying off 
 on A C the required lengths and passing a line 
 through the extreme division and the extremity 
 oi A B ; then draw parallels as in the foregoing 
 problem. 
 
 How to describe and engrave circles is the 
 next point for consideration. At Fig. 14 is 
 shown a series of circles which should be 
 drawn with the compasses by scratching on the 
 metal. After they have been scratched in this way they are en- 
 graved with a square graver, making a fine hair line all the way around. 
 After some practice in cutting them from the previously-made design, 
 they should be engraved without any design. This class of work 
 will come under the head of beginning exercises. It is good prac- 
 tice for the beginner to draw a series of such circles as these, of 
 various diameters, in order to accustom himself to the use of 
 compasses, which, though accomplished by a simple movement of 
 
 the hand, yet requires some skill 
 to execute dexterously. 
 
 To inscribe a hexagon (Fig. 15), 
 first describe a circle with any radius ; 
 then draw a horizontal diameter CD ; 
 with C as center and a radius equal 
 to that of the circle describe arcs, 
 cutting the circle at the points A and 
 E. Now with D as center and with 
 the same radius describe arcs, cutting 
 the circle at the points B and F. 
 Lines drawn from A B, B D, D E, 
 f E, E C and C A will make chords forming the hexagon, 
 A B D E E C A. It will be seen that the side of a hexagon is 
 equal to the radius of the circumscribed circle, thus forming six 
 
20 
 
 The Art of Ejigraving. 
 
 equilateral triangles, as C O A C, any of which can be subdivided 
 into any number of equal parts. 
 
 To divide an angle into any number of equal parts, we pro- 
 ceed as follows (Fig. 
 i6) : Let C be 
 any angle ; with A as 
 center and any radius 
 3 .S A T> draw arc DE ; 
 with D and E as cen- 
 ters and a radius 
 greater than one-half 
 of angle B A C, draw 
 arcs intersecting at E; 
 a line drawn from the 
 
 point A through the point E will bisect the angle. Similarly the 
 angle B A E can be bisected, and so on. 
 
 To erect a per- ^ 
 
 pendicular at an ex- 
 tremity of a given 
 straight line (Fig. 
 
 17), let A B he any 
 given line. Then^ 
 with any radius as 
 
 C B describe an arc a — 
 
 which cuts A B and 
 passes through the 
 point B and con- 
 tinue the arc ; draw D C and prolong to intersect arc at G \ a line 
 drawn through G B, as E B, is the required perpendicular. 
 
 To draw a tangent to 
 a circle at a given point in 
 the circumference, we pro- 
 ceed thus (Fig. 18) : A 
 tangent to a circle or other 
 curve is a line which 
 touches the curve at the 
 point without crossing it. 
 Supposing O to be the 
 center of a circle 3 inches 
 in diameter, and P the 
 
 C/ 
 
 Fig. 17 
 
Mecha 7 iical Drawhig. 
 
 21 
 
 point at which it is required to draw the tangent ; through O and 
 P draw a dotted line and prolong this line outside the circle a dis- 
 tance P Q equal to the radius of the circle. This bisector will pass 
 through P and be a tangent to the circle at that point. This 
 problem may be constructed by making O Q 2. definite length and 
 then drawing a perpendicular to it at the point P. 
 
 To inscribe a square in a given 
 circle (Fig. 19), draw a circle 3 inches 
 m diameter ; with a T-square and 45° 
 triangle, draw the diameters A C, B D 
 at right angles to each other and each 
 at 45° to the horizontal ; join the ends 
 of these diameters, and the inscribed 
 figure will be the required square. 
 
 To draw an ellipse should also be 
 part of the knowledge of the beginner 
 (Fig. 20). An ellipse is a curved plane 
 
 figure, the shape of which is often used in engraving. Such articles 
 as pin trays, bread trays and servers are often made in this shape, 
 and especially for die cutting the outline of an ellipse is often used 
 
 for circumscribing a monogram. To 
 draw a perfect ellipse 3 inches long, 
 draw A B 2 inches long and place a pin 
 upright in the drawing-board at each 
 end of A B ; now double a strong 
 thread, silk is preferred, and tie a knot 
 in the double thread so that the loop 
 will be exactly 2 j 4 inches long. (This 
 may require a few trials to do nicely. ) 
 Place the looped thread over the pins 
 and with a pencil-point draw the string 
 straight, as at C ; then pass the pencil around as is shown by the 
 arrow, keeping the thread always taught ; the curve traced by the 
 pencil point will be a perfect ellipse. 
 
 It is said that if we draw a circle on a card-board and then cut 
 it out and hold it squarely before the face, it will appear circular ; 
 but if we tip it in any direction, so that one edge approaches the 
 eye, it will no longer appear circular, but elliptical. We learn 
 from this that an ellipse may be any shape between a true circle and 
 a straight line. The method shown in Fig. 20 is not a convenient 
 
22 
 
 The Art of Engraving. 
 
 B 
 
 one and is here given only because it traces a perfect ellipse and 
 shows the correct proportion. There are several methods of draw- 
 ing an ellipse nearly accurate, but the most convenient is that 
 where the curve is made up of arcs smoothly joined. The method 
 above described for drawing an ellipse is very useful for drawing 
 such outlines for die cutting as will be referred to later on. 
 
 To draw an ellipse by means of circular arcs (Fig. 21), draw 
 A B, the major axis, 3 inches long, and C D, the minor axis, 2 
 inches long, and at right angles to ^ at its center O ; from B 
 
 lay B I equal to C D, and di- 
 vide I A into three equal parts. 
 This can be most conveniently 
 done by trial with the dividers ; 
 from O lay ofi 0 h and o each 
 equal to two of the three parts 
 just found ; from a and b, with a b 
 as a radius, draw arcs intersecting 
 at e and f \ next, from e and f are 
 drawn dotted lines through a and b^ 
 which are prolonged some distance 
 lo c d h and i ; now from <?, with the radius e C, draw the arc c C d, 
 and from f in like manner the arc h D i\ from B, with a radius 
 B d, strike a short arc across A B, which will intersect very near b ; 
 from this last intersection as a center draw the arc d B i \ in a 
 similar way find the center for and draw the arc c A h. These four 
 arcs complete a regular ellipse. 
 
 Sufficient has been said of the advisability of these few exercises 
 in mechanical drawings to make further mention unnecessary, but 
 in the course of his studies the student will observe that a knowl- 
 edge of right angles, perpendiculars, arcs and circles will be of 
 much value to him. 
 
CHAPTER III. 
 
 TOOLS AND MATERIALS FOR THE BEGINNER. 
 
 In beginning the exercises in engraving, the student should 
 first supply himself with a small bottle or brick of Chinese white, 
 which can be obtained at any art store. This Chinese white is 
 used by wetting the finger and rubbing on the white and thus 
 transferring it to the metal upon which he desires to engrave, by 
 rubbing a thin coating over the same. This white dries almost 
 instantaneously and leaves a pure white surface, upon which any design 
 can be drawn with a pencil, after which it can be scratched on 
 with a stylus or engraved directly through the Chinese white and 
 then washed off. This method of designing is very useful for pro- 
 tecting the surfaces of some metals. Chinese white is most desirable 
 as a means of designing on satin-finished surfaces. The student 
 should also provide himself with a box of transfer wax, for the 
 making of which there are many different formulas. The writer 
 has found the following to be the best : 
 
 3 parts beeswax. 
 
 3 parts tallow. 
 
 I part Canada balsam. 
 
 I part olive oil. 
 
 This wax is not only used for transferring engraved designs 
 from one piece to another, but is also used to protect the surface of 
 polished articles to design through with a rubber-pointed stylus. 
 
 Two pencils, one hard and one medium, should also be among 
 the outfit of the beginner, together with a stylus and a straight- 
 edge. The stylus is made of hard rubber, one end of which is 
 steel and pointed, used in scratching on designs where such method 
 is required. An alcohol lamp for heating wax should also be on 
 the engraver’s table. A cake of engraver’s cement, a block of 
 hard wood, into which the point of the graver has to be jabbed to 
 remove the burr after rubbing on the oilstone ; a fine-grained 
 Arkansas oilstone free from spots, a sheet of oooo French emery 
 paper, and one sand-bag pad of the style shown at Fig. 21 a. 
 The emery paper is cut up into slips about i inch wide and 2 inches 
 
 23 
 
24 
 
 The Art of Engraving. 
 
 long, and for convenience can be cemented to a block of wood the 
 same size or can be used on the work bench direct. 
 
 The time was when engravers 
 found it necessary to make their own 
 engraving tools. At the present time, 
 however, it is not considered advisable, 
 as they are made in such quantities by 
 manufacturers as cheapens their pro- 
 duction to such an extent that it is 
 practically a waste of time for the individual artificer to manufacture 
 his own. Moreover, he may not be able to select a good quality of 
 steel nor properly temper it. 
 
 The first graver for the novice’s use is a square 
 graver of a No. 6 or No. 7 size, or a taper graver if 
 preferred. The gravers are sold separate from the 
 handles. The pointed end of the graver is driven into 
 the handle, leaving the graver the original length. 
 
 The blade is inserted in the handle, so as to appear as 
 shown at Fig. 23 ; A and B are the cutting edges. 
 
 After placing the graver in the handle in this manner 
 the next step is to find the exact length for the graver. 
 
 This is a point which has been discussed by a great 
 many writers on the subject, and is also a very weak 
 point with some beginners, they not knowing the exact 
 length. On seriously considering the question and 
 arranging a means of measuring which will adapt itself 
 to any sized person, we have found that if the graver is placed in 
 the end as shown at Fig. 22, with the handle in the palm of the 
 hand, the oval part being next to the hand, the flat part downward ; 
 
 then the thumb be slided 
 down on the blade of the 
 graver in the direction of 
 the arrow as far as possible, 
 stretching the thumb to 
 its limit, and the graver 
 broken off at that point, 
 the length of the graver 
 thus shown is positively correct for the hand which was used as a 
 means of measuring. This is true from the fact that the point of 
 the graver should be as near the end of the thumb as is convenient, 
 
Tools and Materials for the Beginner. 25 
 
 not protruding more than a few inches beyond the thumb when the 
 thumb is used as a fulcrum, guide or brake in actual execution. It 
 would, in this case, protrude about one-half inch beyond the 
 thumb if the measurement were made as above described, because, 
 in making these measurements, the thumb was stretched down to 
 the blade further than the natural position of holding it would 
 require. 
 
 Having thus measured the length of the graver and broken it 
 off in a vise, we now grind it on the front on an angle of 45°. A 
 carborundum wheel used on a small lathe about the size of a foot 
 polishing lathe used by jewelers, is a very convenient means of 
 grinding a graver and is much preferred to the old method of the 
 
 Fig. 24 
 
 grinding stone. The latter, of course, will suffice in the absence of 
 the former. Inasmuch as the carborundum wheel is used 
 without water, a glass of water can be used for keeping the graver 
 cool. Great care should be taken, however, not to heat the point 
 of the graver to any extent, as such heating would have a tendency 
 to deteriorate the quality of the steel for the purpose for which it 
 would be used. After the graver has been ground off on the front 
 as above described, it is next ground off on the under side, B and 
 A, Fig. 24, the left side of which is shown at G, Fig. 24. The 
 object in grinding the graver off on the under side in this manner 
 is obvious to those who have practiced the art. For the benefit of 
 the beginner, however, it may be stated that if the graver were 
 used without cutting it off on the under side in this manner, the 
 graver, not heeled up and held on sufficient angle to cut a reason- 
 able depth nicely, would appear on the angle as shown at Fig. 25. 
 It is plain to the novice that a graver on this angle would not leave 
 sufficient room between the article being engraved (if it were an 
 
26 
 
 The Art of Engraving . 
 
 article the size of a coffin plate or any article where the handle 
 would come over such article) to grasp the handle of the tool, 
 which, if properly grasped, requires that the fingers go around and 
 on the under side of the handle. It will be seen, therefore, that 
 an angle such as is shown at Fig. 26, will be required, and to gain 
 this angle the graver must be heeled up as described. 
 
 A graver for the various irregularly-shaped articles that come 
 to the hands of an engraver or jeweler can be heeled up to enable 
 the operator to easily cut into any such irregularly-shaped pieces. 
 For illustration, in letters cut in the bottom of a bon-bon dish, say. 
 
 Fig. 35 
 
 two inches depth, a graver should be heeled up still higher than 
 shown at Fig. 25. In fact, some gravers are used for cutting any 
 depth bon-bon dishes where the top of the graver is used as the 
 front angle. This, of course, would necessitate the graver being 
 cut on the under side at an angle of about 60°, using the under 
 side of the graver as the horizontal plane for finding such angles. 
 Gravers are cut out in this way for engraving the bowls of tea 
 spoons. The graver should be so ground on the under side that 
 the angles of the under side would taper back from the point of the 
 graver, as shown at Fig. 26. The object of this is to make the 
 
 angles of the cutting side acute, thus making it easier to cut shade 
 strokes. The angle of the cutting sides of the square graver can 
 be ground to form either a square or a lozenge-shaped graver. 
 Some prefer to grind the under side so as to make the graver 
 perfectly square. There is no objection to this shape ; in fact, it is 
 probably preferred by a majority of engravers. 
 
 After the graver has been thus ground it is next sharpened on 
 the front on the oil stone by holding in the hand as shown at 
 
Tools and Materials for the Beginjier. 
 
 27 
 
 Fig. 27, moving the hand in the direction of the arrows — right and 
 left. It is then pushed backward and forward on the under sides 
 that have been cut off to smoothen down the rough surfaces left by 
 the grinding process. The under side of the graver should be 
 kept perfectly flat at all times. This is one of the great errors 
 made by the majority of inexperienced engravers ; they are careless 
 
 
 
 
 Fis. 27 
 
 as to the condition of the under side of the graver, which, in a 
 majority of cases, is the cause of the graver slipping. In the 
 process of whetting the graver on the oilstone, great care should be 
 exercised to avoid rounding the under side of the front of the 
 graver. These angles should be sharp and clean and there should 
 be only one angle. We often see gravers that have three or four 
 angles instead of one. Technical students should appreciate the 
 fact that this condition of the graver will cause no end of trouble. 
 After pushing the graver backward and forward as described, if we 
 turn the bottom side up and look at the cutting edges of it, as shown 
 at Fig. 24, it is to be observed that the edge of the graver is very 
 rough, a magnified view of which is shown at Fig. 28. 
 
 Many beginners in engraving are cognizant of the fact 
 that it is necessary to polish a graver in order to make 
 it cut bright, but the author’s experience has been that 
 while they are aware of this necessity they are also 
 unaware of the exact cause of the graver cutting rough 
 before being polished. In other words, they do not 
 understand or have not given consideration to the 
 theoretical reason, which I believe all engravers should rig. 28 
 know. There have been articles written and published 
 in the magazines from time to time in which microscopic views of 
 the edge of a razor in perfect order have been illustrated, showing 
 the great roughness of the extreme edge, which one who has not 
 
28 
 
 The Art of Engraving . 
 
 given some thought to such details would consider almost unreason- 
 able ; yet it is a fact that the surface of such cutting instruments 
 are very rough when revealed to the eye under a microscope. This 
 is the condition of the cutting edge of the graver and is the condi- 
 tion which causes the ragged cutting on metals. The reason that 
 these rough edges exist is that the particles or molecules of stone, 
 being harder than the metal, cut, grind or groove the same and 
 scratch a line across the surface of the graver which is being ground 
 as far as the cutting edge of the same, where the line thus cut 
 terminates and causes a notch in the extreme cutting edge, as 
 shown in Fig. 28. Now, in order to make the graver cut perfectly 
 bright, it will be seen that we must put the graver in such condi- 
 tion that these lines will not exist. The most common way of 
 polishing a graver is that of using diamontine and a boxwood 
 block, as follows ; Place a small quantity of diamontine on the 
 surface of the boxwood block and draw the graver backward 
 directly parallel with the blade. 
 
 This, however, is not the best method, and we will endeavor to 
 demonstrate the error in using it ; at the same time there are some 
 very fine engravers who do use it, but a majority of the best 
 engravers acknowledge the error. Some engravers use the diamon- 
 tine and boxwood block, the same as described for the method we 
 recommend, which, of course, gives better results. However, the 
 old method in question being adopted, let us first see what the con- 
 dition of the graver would be after being subjected to this treat- 
 ment. First, as the graver comes from the oilstone it is in a 
 condition as shown at Fig. 28. If it has been polished with the 
 diamontine, the particles of the diamontine being finer than the 
 particles of the oilstone, we have simply decreased to a certain 
 extent the grooves made by the wetting on the oilstone, and have 
 rounded them as shown at Fig. 29. Now, it is obvious that by the 
 time sufficient polishing has been done to remove these 
 grooves naturally by polishing them in the direction in 
 which they were originally made, the point of the 
 graver would be rounding, a matter which should be 
 obviated. A graver will not cut perfectly bright if 
 polished in this way. It will cut what many would 
 consider bright, but if the incision is looked at through 
 a magnifying glass the fact will be revealed that there 
 Fig. 39 are scratched lines visible. Also the particles of the 
 
Tools and Materials for the Beghuier. 
 
 29 
 
 diamontine, especially those ugly particles that exist therein, will, 
 as the graver is drawn backward, roll out from under the cutting 
 edge and drag over the same, which will make the edge of the 
 cutting angle rounding. 
 
 Having thus explained the errors of this method, let us briefly 
 consider how the graver can be put in a more satisfactory condition. 
 To prove the fact that it is only necessary to change the angles of 
 the scratched lines shown at Fig. 29, caused by the oilstone in the 
 direction of the angle of the cutting edge of the graver, let the 
 reader take his graver and move it in the direction of the arrow on 
 his oilstone, as shown at Fig. 30, which will be moving the graver 
 parallel with the cutting angle, thus making 
 the scratches parallel with said angle and 
 because of the fact of their running thus and 
 not crossing the cutting edge of the graver 
 the notches, as shown at Fig. 29, will not 
 exist Consequently, the graver will cut 
 bright. We must not, however, be under- 
 stood as recommending the use of the oil- 
 stone for polishing the graver, but mention the fact simply to prove 
 that the theory explained is correct. The best method is to draw 
 it on a piece of 0000 French emery paper, after the graver has been 
 sharpened on the oilstone as previously described, in the direction 
 that the arrow at Fig. 30 indicates, so that the line on the under 
 -side of the cutting angle, in this case the right under side, scratched 
 by the emery paper will cross the original line scratched and run 
 parallel with the cutting edge of the graver, thus obliterating the 
 former and leaving only fine scratch lines, so smooth and in such a 
 direction that the cutting edge will be perfectly free from sufficient 
 roughness to cause the graver to cut a rough line. In preparing 
 the 0000 emery paper it can be smoothed down somewhat by 
 rubbing two pieces together. Some engravers cement or glue the 
 paper to pieces of plate glass or a block of hard wood. The size 
 of emery paper should be about i by 2 inches. Now that the 
 graver is in perfect order we are prepared with our knowledge of 
 mechanical drawing to commence cutting. 
 
 Fig. 30 
 
CHAPTER IV. 
 
 FIRST EXERCISES IN ENGRAVING. 
 
 □ 
 
 CZ) 
 
 zr 
 
 First get some pieces of copper zinced on one side, sized about 
 2" X 3" or 3" X 4", using the zinced or tinned side of the copper for 
 engraving, as the zinced or tinned surface prevents the copper from 
 tarnishing, and as a line cut through it to the copper makes a 
 greater contrast than would be shown if the surface was copper. 
 
 The graver is held in the hand as described and illustrated at 
 Fig. 22. With the parallel rule or a straight edge draw parallel 
 lines, as shown at A, Fig. 31. These lines can be any desired 
 
 distance apart. A piece of 
 zinc of the size mentioned 
 is cemented on to a block 
 of the same size and about 
 one inch in thickness, the 
 surface of the block being 
 first covered with en- 
 graver’s wax. The wax 
 is then heated with an 
 alcohol lamp and the plate 
 is heated at the same 
 time and laid on to the 
 block. The designing of 
 these lines can be done 
 the surface of the 
 
 on 
 
 plates by the use of the 
 
 Chinese white and a lead 
 
 pencil, or they can be scratched directly on to the metal. 
 
 After drawing these straight lines, the graver being held in the 
 hand as directed, allowing the thumb to act as a guide and sliding 
 it gently over the surface of the metal, the lines are cut out, care 
 being taken to begin the lines on the same line perpendicularly and 
 to end them up in the same way, cutting all the lines the same 
 depth and same width. The widths of lines in engraving are made 
 by turning the graver over to the right. In making these lines 
 
 the beginner should hold the graver so that it cuts a V-shaped 
 
 30 
 
First Exercises hi Engraving . 
 
 31 
 
 incision. A graver in the position shown at Fig. 23 will cut a line 
 of this shape. The natural tendency of all beginners is to turn the 
 graver away from them, which would be to the right. This tendency 
 is universal and is natural, as the convenient position of holding 
 one’s hand is such the graver held" in it would cut with a wide 
 incision. Therefore, in cutting a hair line (in engravers’ parlance, 
 a fine line), the engraver must exert the muscles of the forearm so 
 as to hold it firmly to the left more than is natural. Such little 
 details may seem to the novice unnecessary, but too much stress 
 cannot be laid upon this particular point, as the author is personally 
 acquainted with a number of engravers who, after a few years of 
 experience, are troubled with this common difficulty of cutting their 
 hair lines a shaded incision instead of V-shaped. After practicing 
 these perpendicular and horizontal lines, as above described, the 
 next exercise is to make the lines in crescent shape, both to the 
 right and to the left, increasing in their length as they protrude in 
 those directions. 
 
 The eye of the beginner should be educated to distinguish 
 what angles and straight lines are, and he should practice cutting 
 these crescent-shaped lines to begin them and end them the same 
 depth and width and parallel with the other, each one being a little 
 longer than the former and the graduations increasing uniformly. 
 It may be well for the beginner to draw angle lines at (), Fig. 31, 
 and then cut the crescent lines instead of the lines thus made, after 
 which he should practice it without the guide lines. 
 
 The next exercise would be to engrave without drawing scroll 
 lines horizontally as shown at B, Fig. 31. These scroll lines are one 
 of the most difficult in cutting which the engraver has to execute, 
 and yet, strange as it may seem, they are the lines which the 
 beginner has to learn first. The author’s experience has been that 
 many engravers do not thoroughly appreciate from a technical 
 standpoint just what a scroll is. These scroll lines we will have 
 occasion to mention in connection with lettering later on, and a 
 thorough knowledge of their formation gained at this point will be 
 of great value to the methodic student. A scroll line is merely two 
 arcs joined together, the arcs being drawn with the center of one 
 above the line and the other below. The lines have exactly the 
 same curve and are exactly the same length from end to center and 
 center to end. To illustrate this point we show at C, Fig. 31, a scroll 
 thus made but not connected. 
 
32 
 
 The Art of Engravmg. 
 
 We will now take upon ourselves the responsibility of shading, 
 the first exercise of which is to make crescent lines, as shown at 
 Fig. 32. In starting these lines the graver is held so as to cut 
 a V-shaped incision, and as it is pushed forward it is gradually 
 turned to the right from the operator, which changes the angle of 
 the incision, decreasing it on the left and increasing it on the right, 
 thus making a wide stroke. It is gradually 
 moved and turned thus until the center of 
 the crescent is reached, from which point to 
 the end the same graduation of movement 
 in the opposite direction is observed. This 
 work of cutting these crescent cuts or arcs 
 shaded in this manner should be practiced a great deal by the 
 beginner. The experience of the author has been that the 
 average student is so anxious to advance in his work that he is 
 not willing to practice the preliminaries sufficiently to warrant 
 great accuracy in cutting before he advances to the desired 
 stages. 
 
 It would seem as if triangles and squares, as shown at 
 D, Fig. 31, would be easily engraved, and many beginners imagine 
 that engraving such designs is unnecessary, yet the older engravers 
 know that it is not an easy matter to engrave lines and have them 
 meet or intersect at a given point without showing such point of 
 meeting or intersection. The great trouble is that the graver will 
 do what is called backing up, or, in other words, when the graver 
 is inserted into the metal and pushed forward, a little cut is made 
 back of where the graver started in. This can be avoided, as will 
 be explained further on, but the tendency to this error will exist. 
 An explanation of avoiding this is not necessary at this stage, 
 as the point to be gained by the practice here outlined is to enable 
 the beginner to so form these exercises that when he engraves one 
 line up to the point of another that he can stop at that particular 
 point. In other words, so that he can stop when he so desires. It 
 should be borne in mind that these lines should be exactly the same 
 width and same depth from beginning to end, and that they should 
 meet accurately. It is often seen that engravers, even of some 
 experience, will disconnect lines in forming figures and letters 
 where the same should be connected, which makes a very inelegant 
 appearance. After the exercises above illustrated have been thor- 
 oughly practiced the student is ready to engrave letters. 
 
 Fig. 32 
 
First Exercises i7i Ejigraving . 
 
 33 
 
 It is not unusual to start a student engraving on script letters, 
 but a number of years of experience has convinced the author that 
 an easier style of letter should be used for the beginner in a series 
 of graded exercises, and while it is a fact that block letters or 
 Gothic are in some classes of work considered more difficult than 
 others, I think, however, that in bright cut engraving they are 
 easier than the script. It is the script engraving that is mostly 
 desired, and jewelers that are engaging engravers will usually ask 
 for and insist on first-class script lettering ; and in many cases we 
 find artists in mechanical engraving who cannot do creditable script 
 engraving. We will, therefore, begin our lettering with Gothic or 
 block letters, and will now lay aside the graver that we have been 
 practicing these preliminaries with and take up another graver. 
 
 THE FLAT-FACED GRAVER. 
 
 As we lay aside this graver temporarily it must be borne in 
 mind that we are not to leave it entirely, that it should be taken up 
 and practiced with in conjunction with the work that we are about 
 to take up, because the use of the square graver and the flat-face 
 graver are radically different in detail of operation. We will take 
 a flat-face graver, shown at Fig. 33, ground on an angle of 45°, 
 ground off at the top so as to decrease the width of same perpen- 
 dicularly and to enable the engraver to sharpen it with more rapidity 
 on the front. This graver 
 is also heeled up on the 
 under side sufficient to 
 raise the graver so as to 
 allow the fingers to grasp rig. 33 
 
 the handle firmly. The 
 
 graver should be heeled up on the under side so as to raise 
 the handle when it is on the proper angle to cut not less than 
 one inch from a horizontal plane. The method of sharpening 
 and polishing this graver, and the theories for the same, are 
 practically as outlined for the square graver. In polishing the 
 graver on the emery paper, it should be moved on same in the 
 direction of the cutting angle which, in this case, is the extreme 
 front of the graver. The flat-face graver is an awkward and difficult 
 graver for a beginner to use — one that most beginners dislike ; but 
 after they have used it and become familiar with its good qualities 
 and the broad scope of its usefulness, they are very much in 
 
34 
 
 The Art of Engraving. 
 
 favor of it. In polishing a flat graver the tendency is to round off 
 the corners or cutting points. Great care should be exercis*ed to 
 avoid this common difficulty. In sharpening the graver on the 
 oilstone it is pushed backwards and forwards the same as the 
 square graver, and for sharpening on the front it is held in the same 
 position and moved to the right and left on the oilstone as described 
 for the square graver. The question may be asked, why is it that 
 it is not recommended to sharpen the graver or flatten it on the 
 under side by moving it to the right and left side or backward and 
 forward, thus avoiding the lines or grooves crossing the cutting 
 edge and making the saw teeth that have been described. The 
 reason is that the tendency would be, in moving to the right and 
 left, to make the under side of the graver rounding, and it is for 
 this reason that both the flat-bottom graver and the square graver 
 are flattened by pushing backward and forward. The length of this 
 graver is determined as described for determining the length of the 
 square graver. All beginners, as they mount new gravers, should 
 make them the same length as the square graver they are using, 
 taking it for granted that the same is correct, as it will be if the 
 length is determined as described. 
 
CHAPTER V. 
 
 BLOCK LETTERS. 
 
 The sides of flat-face gravers are, when purchased, usually 
 rough, which causes additional friction when being forced through 
 the metal. It is, therefore, advisable for the engraver to whet the 
 sides down flat and smooth, thereby reducing the friction to a 
 minimum. Having our graver in perfect condition we will now 
 proceed with some of the exercises necessary to properly begin cut- 
 ting block letters. 
 
 At Fig. 34 are shown perpendicular, horizontal and angular 
 bars from which block letters are made. In cutting these bars the 
 
 Fig. 34 
 
 graver should be pushed downward on an angle of about 45° and 
 then lowered to the proper angle at which it will slide forward. 
 This angle measured would be about 20°. The object of inserting 
 the graver at about 45° and then dropping it down to 20° is that 
 by so doing the end or the beginning of the bar or, more properly 
 speaking, the incision, would be nearer straight down into the metal 
 (which is the angle of the sides) and the end of the bar where the 
 graver is thrown out. To illustrate this point see Fig. 35, where 
 represents a cross section of the plate being engraved and B repre- 
 
 sents the incision properly commenced and properly ended. C is 
 the beginning of a line made by inserting the graver on a less angle 
 than 45°, which shows to the beginner that a line cut in this way 
 would produce a very undesirable appearance if the work was to be 
 enameled ; or, in the case of die cutting, if the ink would rub out. 
 
 35 
 
36 
 
 The Art of Engraving . 
 
 Moreover, the bars of these lines should, for general appearance in 
 bright cut work, begin and end as nearly as possible on the same 
 incline. Of course, it is impossible to end a stroke on an incline. 
 As the graver is thrown out it would naturally be raised upward to 
 break the chip off, and this would leave it about perpendicular. 
 Therefore, the beginning of the incision should be as nearly perpen- 
 dicular as is practical. If an effort is made to make the incision 
 begin on an angle greater than about 45°, it would then be neces- 
 sary in lowering the angle of the graver in order to slide it forward 
 to back up against the extreme edge of the surface of the plate and 
 the incline of the incision. This would mar and deface that portion 
 of the plate and produce a very ugly appearance. These little 
 details in reference to the beginning strokes in engraving should be 
 strictly followed in practicing, as they are the cardinal points of 
 correct work, as will be shown later on in the higher classes of 
 engraving. 
 
 After sufficient practice in cutting these lines perpendicularly 
 they should then be cut horizontally, changing the length of them 
 gradually. Start at the top with a short line and gradually 
 increase the length until it is more than double. The depth of 
 these incisions is a hard matter for an instructor to tell a student. 
 Of course, it would largely depend upon the article that is being 
 engraved. Articles such as are engraved with these letters are 
 usually engraved just deep enough to look well. The engraver 
 can tell very easily when he is cutting too deep, as his work will be 
 very rough. It might be well to advise the beginner to cut as 
 shallow an incision as he can, and keep both points of his graver 
 into the metal. This advice is given in view of the fact that most 
 beginners cut too deep. Students who try to cut very shallow will 
 find that they cut sufficiently deep. 
 
 At the right of the horizontal bars in Fig. 34 are shown the 
 horizontal and perpendicular bars placed together, forming the 
 letter E, and at the right of the letter E is a triangle formed of 
 these same bars. In cutting this letter E there are some points 
 which will be taken up under the head of cutting the alphabet and 
 also in cutting the triangle. 
 
 At Eig. 36 we illustrate the first letter of the block or Gothic 
 alphabet. There is some little difference of opinion as to the name 
 of this style of letters. They are known to the jewelry engravers 
 as block letters, and are generally so understood by the public. 
 
Block Letters. 
 
 37 
 
 They are also designated as Gothic letters on account of their 
 Gothic form ; but the name “block letters,” being the name by 
 which they are generally known in the jewelry trade, we will use 
 
 Fig. 36 
 
 that name. Technically, however, the letter should be called the 
 Gothic or Octic letter ; the general formation of which can be con- 
 verted into a block letter by blocking it out, as shown at Fig. 37, 
 where we illustrate the Octic letter plain. At the right we have the 
 same letter blocked out by shading. This letter would technically 
 be called a block letter, for the reason that the letter has the 
 appearance of being made from a block of 
 wood. Our deftnition, therefore, would be 
 that a Gothic or Octic letter is the foundation 
 of a block letter. Referring again to Fig. 36, 
 we show the two bars forming the angles of 
 the first letter of the alphabet. The angle 
 of these bars should be about 65°. The 
 cross bar should cross midway between the extreme point of the 
 letter and the base. We show this letter with the bars lapping and 
 crossing one another as they would be cut with the flat-face graver. 
 This illustration shows that they are not on a line with the base 
 guide line and that the top is neither pointed nor flat, while it 
 should be one of the two ; which one, depending upon the style 
 the artist prefers. This is a difficult letter to cut properly and 
 equally difficult to explain in a comprehensive manner. It matters 
 little whether the bars are cut up or down. Some insist that one 
 is right and others that the opposite is correct. It seems, indeed, 
 to matter little whether we cut up or down. The condition of the 
 bars on the base line can easily be remedied by making an extra 
 cut with the right corner of the flat-face graver, which is shown at 
 Fig. 36. In correcting the right bar of this letter, the cut in 
 question is made in the direction of the arrow. And when correct- 
 ing the left bar it is made in the direction of the arrow there shown. 
 Now, if it is desired to make the top of the letter flat on top, a 
 triangular-shaped incision is made with the flat-face graver by 
 
 FF 
 
 Fig. 37 
 
38 
 
 The Art of Engraving. 
 
 cutting in the direction of the arrow shown at the top of the letter ; 
 the right corner of the graver being the one inserted in the metal 
 There are two methods of correcting this condition. If the letter 
 is a very small one, it would be done by cutting directlv downward 
 with a square graver which would make a different shaped incision, 
 the general outlines of which would represent a pyramid. If the 
 letter is a large one, either the right or left bar of the letter can be 
 pointed by rolling or turning the graver to the right or to the left, 
 the direction depending upon which bar is being cut. For the sake 
 of explicitness we will assume that the last bar to be cut is the bar 
 at the right which, being cut up in the direction of the arrow, is 
 manipulated as follows : when the engraver arrives at that point 
 indicated by the letter B, the graver is gradually rolled over on to 
 the right of the point, which will gradually lift the left point of the 
 graver out of the metal, thereby diminishing the width of the 
 incision. Of course, from the point indicated by the initial B to 
 the extreme point of the letter the bar will be an angular incision, 
 being deeper on the right than on the left ; yet, unless the letter is 
 a very large one, this would be scarcely noticeable. 
 
 In cutting the cross bar shown at Fig. 36 it matters not In 
 which direction the graver is pushed, as the obstacles are equal on 
 both sides. If the graver is carelessly inserted, assuming that we 
 are cutting in the direction of the arrow, the bar would be badly 
 marred, said cross bar cutting into it as indicated by the dotted 
 lines, and if the graver is carelessly pushed into the bar on the left 
 side of the letter, a like ragged and haggled appearance will be 
 caused by the graver cutting in as outlined by the dotted lines. 
 These things are remedied by starting the graver tilted up on one 
 corner, as shown at Fig. 36, and as it is pushed forward it is gradu- 
 ally turned over, which will increase the width of the incision. 
 This increase must be such that the angle of the same will be equal 
 to the angle of the right bar of the letter, so that the line of the 
 beginning of this bar will be apparently with the inner line of the 
 letter. When arriving at that point where the bar should be the 
 maximum width, the graver should be flat and is held in this 
 position until the original point of the graver arrives at the left bar 
 of the letter. It is then gradually raised up or, in other words, 
 the graver is turned to the left or toward the operator, which will 
 gradually lift the right corner of the graver out of the metal, and 
 this graduation of decrease of width of the incision should be equal 
 
Block Letters. 
 
 39 
 
 to the angle of the bar of the letter at the left, so that the cutting 
 edge of the graver will cease its operations as the surface of the 
 metal in front of it is cut away up to the inside line of said bar, and 
 when the left point of the graver arrives at the bar the point only is 
 in the metal and it is gracefully thrown out. Thus the graver does 
 not either enter the right or the left bar of the letter. This opera- 
 tion, thus explained, will appear to be difficult ; but it is an easy 
 matter to cut a letter in this way very accurately. There are other 
 bars in the block or Gothic alphabet and other cuts which are 
 handled in this manner and which will not need further mention. 
 
 In drawing block letters it is advisable, in order to give each 
 letter its correct proportions, to divide the height of the letters into 
 five equal parts and make the width as follows ; All the letters and 
 figures except I, M and W, and the figure i, should be four such 
 
 Fig, 38 
 
 parts in width ; M being five parts, W seven parts, I and i one part. 
 These parts referred to are the little squares indicated in the back- 
 ground of the alphabet shown at Fig. 38. The thickness of all 
 the lines should be one part. The distance between any two lines 
 should be one space, except when A follows P or F ; when Y, W 
 or Y follow L ; when J follows F, P, T, V, W or Y ; when T and 
 A or A and V, W or Y are side by side. In these cases the bottom 
 of the A, ] or L and the top of the other letter should be on the 
 same vertical line. In practicing drawing these letters on a large 
 scale, the lines being made up of straight lines, they can be drawn 
 with a T-square and a triangle. First, draw six equal-spaced 
 horizontal pencil lines to outline the height of the letters and 
 then, using the triangle, draw the letters their correct width, spacing 
 with a lead pencil. The main point to be considered is to make the 
 letters exactly uniform in height and slant, and this will require 
 some practice, but with the aid of mechanical or geometric drawings 
 the work should be made easy. 
 
CHAPTER VI. 
 
 METHODS OF CUTTING BLOCK LETTERS. 
 
 There are many different methods of cutting block and Gothic 
 letters, which we will briefly enumerate. One is to cut the letters 
 bright-cut, as before described ; another is to cut the letters in the 
 same manner with the graver as it comes from the Arkansas stone. 
 A graver in this condition should be used on metals which will 
 make a ragged cut and produce a contrast between the surface and 
 the lines so cut. Another method is to wriggle the letters. 
 
 One of the most difficult problems in cutting the block or 
 Gothic letters is the lapping of the bars. We have thoroughly 
 described the bars of the letters and how they should be cut, and 
 must ask the reader to strictly bear in mind what has been said in 
 reference thereto in order to enable us to advance as rapidly as 
 possible. 
 
 At Fig. 39 we illustrate the block or Gothic letter B which, 
 with the exception of the letter S, has more octagonal corners than 
 any other letter of the alphabet, and the letter 
 S is perhaps the most difficult one to cut. In 
 cutting this letter there are a number of methods 
 of procedure which are equally efficacious, and 
 few engravers will agree which is the best to 
 commend to the beginner. We will give the 
 reader the methods that are most in use, and he 
 then can use either or all, in cutting the same 
 letter, if he so desires. 
 
 First cut the bar A in the direction of the 
 arrow ; next cut the bar C in the direction of 
 the arrow. It will be noted at the point of this letter indicated by 
 the E that the two bars of the letter meet and lap over one another. 
 Great care should be exercised in such a case that all of the metal 
 is cut out and that the C bar should begin exactly on the left side 
 of the bar A, and should not protrude above or lack of coming up 
 to the end of said bar, so that all of the metal in the square indi- 
 cated by the letter H should be cut out entirely and that the depth 
 should be the same as either of the bars separately. Next cut the 
 
 40 
 
Methods of Cutting Block Letters. 
 
 41 
 
 bar D in the direction of the arrow. Next the bar M in the 
 direction of the arrow. It will now be seen that we have a perfect 
 E, and to convert the letter into a B all we have to do is to cut the 
 remaining portion of the letter as shown in the figure. Now begin 
 at the bar indicated by the letter F and cut up to the next turn, 
 where the graver is thrown out ; then the next bar up to the next 
 turn where the graver is thrown out and the angle changed, and the 
 next bar cut up. The top of the letter is cut the same as the 
 bottom. It will be noticed here that each bar laps over the bar of 
 the letter formerly cut, and it is advisable that great care should be 
 exercised in lapping such bars as, in case of neglect to do so, the 
 corner where the angle of the letter changes would be open instead 
 
 of being pointed. The lapping is illustrated on a large scale at 
 Fig. 40. The dot E on the bar A indicates the point where the 
 point of the graver should be placed in cutting the bar B. The 
 dot C indicates the point where both bars meet. It will therefore 
 be seen that it is always necessary to place the left corner of the 
 graver to the left of the bar last cut, and to let its cutting edge and 
 right point start exactly on the upper left-hand corner of said stroke. 
 By so doing the corners are sharp and accurately made. 
 
 Another great difficulty in this work is to cut various bars the 
 exact depth, and also to avoid backing up the graver as described 
 in inserting the graver in the first instructions given in reference to 
 the use of the flat-face graver. It is difficult to lap a letter in this 
 manner, or in fact in any other and not cut one angle a little deeper, 
 or apparently a little deeper than the other ; but great care will 
 
42 
 
 The Art of Engraving. 
 
 enable one to cut the letters with such accuracy that they will 
 appear to be and, in fact, will be the same depth. In this method 
 of cutting it is therefore seen that this letter is cut in the form of 
 the E first, and then a portion of the E added at the right. Another 
 method of cutting is to first cut the bar A, and then begin at the 
 bottom and cut around up to the top. Some begin at the bottom 
 and cut the letter right around to the top and cut the bar A down. 
 
 The method of squaring up the top of a W or of a V, the 
 bottom of an R, of a 7, top and bottom of an X or a Y, are the 
 same as described for such work on the first letter of the alphabet. 
 
 Referring to Fig. 38, it will be seen that the letters are drawn 
 on strictly mechanical lines, and these strict rules governing the 
 general formation of these letters are given so that the student may 
 thoroughly familiarize himself with their formation, and that the 
 letters will be perfectly spaced when placed side by side in a word. 
 In actual work it would not be practical for the engraver to use 
 these exact drawings of horizontal and perpendicular guide lines to 
 form the little squares mentioned, but a knowledge of them in his 
 practice work and some actual practice in drawing them on paper 
 with the aid of these accurate mechanical forms would be conducive 
 to a high degree of accuracy. After he has educated his eye by 
 the use of them, it would be only necessary to use the top and base 
 guide lines. In die cutting, where extreme accuracy in spacing 
 and forming the letters is required, artists use the perpendicular 
 guide lines — not scratched on the die equidistant apart, they using 
 them merely to get the perpendicular of the letter. The mechani- 
 cal form of the letters given above will enable the student to know 
 the exact distance between letters according to their height and 
 width. The question has often been asked by students what the 
 difference should be between the widths of certain letters, and for 
 this reason we have made this accurate means of giving the correct 
 mechanical forms of the letters. 
 
 We have now gone through the mechanical forms and methods 
 of cutting the block or Gothic alphabet, and we will next take up 
 another style of letter formed on the same general principles. 
 
 Wriggling block letters is done with the flat-face graver pre- 
 viously described, as shown at Fig. 40, which is there shown in 
 three different positions. Position A represents the graver flat ; 
 position B, with the graver turned on the left corner ; position C, 
 with the graver turned on the right corner. The graver is thus 
 
Methods of Cutting Block Letters. 43 
 
 rocked from one corner to another and gently pushed forward in 
 the process of wriggling. The angle on which the graver is held 
 and the amount of pressure forward determines the degree of fine- 
 ness of the wriggling. For illustration, in starting a wriggle the 
 graver can be held on an angle of 30° and gradually raised up to 
 75°, and between these degrees the graver would be capable of 
 wriggling five or six degrees of wriggled cuts. The use of block 
 letters, wriggled, is very common, especially in cheap work ; a 
 great many engravers using this class of lettering for engraving 
 coffin plates, because it makes a showy letter and yet is easily 
 executed. These letters can be wriggled by making the horizontal 
 bars wriggled fine and the perpendicular bars wriggled coarse, 
 which produces a very desirable appearance. 
 
 METHOD OF SHADING BLOCK LETTERS. 
 
 The method of shading letters with a flat-face graver is one of 
 the greatest errors in engraving that has come to the author’s 
 attention and one that it seems to be easy to see the error of. No 
 better illustration can be given for the correction of this error 
 in one’s mind than to observe the panels of a door in which we will 
 see that when the panel is raised the incline is toward the center ; 
 when the panel is sunken the incline is from the center to the outer 
 part of the door. This supplies two panels in wood work and is 
 also applicable to the art of shading letters. When a letter is to 
 be shaded the incline of the incision or, in other words, the side of 
 the incision that is the most inclined, should be over against the 
 letter. The point under consideration is illustrated at Fig. 41, 
 where B represents the plate ; C, the wriggled bar of the letter ; 
 D, the incision, and the graver cutting 
 the same. Here it will be seen that the 
 graver is cutting the incision so that it 
 inclines toward the letter. This point 
 should be remembered in all classes of 
 shading letters of whatsoever style or 
 size. We often see fine monograms 
 well cut, yet from the fact that the shade 
 is shaded away from the letter instead of 
 being shaded on the letter, some portions 
 being apparently raised and others low- 
 ered, the effect from an artistic stand- 
 
44 
 
 The Art of Engraving . 
 
 point is lost. For this reason the student is cautioned in such shad- 
 ing to always shade a letter on to the bar of the letter. It matters 
 not whether the curve is outward or inward, top or bottom, the 
 shade is the same. The rule is invariably true that the shading 
 should be done as above outlined. 
 
 We have previously mentioned the error of beginning and 
 ending a cut which we also illustrate at Figs. 42 and 43, Fig. 42 
 
 Fig. 42 Fig. 43 
 
 Fig 
 
 F 
 
 Fig. 46 
 
 showing the cut properly commenced ; and Fig. 43 showing it 
 commenced on a less angle than 45°. This caution is especially 
 needed at this time, as in inserting a graver at the extreme corners 
 of a letter like the wriggled E, illustrated at Fig. 46, great care must 
 be exercised to start the incision by inserting the graver the max- 
 imum depth so that it will be the same depth at the beginning as at 
 the end. The F at Fig. 44, where the main bar of the letter is 
 outlined, will represent a letter cut bright cut. Where the 
 main bars of the letter are shown black at Fig. 45, the 
 black portion of the letter represents an incision 
 cut with a flat-face graver as it comes from the oil- 
 stone, thus making a ragged incision ; and the 
 little line along the right-hand side of said bars 
 represents a single stroke cut with a square graver making 
 a shadow which is merely on the surface of the metal from 
 the fine line to the main bar of the letter. In other words the 
 shading is made by running a fine hair line along the under side of 
 the bars of the letter. 
 
 Referring to Fig. 46 we have the block or Gothic letters E and 
 the latter represented by being cut by a line graver and the 
 former wriggled and bright cut shade. 
 Line gravers when purchased are grooved 
 on the under side. After they have been 
 sharpened as described for sharpening a 
 flat-faced graver, they are used for cut- 
 ting block letters the same as a flat-face 
 graver, the only difference being that in a flat-face graver it can be 
 either bright cut or represent a ragged incision. In the case of the 
 liner a number of fine lines are cut equi-distant ' apart. At the 
 same time, each perpendicular to the horizontal bar of the H as 
 
 H, 
 
 Fig. 46 
 
Methods of Cutting Block Letters. 
 
 45 
 
 here represented is cut with one stroke of the flat-face liner. These 
 line gravers cost more than double the price of regular gravers, but 
 only a few of them are required. Some engravers do not use them 
 at all, as the work done by a line graver can also be done on a 
 more costly scale by cutting each line separately with the square 
 graver. The line graver should be ground on an angle on the front 
 somewhat less than the regular angle for a graver, as the extreme 
 points of the grooves in the end side of the graver, which produce 
 the incision lines, are so delicate and pointed that a blunted point on 
 the front of the graver is required in order to insure the points not 
 breaking off. The fine line shaded on the right and under side of 
 the letter H, shown at Fig. 46, is done by cutting in towards the 
 letter with the liner, or this work can be done on a more expensive 
 scale by each line being made separately with a square graver. 
 
 GOTHIC LETTERS. 
 
 This style of letter, known also as the block or Gothic letter, 
 is cut principally with the round-face graver. It will be noticed 
 that the circular portions of the letters, as in C or in O or in D, the 
 corners are not octagonal shape, and for this reason they can 
 be cut with a round-face graver with one steady cut from the begin- 
 
 A B C D E F G 
 
 H I J K L M N 
 
 0 P Q R S T U 
 
 V W X Y Z A 
 
 1234567890 
 
 Fij?. 47 
 
 ning of the letter to the end or from the beginning to the end of an 
 arc of a letter. These letters are useful where the Octic-formed 
 letters previously mentioned are not, for the reason that these letters 
 can be cut with more rapidity, which is due to the fact that it is not 
 necessary to start and stop in cutting a letter such as C, it not 
 
46 
 
 The Art of Engraving. 
 
 being necessary to stop at the corners and throw the graver out 
 and pick it up again. These letters can be made very attractive by 
 polishing the round-face graver and cutting the letters bright cut 
 on satin or in Roman rose gold surface. Cutting the letters bright 
 cut through such surface makes the letters appear very attractive. 
 Another method practiced by some engravers is to wriggle a very 
 small portion of the letter in the center on all the perpendicular 
 bars, leaving the remaining portion of the letter bright cut, which 
 effect is very attractive for certain classes of work. These Gothic 
 letters will be found very prominently used on medals where the 
 bar of the letter is to be lettered in a conspicuous yet inexpensive 
 lettering. The general proportions of these Gothic letters, shown 
 at Fig. 47, being the same as the alphabet previously mentioned, 
 it will not be necessary to illustrate guide lines here. 
 
CHAPTER VII. 
 
 SCRIPT LETTERS. 
 
 We will now proceed to the consideration of that most useful 
 and yet quite difficult alphabet known as the script. The script 
 alphabet is the most popular style of engraving known, either to 
 card engravers or jewelry engravers. It being a style of letter that 
 is necessary for the engraver to know, we must consider each and 
 every letter of the alphabet as to its correct formation and method 
 of cutting. 
 
 We have previously given instructions as to the correct method 
 of cutting a scroll, mentioning at that time that it was a valuable 
 cut for the engraver to be master of. This will be readily seen and 
 appreciated in the instructions to follow. 
 
 The scroll cut previously referred to is no more nor less than 
 the so-called capital stem or line of beauty of the script letters. 
 This scroll-shaped stem or line of beauty is used in making eighteen 
 or twenty of the capital letters of the script alphabet, some of which 
 are shaded and others not. The first thing to be considered in 
 reference to the script alphabet is the exact proportion. As the 
 script alphabet is known among printers as an imitation of hand- 
 writing, one would naturally suppose that in engraving the scroll 
 letters the engravers would proceed as they w'ould write, only per- 
 fecting the letters. This is true, yet the style of lettering is some- 
 what different from that in which one would write, and even though 
 a person is a good penman he must not think for a moment that his 
 style of lettering would suffice for the engraver. The style of script 
 letters preferred by the author is that style known as bank-note 
 script, and also a style which is the shade style used among card 
 engravers, and which we will here give. We must first learn the 
 correct angle and correct proportions of one bar or line of a letter 
 to another. This will seem to some to be too technical to be of 
 value, but it is necessary that the student in engraving should know 
 above all other things the correct formation of the script alphabet, 
 it being the style that he will be generally called on to engrave, and 
 with rapidity. 
 
 47 
 
48 
 
 The Art of Engraving. 
 
 The angle of the script alphabet is usually about 52°, and the 
 relative proportion of the lower case, or small letters, to the capitals 
 is ordinarily about one-third the height of the capitals. We will 
 use this scale as a nucleus, it being understood that this is a strictly 
 mechanical letter, and such variances from the style here outlined 
 can be made as will please the artistic eye of the advanced student, 
 but the beginner must remember that he must strictly follow the 
 general form of the letters in order to reach any degree of satis- 
 faction. We have previously mentioned and illustrated the pro- 
 tractor, and such mention has there been made of mechanical 
 drawing, that when we say the letters should be made on an angle 
 of 52°, no further explanation is needed. There are three styles of 
 script that can be used bv the engraver to advantage. One style is 
 the style where only such loops as are necessary are used. Another 
 is where loops are made at all available ends or beginnings, and the 
 other the back-hand script. The style of handwriting at the 
 present time being perpendicular, it is receiving popular favor with 
 some engravers, but it is generally conceded that a style of script 
 on an angle of 50° or 52° is the best. 
 
 SKETCHING LETTERS. 
 
 At Fig. 48 we show the first letter of the alphabet (the capital) 
 which represents the method of sketching. Sketching or “marking 
 
 out” is one of the points in engraving 
 that is overlooked or ignored by many 
 engravers, as they consider it necessary 
 to design a letter accurately in detail. 
 This is an erroneous idea. The letters 
 should be simply sketched, as shown at 
 Fig. 48, it only being necessary to 
 convey to the engraver’s eye by such sketch the general form of 
 the letter. The exact detail of the letter can be carried out with 
 the graver with much more accuracy than the pencil. 
 
 To further prove this common error among engravers we will 
 ask the reader, if occasion ever arises, to examine a plate which a 
 card engraver is about to cut, and he will observe that he simply 
 uses the guide line and scratches lines representing the main bars 
 of his letters on the plate on the correct angle. To one who is not 
 familiar with this class of engraving, the sketch is so incomplete as 
 to the exact formation of the letter that it would not be intelligible 
 
 Fig. 48 
 
Script Letters. 
 
 49 
 
 to one not familiar with engraving sketches. To illustrate this 
 point the word ‘ ‘ and ’ ’ being easy to sketch, we show same at Fig. 49, 
 sketched as it should be to be engraved, 
 with any experience will readily agree 
 that from this sketch he can more accu- 
 rately make the letters than he could if 
 he endeavored to sketch the hair lines 
 and all the details of the letter. Sketches 
 for engraving are sometimes seen where the designer sketched each 
 line representing hair lines, the width of which was four or five 
 times as great as the hair lines should be, and when the question is 
 asked, ‘ ‘ How do you know from that sketch whether to follow the 
 center of your sketch line on the right side or the left side?” the 
 designer’s reply is that he would cut the line so as to properly 
 connect up, and all on the right angle with the next letter. Then 
 if asked the reason why he made the hair line at all if it was not 
 used, he will admit that it was not necessary. At the same time 
 there are hundreds and hundreds of engravers making these errors 
 every day. The student in engraving must first learn that accuracy 
 and rapidity are required. Rapidity in this case is gained by 
 minimizing the amount of sketching. Accuracy is gained by 
 making lines straight down on the angle of a correct degree for 
 the letters to be engraved. It will be seen from what we have 
 mentioned, that the sketches for all engravings should be made by 
 broken lines and free from hand drawing. The pencil or stylus is held 
 in the hand as one would hold a pen or pencil in regular writing, 
 and the weight of the hand rests on the fourth finger or fourth and 
 third fingers, as the artist prefers. It is the same in designing for 
 engraving as in writing. It is not necessary that when learning to 
 do the work the artist should hold his pencil or stylus in any 
 particular way, it being natural for one person to hold it in an 
 entirely different way from another. The method mentioned above 
 is the common way, and one which should be followed if habit is 
 not formed in other ways. 
 
 CUTTING THE SCRIPT ALPHABET. 
 
 We will now proceed to the consideration of the correct method 
 of cutting the letters, and in doing this we will give the correct 
 formation in detail in each and every letter and figure of the script 
 alphabet that requires special attention. The letters, as shown. 
 
 A student in engraving 
 
 Fig. 49 
 
50 
 
 The Art of Engraving. 
 
 while not models of perfection, yet in general formation are mechan- 
 ically correct. The attention of the reader is directed to the fact 
 that these letters and all illustrations in this work are etchings 
 made from sketches by the author and are not specimens of 
 engraving, but the degree of mechanical accuracy is correct. As 
 to the proper method of cutting the capital stem or line of beauty, 
 which is shown at Figs. 50 and 51, many good engravers differ. 
 
 The line of beauty shown here is not shaded. In some cases these 
 lines are shaded and in some they are not, the shading depending upon 
 the letter. The author generally finds it best to cut a hair line capital 
 stem down instead of up, and all that are to be shaded cut up 
 instead of down, the reasons advanced for this being that in those 
 letters wTere the line of beauty is a hair line, such top should be 
 pointed, and it is more natural to begin a line pointed than it is to 
 end it up pointed. 
 
 At Fig. 50 we show at ^ a hair line of beauty cut up, illustrating 
 the common error of shading it at the top. When the graver 
 arrives at the point marked C the natural tendency of the hand, as 
 it curves around to the left at that point, would be to turn over to 
 the right, thereby forming the shade. Should the reader cut this line 
 both ways he will observe the error, and his attention having been 
 called to it he w'ould probably follow the former method of cutting 
 such lines downward. Of course, the line of beauty that is shaded 
 should end up pointed the same as one that is not shaded, but it 
 being more natural to shade the letter to the right than to the left 
 of the capital stem, it is preferred to cut it up, and when arriving 
 at the point C, Fig. 51, the line of beauty being a shade line, great 
 care should be exercised to hold the graver in such a position as to 
 cut a perfect V-shaped incision. 
 
 At D, Fig. 50, we illustrate the capital stem or line of beauty, 
 which we will use as a means of explaining the exact method of 
 finishing the end of same. It will be noticed that the said line of 
 beauty is severed at the extreme end, which is done as a means of 
 
Script Letters. 
 
 51 
 
 illustrating the point where the two ends should connect. The line 
 of beauty, if a hair line, as before stated, would be cut down in the 
 direction of the arrow, the incision being a perfect V-shape, which 
 would make a hair line, care being taken not to cut too deep, and 
 when curving to the left the student will observe that the graver 
 will grind or cut away and not round as steady as when curving to 
 the right or going perfectly straight. The cause of this is rather 
 difficult to explain, but it seems to be due to the fact that the under 
 edge of the graver being directly downward, and the line being* 
 curved on a sufficient arc to necessitate the sharp under side of the 
 graver to curve around over the extreme edge of the incision and 
 the surface of the plate, thereby peeling off the said edge, the graver 
 is thus made to run hard, and in some cases makes the left side of 
 the incision appear irregular. Now, the question is often asked by 
 students why it is that in turning to the right we do not experience 
 the same difficulty. If we turn the graver to the left, holding it in 
 exactly the same position, which in this case would be perfectly 
 erect in the correct position to cut a V-shaped incision, and the 
 graver be turned around to the right, the same position being 
 retained, the same difficulties would be encountered if the hand 
 was not moved with more dexterity in that direction than in the 
 opposite one. The fact that it is more natural for one to cut around 
 to the right is the reason why even though cutting a hair line, the 
 cut is found to be smoother than when made to the left. But the 
 principal reason, we believe, is that a great many of our engravers, 
 who do not follow strict rules as to their method of cutting, simply 
 turn the graver to the right, thereby cutting an incision with a 
 greater angle on one side than on the other, in which case the angle 
 of the graver on the right side would be on sufficient angle to slide 
 over the edge of the incision to the surface of the plate parallel with 
 said angle, thereby avoiding the extreme cutting edge coming in 
 contact with the edge of incision and the plate. If the graver is 
 held in exactly the opposite way to the left and moved with the 
 same degree of steadiness and accuracy, it would cut just as 
 smoothly. 
 
 Again referring to D, Fig. 50, the end of the line of beauty is 
 finished by throwing the graver out at the point where it is here 
 represented as being severed, which in practice it should not be. 
 It is so thrown out in this case merely for illustration sake, showing 
 the article which the engraver is working on being held in the same 
 
52 
 
 The Art of Engraving. 
 
 position. As the graver is thrown out it is again inserted at the 
 right point of the stroke shown at the end of the line of beauty. 
 In order to make this cut, the graver is turned over to the right as 
 it is inserted, and as the hand is turned over to the right the graver 
 and the article in hand are automatically turned, the former to the 
 right and the latter to the left. 
 
 At Fig. 51 we illustrate the line of beauty shaded, and all the time 
 that we mention the line of beauty or capital stem, which is the 
 same, the student is requested to remember that a line of beauty or 
 capital stem is, in general formation, the exact form of a scroll, 
 which was mentioned in our beginning exercises. The shading of 
 the line of beauty is one of the very important things for an engraver 
 to remember, the great trouble with a majority of engravers being 
 that they do not end the line up very fine at the top. This point 
 having been mentioned in a previous section, description is not 
 necessary here. In shading this line of beauty it must be remem- 
 bered that the line is a hair line from the beginning around to A, at 
 which point it begins gradually to increase in width, and con- 
 tinues to increase until the graver arrives at B, which is midway 
 between the top and bottom guide line. From B X.o C the line is 
 gradually decreased, and at C is brought to a perfect hair line 
 or V-shaped incision. The beginner w'ill, by observing work 
 of unskilled engravers, find that a great many begin shading 
 the capital letters down too low, and for this reason the location 
 of this shading is here given. 
 
 Another error is illustrated at Fig. 51, where the left side 
 of the line of beauty is shown in perfect formation. Before adding 
 the shade stroke on the left the right side of the line is shown to 
 curve more than the left, which is not correct. The curve on the 
 left side of the line should be exactly the same on the left as on the 
 right. Referring to Fig. 51, it is obviously plain to the beginner 
 that in order to counterbalance the decrease in width of the incision 
 by turning the graver over to the right, the graver point, when 
 arriving at the point A, instead of traversing the exact form of the 
 line of beauty should be turned so as to curve to the left of the 
 same, inasmuch as the turning of the graver to the right causes the 
 extreme edge of the right side of the incision to curve to the right, 
 and as the incision is decreased by turning the graver upward, the 
 point of the graver from B X.o C is gradually turned to the right so 
 as to arrive on the line of beauty at C. 
 
Script Letters. 
 
 53 
 
 CORRECT FORMS OF OVALS AND LOOPS FOR SCRIPT. 
 
 niz. 
 
 A B 
 
 Fig. 63 
 
 One of the most neglected portions of script letters is the 
 connecting. The unskilled or careless engraver will manifest his 
 inability more prominently in his formation of ovals and loops than 
 in any other way. At A, Fig. 52 we illustrate 
 a loop or oval, which is the general form of a 
 loop used in script letters, showing a line drawn 
 through the center of the loop. The curve on 
 the right and the left, using the inside as a guide 
 line, are exactly the same, the swell forming the shade being all on 
 the outside of the line at the left. This is the foundation of the 
 error made by most of students who try to cut correctly, their 
 theory being that the point of the graver, where a shade is made, 
 should traverse the same arc in an oval or a loop as the opposite 
 side, which is a hair line. This is obviously wrong, as is shown at 
 the drawing A, Fig. 52. In this case the loop looks flat on the 
 right side, yet the curve on the right side is exactly the same as on 
 the left, using the inside of the left as a guide, showing that the 
 loop is out of true just as much as the width of the shade, and this 
 will be true when applied to loops or ovals of whatsoever character. 
 
 The student should make it a point to so engrave the letters 
 that the loops will be concentrically formed, and he should never 
 end up a loop, other than the end of the line opening on an arc, 
 concentrically with the outer portion of the loop. At B, Fig. 52, 
 we illustrate the oval, cut and formed correctly. Here it will be 
 seen that the shade is on the inside of the arc, which arc is the 
 same on the left side as on the right side. The appearance of this 
 is correct, which proves the theory that the shade forming the oval 
 should be on the inside of the arc. A student in the art of engraving 
 should practice diligently on loops and other preliminary practice 
 work previously mentioned. An engraver who is capable of 
 engraving perfectly-formed ovals and loops will be able to engrave 
 very accurate script. To further demonstrate the 
 theory of a correctly-formed loop and show the student 
 how the shade comes on the inside of the loop, we illus- 
 trate at Fig. 53 the left side of the oval partially shaded, 
 which shows that the lower half is exactly the same 
 curvature at the right and left, and that the shade comes on the 
 inside of the arc at the left, which will make a perfectly-formed loop. 
 
 Fig 5,3. 
 
CHAPTER VIII. 
 
 CUTTING SMALL OR LOWER-CASE SCRIPT LETTERS. 
 
 
 Fig. 54 
 
 Having instructed the student in the line of beauty and loops, 
 theoretically, we will now take up the engraving of lower-case script 
 letters and leave the cutting of the capitals until after we have 
 thoroughly gone through the lower-case. The object of doing this 
 is that the lower-case letters are easier to master. At Fig. 54 we 
 illustrate the first letter of the alphabet. Each 
 stroke as there indicated is cut with the square 
 graver in the direction of the arrows. Letters are 
 commenced and ended at each cross line. With 
 the thorough instruction which we have passed through in reference 
 to the exact formation of letters, scrolls, lines of beauty, ovals, 
 etc. , it will not be necessary to consider each letter in the alphabet, 
 but we will consider the principal bars or limbs of such letters, which 
 will enable the student (with an accurate copy which is to follow) 
 to engrave the letters with an assurance of accuracy. 
 
 At Fig. 55 we show the point of the graver in position to cut 
 the left shade stroke of the lower-case A, with said stroke directly 
 in front of the graver. As the graver is pushed 
 forward it is gradually turned over to effect the 
 proper width shade until the graver point is nearly 
 two-thirds of the wsiy down from the top of the 
 lower-case letter to the bottom. The lower-case 
 letters are engraved by cutting all the shade strokes that should be 
 cut down first. Then the article being engraved is reversed, and all 
 the strokes cut up as will be shown later. 
 
 The second stroke of the lower-case A is the same stroke used 
 in a great many other letters in the script alphabet which will not 
 be mentioned, as the instructions given for this stroke 
 will suffice. At Fig. 56 we illustrate the second 
 stroke, or right-hand shade stroke, of the A with the 
 graver above same in position for cutting it. At this 
 point the graver is inserted by turning it over in the 
 hand to the right to such an extent that when it is 
 
 Fig. 55 
 
 Fig. 56 
 
 54 
 
Cuttmg Small or Lower-Case Script Letters. 
 
 55 
 
 ¥7 
 
 Fig. 57 
 
 inserted in the metal it will cut a stroke the width desired. Great 
 care should be exercised when the graver is thus inserted to hold it 
 on the same angle and same distance to the right from the body to 
 make a shade the same depth and same width from the extreme 
 beginning nearly to the end. When nearing the base guide line 
 the graver is gradually turned up in postion to cut a V-shaped 
 incision, and at the same time it is thus turned up it is also turned 
 around to the right to effect the proper curve at the bottom. 
 
 At Fig. 57 we illustrate the principal shade stroke 
 of a C and E, also of an O, which is the same as the 
 first down stroke of the A, and is cut in a like manner. 
 
 At. Fig. 58 we illustrate the first shade stroke of an 
 M or N. This stroke is cut up instead of down. This stroke is 
 often cut down by engravers who have been thoroughly instructed 
 in the art. It will be obviously plain to any who will try 
 both methods that the method of cutting up is correct. 
 
 Fig. 58 The reason that it is correct is, that the stroke should be 
 squared at the bottom and should end up at the top the 
 same as the first down strokes of the A end up at the bottom, which 
 is a gradual decrease of the shade stroke as it approaches the guide 
 line until it reaches a fine hair line, at which point the graver is 
 thrown out. It will be plainly seen that it would be impossible to 
 cut this stroke down and produce the same effect. Therefore, the 
 first half of the lower-case N is cut up, also the first two strokes 
 of the M. 
 
 At B, Fig. 59, we show the second or last shade stroke of an 
 M or N. This stroke is what is called a double cut, it being neces- 
 sary to curve it to the left at the top and to the right at the bottom. 
 It will be seen that a graver could not be wielded 
 in such a manner as to cut the letter with any 
 degree of accuracy with one stroke. A stroke 
 of this form could be cut with a flat-face graver 
 by using it in the way necessary to cut what is 
 known in old English as a roll cut, but it would 
 not be practicable to do so in this case for many 
 reasons. The lower half of the bar is cut down 
 and the upper half cut up. At B we show the 
 graver ready to insert in the metal to cut the lower half, and at C 
 in like position to cut the upper half. It will be seen here that 
 when the graver is cutting the upper half it is inserted at the extreme 
 
 Fig. 59 
 
56 
 
 The Art oj Engraving. 
 
 left of the top of the first cut made. It is quite impossible to cut a 
 bar of a letter with a square graver so that it will begin exactly 
 even with the guide line. It is an easy matter to start the point oi 
 the graver so that it will be on the point of the guide line, but it is 
 quite difficult to cut the opposite side of the shade stroke so that it 
 will coincide absolutely with the point of beginning. 
 
 A very skillful engraver can cut a letter like the top of an A, 
 I, U or W, which begins parallel with the top guide line, so that 
 it will appear to be parallel with said line, but it must be con- 
 ceded that a bar cut in this manner would not be so sharp and 
 deep at the point of beginning as it ought to be, as the said 
 beginning would necessarily be from the surface of the metal down 
 to the bottom of the incision on very much of an angle, and the 
 slightest buffing or wearing would reduce the length of the letter so 
 that it would be very noticeable. There are a great many skilled 
 engravers who never square up the top of a letter. In fact, they 
 do not think it necessary, and say that a good engraver ought to 
 make the cut in such a way that it would not be necessary to make 
 an extra cut to square it up on the line. While this may be true, 
 we must admit that if an extra cut is made to square the top of 
 these letters up, that portion of the bar will be deeper than it other- 
 wise would, and it will be sharper and clearer and would produce 
 the appearance that is required in correctly and thoroughly engraved 
 script. In view of the various opinions on the subject the author 
 would advise the student to square up the letters if they need to be 
 squared, and if in his estimation it is not necessary to square them 
 not to do so. It will be found that the work can be done with a 
 better appearance if they are squared up and the original 
 appearance will last longer when subjected to wear. 
 
 At Fig. 6o we illustrate the top of script letters that should 
 end up parallel with the top guide line, which, as here shown, 
 indicates that there is a little space at the left 
 of the extreme point of the beginning of the 
 incision between the top of the bar and the 
 guide line. This is the condition a cut is 
 ^ ^ ordinarily in when cut with a square graver. 
 
 ^ In a case of this kind it is obviously plain 
 
 ^ to the mind of one who cares to do the work 
 
 with a high degree of perfection that if such a condition exists some 
 remedy should be applied to correct it. The remedy is to insert 
 
Cuttmg Small or Lower-Case Script Letters. 
 
 57 
 
 the graver at that point where it was originally inserted and cut a 
 little cut by pushing the graver forward in the direction as indicated 
 at B. The point of the graver in cutting this little cut is inserted 
 at the point of the bar marked A, and is pushed forward in the 
 same direction as indicated by the graver shown at B, and it is 
 pushed forward until the right cutting edge of the graver arrives at 
 the point of the B indicated by the arrow C Thus, by cutting this 
 little extra cut, the bar of the letter will be sharp and clean cut at 
 the top, and as deep as the remaining portion of the bar and, as 
 before stated, will maintain its orginal appearance a longer period. 
 
 The top of A, D, I, J, P, O, T and U are thus squared up, 
 also the bottom of K, H, F and P. Another very important point 
 for the student to learn in cutting script letters is the curving of 
 letters forming loops below the base guide line. If the rules herein set 
 down are strictly followed for cutting these loops a perfect loop will 
 be made each time. If one does not follow such rules one is apt 
 to make the loop incorrect and not know wherein such inaccuracy 
 exists. At Fig. 6i we illustrate the lower-case G which is cut the 
 same as the A, except that the second stroke is con- 
 tinued below the base guide line forming a loop instead 
 of turning when said line is reached as the A does. 
 
 This letter is squared up in the manner previously 
 mentioned for squaring such letters. The dot on the 
 base guide line shows the point where the hair line form- 
 ing the left half of the loop crosses the main stroke of the letter. 
 It will be seen that the base guide line and the two strokes forming 
 the loop cross at exactly the same point, as all letters should that 
 are formed with a loop below the base guide line. The lower-case R 
 and S are two letters that give students some trouble in cutting, 
 which is due to the fact that they do not cut the top of the hair line 
 correctly. 
 
 At Fig. 62 we illustrate an R and an S. The hair line which 
 terminates in the shade line at the top of the top guide line of the 
 ^ lower-case letters is cut up in the direction of the 
 B arrow. The right stroke of the letter is cut down in 
 
 the manner described for cutting such strokes. The 
 
 Fig. 61 
 
 
 Fig. 63 
 
 difficult part, however, in cutting this letter is the 
 hair line, which would seem to the student to be very easy, but 
 the average student finds it difficult to insert the graver as it 
 crosses the top guide line in such a way as to make this cut as it 
 
58 
 
 The Art of Engraving. 
 
 should be made. It must be borne in mind in making this cut that 
 it imitates a loop, and if it imitates a loop it should be oval in 
 shape ; hence the necessity of holding the graver in the hand 
 so as to cut a V-shaped incision when making the cut. When the 
 graver point arrives at the top guide line, the graver being held in 
 the position necessary to cut the hair line as above mentioned, 
 the graver is simply dipped in it and pushed quickly directly down- 
 ward without turning over to the right or the left. This swells the 
 line as much to the left as to the right, and then, instead of break- 
 ing the cut off by lifting the graver directly up when the proper 
 length has been reached, it is thrown out by throwing it more to 
 the front thus ending the stroke oval shaped instead of the shape 
 shown at B. The latter shape is the shape of ending in which this 
 cut is* practiced by some beginners. They think that when a 
 heavier stroke is desired the proper thing to do is to turn the graver 
 to the right, which in almost all cases is true, but not in this case 
 for the reasons above mentioned. Therefore, the student is re- 
 quested to give special attention to these two cuts in cutting the 
 lower-case letters. 
 
 At C, Fig. 63, we show the S where the dotted line represents 
 the hair line and the graver in position to cut the shade stroke at 
 the right. This stroke is cut upwards as the graver indicates, but 
 it will be seen that the stroke is not a curved stroke 
 all the way to the top. When arriving at the point 
 marked A the shade stroke is converted into a hair 
 line, and from that point to the top guide line the 
 line should be made a perfect hair line, and from 
 that point of the letter indicated by the point of 
 the graver around to the beginning of the letter 
 it should also be a hair line. It might be well to here state 
 to the student that almost invariably when a beginner cuts 
 script letters for the first time he does not sufficiently discrimi- 
 nate between the hair lines and the shade strokes. As has been 
 mentioned previously the natural tendency of the beginner is to 
 turn the hand over in holding the graver so that it will make a 
 shade stroke, and this tendency follows the beginner through his 
 preliminary work if he is not extremely cautious, and it will give 
 him trouble when he arrives at the stage of cutting the most beau- 
 tiful letters, the script alphabet. A hair line should be a hair line 
 from beginning to end. Hair lines in script letters never vary in 
 
Cutting Small or Lower-Case Script Letters. 59 
 
 their width. The shade strokes should increase and decrease in 
 their, widths uniformly and a shade stroke should never be con- 
 tinued past a point where a hair line begins, and as to where such 
 point of beginning and ending exists we will show the complete 
 script alphabet so that the student will have an accurate guide. 
 Another letter that gives the student some trouble is the lower-case 
 E, the trouble being that he does not start to cut the loop at the top 
 correctly. Some will begin too lar down and ^ome will begin too 
 high. All these things should be governed by set 
 rules. The rule in this case is to begin to cut — - 
 
 the loop at the top at a point midway between the 
 top and the base guide line, as shown in our illus- rif-. oi 
 tration at Fig. 64. 
 
 At Fig. 65 we illustrate the down stroke of an H, K or F with 
 the graver in position at the bottom to cut the little extra cut indi- 
 cated by the dotted line B at the bottom of said stroke. That 
 portion of the stroke C, which is the termi- 
 nation of the three letters mentioned as here 
 outlined, is in the form that it would end 
 up by cutting downward. In other words, 
 it is impossible to cut it so that it will end 
 square on the lower guide line. It is there- 
 fore necessary to cut the little extra cut 
 indicated by the dotted lines in order to 
 square it up. The graver in cutting this extra cut is inserted at the 
 base of the stroke as here indicated. 
 
 The strokes that we have here mentioned constitute all of the 
 strokes in lower-case script letters that would need special attention. 
 All the other strokes being easy to cut, or of such simple character 
 that the student would be able to cut them with the instructions he 
 has received in regard to other cuts, further reference to the lower- 
 case letters is deemed unnecessary. 
 
 We would say, however, in concluding the lower-case script 
 letters that in cutting them the down strokes are all cut first ; then 
 the plate or article in hand being engraved is reversed and all the 
 shade strokes cut up ; then all the hair lines are cut, which finishes 
 the letter. 
 
 The word “Ethelind,” shown at Fig. 66, is here shown as it 
 would appear after the engraver has cut all of the down strokes and 
 is ready to cut the up strokes, which are the half of the stroke of 
 
6o 
 
 The Art of Engraving . 
 
 the M at the left and the first shade stroke of the N and the upper 
 half of the shade stroke of the H at the right. 
 
 The graver is usually, if not always, thrown out in script letters 
 at the center of a curve at the top or at the bottom. As shown by 
 the method of cutting the word “Ethelind,'’ it is plain to be seen 
 that the object in throwing the graver out at the termination of a 
 curve at the top or at bottom is to avoid the necessity of turning 
 
 the article completely around in one’s hand. This method of en- 
 graving is more rapid than any other, and enables the student to 
 quickly terminate a shade stroke and as dexterously begin a hair 
 line. If letters are cut in this manner, it is not necessary to turn the 
 graver and the article in hand so much, which, by the way, are both 
 turned automatically when engraving. In this case it would not be 
 necessary to turn, in making a curve, more than 45° of a circle, 
 which enables us to do the work by cutting the strokes up and out 
 and down and out with much more rapidity and a higher degree 
 of accuracy. 
 
CHAPTER IX. 
 
 THE FORMATION OF THE SCRIPT CAPITALS. 
 
 At Fig. 67 we illustrate the complete script alphabet. We 
 here show the lower-case letters, previously described, simply to 
 illustrate their respective relation in size as compared with the 
 capitals. It will be seen that the lower-case letters are one-third 
 the height of the capitals. In the first letter of the alphabet, the 
 capital A, it will be seen that the loop at the lower right side of the 
 letter should come up half way or nearly half way to the top of the 
 
 the center down to the left. The shade stroke at the top should start 
 in a very fine hair line and the shade should be gradually increased 
 until nearly two-thirds down, at which point it should be gradually 
 diminished until the stroke nearly reaches the base line, at which 
 point it is thrown out. The student will remember that we have 
 formerly mentioned the fact that all loops should be cut by throw- 
 ing the graver out in the center of the loop ; in other words, at the 
 bottom and the top of the loop. 
 
 In the formation of the capital B the loop at the upper left 
 corner should come down nearly to the top lower-case guide line. 
 The loop at the right of the center of the line of beauty should be 
 
62 
 
 The Art of Engraving . 
 
 on the line half way between the top and the bottom of the letter, and 
 the upper curve at the right of the line of beauty should be closer 
 to the line of beauty than the lower one, and should be as here shown, 
 and as the dimensions would indicate, shorter than the lower one. 
 
 In the capital C the loop comes up nearly to the center line, 
 the same as the loop of the A. The loop, as shown in our illustra- 
 tion, is shaded both at the right and the left. This is done to 
 show the student that it can be shaded in either place or in some 
 cases in both. The writer prefers shading the loop at the right in 
 cutting the stroke up. The main stroke of this letter is cut down, 
 and the stroke at the right of the main stroke is cut down on less 
 angle than the main stroke. Said stroke should cross the main 
 stroke half way between the base and the top guide line. 
 
 The line crossing the line of beauty in the D should first be 
 cut from the line of beauty to the end of the loop. Then from the 
 beginning of said line around up to the top of the loop. The main 
 loop of the capital D should be cut down to the top of the lower- 
 case guide line the same as the similar loop in the capital B. 
 
 In the capital E the loop in the center should be on the center 
 line, drawn half way between the top of the letter and the base, 
 which would make the top loop of the letter smaller than the bottom 
 one, this being the correct form of the loop. This loop, as here 
 shown, is shaded both at the left and the right to show the student 
 that it can be shaded in both places a little or shaded more on either 
 side as the artist prefers. The author’s opinion of this loop is the 
 same as that of the C, viz. , that the lower loop presents a better 
 appearance if shaded on the right side in cutting up instead of 
 being shaded in cutting down. Of course, the main stroke of the 
 letter is always cut down. 
 
 The capital F is simply a line of beauty crossed in the center, 
 as illustrated. In cutting the top stroke the loop should come 
 down nearly to the center guide line. In practice it will be found 
 very convenient to cut this top of the F by beginning in the center 
 of the top and cutting around to the bottom of the loop and then 
 cutting the remaining portion of the top from that beginning to the 
 end in the opposite direction. 
 
 The capital G is considered by many beginners a difficult letter 
 to cut, due largely, we believe, to the fact that strictly mechanical 
 lines in its formation are hardly practicable. It will be seen, how- 
 ever, that the upper right loop protrudes slightly over the end of 
 
The Formation of the Script Capitals, 63 
 
 the line of beauty, and that the main stroke of the top is cut down 
 to the lower-case guide line, and the stroke at the left of the upper 
 main stroke down to the center guide line. The line of beauty is 
 cut and formed exactly the same as any line of beauty, excepting 
 that it is shorter, coming slightly above the center guide line. 
 
 The capital H is engraved in many different styles. The style 
 here shown is, in the author’s opinion, the easiest cut, and it is 
 preferred because of such ease in cutting and the fact that it is as 
 artistic as the other styles. The portion changing the style, to 
 which we refer particularly, is the top of the line of beauty, the one 
 here shown, and in our opinion the most simple, being cut in two 
 strokes. This loop will come down nearly to the center guide line. 
 It will be seen that the shade stroke at the right of the line of 
 beauty is nearly parallel with the latter, and if a letter is made in 
 this way it is quite sure to be correct, the great trouble with most 
 beginners being that they form the line of beauty in too much of a 
 scroll shape, thereby making it impossible to cut the stroke at the 
 right parallel with it. And a point may be given here to the be- 
 ginner, if he does not exaggerate the suggestion, that will be of 
 benefit to him in cutting this letter. That is, to make the line of 
 beauty of an H straighter than any other line of beauty in the script 
 capitals. Great care should be exercised not to make the line too 
 straight. The loop at the right at the top is formed by the hair 
 line crossing the two main strokes of the H midway between the 
 top and bottom of the letter. The loop at the right, the same as 
 all other small loops in the script capitals, is cut up nearly to the 
 lower-case guide line. 
 
 The capital I is formed simply by a line of beauty on the correct 
 angle of 50° to 52° with the stroke at the left, which is cut down 
 and crosses the line of beauty on the center guide line. 
 
 The capital J is, in general formation, the same as the I, 
 excepting that a loop is formed at the base of the letter and that 
 this loop protrudes below the line one and a half times the height of 
 the lower-case letters. The loop at the left of the line of beauty 
 forming the top stroke should come down to the top of the lower- 
 case guide line. 
 
 The first half of the capital K is formed the same as the capital 
 H. The upper half of the right portion of the letter is a hair line 
 only. In some cases it is shaded slightly and a loop is formed at 
 the end, but the style here given is used mostly. The lower half 
 
64 
 
 The Art of Engraving. 
 
 of the right portion of the letter is a double cut which was thor- 
 oughly described in a previous chapter as applied to the lower-case 
 N and M. The little loop at the right center of the capital stem is 
 formed midway between the top and bottom of the letter. The loop 
 at the lower right of the letter is not made quite as high as like loops 
 in other letters. The reason for this will be plainly seen if the stu- 
 dent will try cutting it in both ways. Some engravers cut this loop 
 nearly to the center guide line the same as a like loop in the capital 
 H, but, generally speaking, it is made smaller than such loops in 
 other letters. 
 
 The capital L is formed by a line of beauty, the stroke at the 
 left being cut down and crossing the capital stem in the center, and 
 the base line is cut by cutting from the line of beauty to the left and 
 the end of the loop beginning again on the line of beauty and cut- 
 ting to the right. If this beginning of cutting both ways is made 
 midway between where the line crosses the line of beauty and the end 
 of the loop, it will not matter. In fact, it is safe to say that such 
 a position is adopted more universally than beginning directly on 
 the line of beauty. This base line of the capital L is rather difficult 
 to cut without making the line appear to curve downward too 
 much. This is avoided by carrying the point of the graver upward 
 to counterbalance the curving downward of the stroke by the graver 
 being turned over to the right to make the shade. 
 
 Engravers do not agree as to the method of cutting the capital 
 M, but the author believes that the best way to cut the letter is to 
 cut all the strokes excepting the right stroke of the loop down. 
 The object of cutting them down is that the top of the letter should 
 be pointed, and, as previously stated, it is easier to make an artistic 
 point of such a letter by cutting down than by cutting up, as 
 the tendency to shading the top of such letters at the curve just 
 before reaching the point is such that it is deemed advisable to cut 
 this stroke down. The tendency to making this line heavier at the 
 top was described in a previous chapter. The perfect mechanical 
 capital M would be so outlined as to make the first hair line and 
 the first shade stroke, and the second hair line and the second 
 shade stroke nearly an equal distance apart on the graduating scale. 
 Of course, there wall be a variance in cutting these lines, but if the 
 student wall bear in mind that he should get them equal distances 
 apart he wall have a gage to go by which will assist him in cutting 
 the letter, and be conducive to great accuracy. 
 
The Formation oj the Script Capitals. 
 
 65 
 
 In cutting the capital N it will be seen that the two hair lines, 
 which are nearly the form of lines of beauty, are made almost par- 
 allel with each other, and the main shade stroke is nearly perpen- 
 dicular. In the case of the one shown in our cut at Fig. 67 we have 
 purposely made this stroke exactly perpendicular, showing the 
 student that if he aims to get it perpendicular he will avoid the ten- 
 dency to running the hair line at the right of the main stroke into 
 the main stroke at the bottom of the line or just before reaching the 
 bottom guide line. While we here illustrate this stroke perfectly 
 perpendicular, the student while practicing should bear in mind that 
 if it should be or can be on an angle of five or ten degrees to the 
 right it will be more artistic than if made perfectly perpendicular. 
 
 In forming the capital O it will be seen that we have changed 
 the style of the O somewhat from the old style of Spencerian O, in 
 which case the inner line at the left was cut nearer parallel with the 
 outer one. In this case we have shortened the length of the loop 
 forming the middle or right portion of the letter, and have thrown 
 the highest point of the letter over to the right to counterbalance 
 the diminishing of said loop. 
 
 Capital P is formed the same as like portions of a capital B, 
 excepting that the loop at the right of the line of beauty crosses the 
 capital stem. Even this is not true in some cases. Some artists 
 prefer to have the loop slightly curve around upward at the right 
 of the line of beauty. This is a matter that the artist should decide 
 for himself. The point of meeting of such loop and line of beauty 
 should be nearly midway between the top and bottom of the letter. 
 
 Forming capital Q, the loop at the top comes down to the 
 middle guide line. The stroke at the base of the letter is cut over 
 where it crosses the main stroke of the letter to the end of the loop 
 at the left, and from the beginning of such cut to the right at the 
 end of the loop at the right, which terminates a hair line. This 
 loop, in other words, is cut the same as the base line of the capital L, 
 excepting that the loop at the left of the main line is fuller than the 
 loop of the L. It matters not if this loop is begun where the shade 
 commences to appear to the right, making it all one stroke, and 
 then finishing it up from such beginp.ing to the end of the loop by 
 cutting in the opposite direction. 
 
 The student may wonder why it is necessary to cut this loop to 
 the left. He may think that it should be cut by beginning in the 
 center of the loop and cutting this stroke all the way over to the 
 
66 
 
 The Art of Engraving . 
 
 right, but a trial will convince him that the end of the loop would 
 appear very ragged if cut in this way. In other words, we must 
 return to our original instructions with reference to forming loops 
 and the use of the square graver, which taught us that we must cut 
 all curves to the right, and if the student will bear in mind this 
 valuable point all through his engraving he will find that he will 
 never be troubled to know in which direction to cut a loop. 
 
 The first half of the R is formed the same as the B, and the 
 lower right half of the letter is formed the same as the K. 
 
 The capital S is a difficult letter to cut, yet a very simple letter 
 in its formation. The loop at the top protruding over to the right 
 without any loop at the base to counterbalance it, confuses the 
 student in designing or even in cutting it. A good practice to 
 assure getting this line of beauty on the correct angle is to design 
 the loop on an angle of about io° higher than any other line of 
 beauty, which will be sufficient to counterbalance the optical illusion 
 referred to. 
 
 The capital T is formed the same as the capital F, excepting 
 that it is not crossed. 
 
 The first main stroke of the capital U is a double cut, the upper 
 half being cut upward and the lower half downward. The loop at 
 the left of this stroke is cut the same as the like loop in the capitals 
 R, P or B. The second main stroke of the capital U is cut down- 
 ward, and is the same width from beginning to end, and is squared 
 up at the top when necessary. 
 
 The capital V is formed by cutting a small shaded line with a 
 hair line at the right, increasing in its distance from the main stroke 
 gradually as it is engraved upward. The upper left portion of the 
 letter is cut the same as a like portion of the capital K. 
 
 The W is formed the same as two Vs placed together, with the 
 absence of the upper left portion of the letter in the case of the 
 second V. Great care should be exercised to make the hair lines 
 of the W parallel with one another, the same as the main shade 
 strokes. 
 
 The capital X is simply a series of loops, all of which are cut 
 by curving to the right, remembering to throw the graver out at 
 the top and bottom of all loops. 
 
 The capital Y is made by cutting the stroke at the left down to 
 the center guide line. The first main stroke of the letter, which is 
 a double cut, should come down to the lower-case guide line, and 
 
The Formation of the Script Capitals. 
 
 67 
 
 the line of beauty protrude up to the top of the capital letters or 
 slightly under said line. 
 
 Capital Z is made by forming the main stroke of the letter a 
 hair line of beauty, the top and bottom shade strokes being cut and 
 formed the same as a like stroke in the capital L. 
 
 The correct & and all figures belonging to the script alphabet 
 are made two-thirds the height of the capitals. 
 
 The top loop of the 2 can be brought downward to the center 
 of the line midway between the top and bottom. 
 
 The loop in the middle of the 3 can be formed directly above 
 the center line. 
 
 The loop at the lower left of the figure 4 should be brought 
 down nearly to the lower-case guide line. The line crossing the 
 main stroke of the 4 crosses it one-fourth of the distance from the 
 base to the top guide line. 
 
 The meeting of the first loop of the 5 and the hair line running 
 from same to the top is made half way between the top and bottom 
 of the line. 
 
 The lower loop of the 6 comes half way to the top of the fetter. 
 The widest part of the shade stroke should be midway between the 
 top and bottom of the figure, as shown. 
 
 The top of the 9 should come down to the center guide line. 
 Both the right and the left of the figure o should be shaded equally. 
 
 These suggestions as to the correct formation of the perfectly 
 plain script alphabet should be followed accurately until the student 
 has become familiar with the forms of the letters, and with a little 
 practice he will be able to cut the letters on these strict mechanical 
 lines without any particular reference to the rules here laid down. 
 In other words, he will learn by rote to make the letters perfectly 
 true, providing these strict rules are in his mind when practicing. 
 
 It would not be policy for the author to even intimate that this 
 is the exact and only style of script letters. There are a great 
 many styles of script letters and a great many different methods of 
 cutting them, but the style here given, as before mentioned, is a 
 perfectly plain one, and one that is used largely in the art of 
 engraving, and forms the basis for a more elaborate letter, which we 
 will have occasion to describe later. If the student will keep these 
 correct forms in mind, and apply to these letters further instructions 
 in reference to the formation of more elaborate letters, the formation 
 and cutting of the script letters will not be difficult. 
 
CHAPTER X. 
 
 LOOPED SCRIPT. 
 
 We have already learned the correct formation of the plain 
 script letters, which is the foundation of script letters, no matter of 
 what style or how elaborate. The general construction of script 
 letters is the same in all the different styles of forming and engraving 
 them. We will now take up the styles of looped script, and it will 
 not be necessary for us to enter into a detailed course of instruc- 
 tion in reference to cutting the same, as previous instruction in 
 cutting loops, bars, etc. , will be applicable in this style of lettering. 
 The angle of the looped script can be on the regular angle of 50°, 
 perpendicular or back hand, and as the looped style of script is the 
 kind that forms the basis for ciphers or script monograms, it is 
 necessary that the student who desires to become skilled in cipher 
 work should thoroughly master the plain looped script letters. 
 In any fancy engraving the style of the letters can be changed to 
 suit the artistic eye of the engraver or artist, but we must have 
 some rules to govern the practice of the beginner. 
 
 There are a great many different styles of fancy script letters. 
 We do not believe it advisable, from the standpoint of art or busi- 
 ness, to engrave letters as fancy as one can. On the contrary, we 
 advise a plain, accurate foundation of the letter gracefully and artis- 
 tically elaborated by ornamental work, or by the elaborating of the 
 loops and bars themselves, but discretion must be used in the matter 
 of using loops. We often see in text-books looped or fancy script 
 letters of a style that no self-respecting engraver would think of 
 using. This fact is mentioned by way of warning the student who 
 might be misled by text-books that contain alphabets that are not 
 advisable for an engraver to adopt. There are a great many little 
 cuts, scrolls and curves that might be used in connection with the 
 script letters which will add to the beauty of the letter, and many 
 of us will not agree possibly as to what constitutes the most artistic 
 of such curves, yet it is our opinion that the alphabet which we will 
 show will contain the most simple and artistic of this class of letters. 
 Of course, any improvement that a student can make, knowing that 
 he is correct, he may make, bearing in mind the fact that the 
 
 68 
 
Looped Sc 7 'ipt. 69 
 
 author is here suggesting what he deems to be the most practical 
 in this style of letter. 
 
 At Fig. 68 we show the first six letters of the alphabet in the 
 style of looped script. It will be noticed in the first letter of the 
 alphabet that the first loop of the letter is on more of an angle than 
 the second loop, which is due to the fact that in the first stroke of 
 
 the letter the line of beauty is, as it should be, on more of an angle 
 than in the second stroke, which is a shade stroke. This is made 
 necessary as the letter is pointed at the top, and as the two bars 
 gradually increase in distance apart as they near the base line, and 
 it is for this reason that the second loop should be on a less angle 
 than the first. Theoretically, the first loop should be on an angle 
 with its line, i. e., the line of beauty, and the second line should be 
 on an angle with its line — the main shade stroke. 
 
 In the capital B the loop at the top should be shorter than in 
 the regular alphabet to allow for the loop at the end of the line of 
 beauty. The loop at the top of the line of beauty should be very 
 delicate and very accurately made. The remaining portion of the 
 letter in its general formation is the same as in the plain script 
 alphabet. 
 
 It will be seen in the capital C that the general formation is the 
 same as the regular C, excepting the smaller loop within the loop 
 at the top, and that the loop at the base of the line curves a little 
 more, thereby making it more artistic. 
 
 In the capital D the loop at the bottom can be, but not neces- 
 sarily, fuller than in the plain alphabet, and the loop at the top can 
 curve around a little farther, and also the line of beauty can curve 
 around at the top the same as in the B. 
 
 The looped capital E is the same as the plain E, with the 
 exception of the inner loop at the top, and also the little extra line 
 that curves around over into the top loop, and the lower loop curves 
 upward farther than in the plain script. 
 
 • In the capital F it will be noticed that at the top the line of 
 beauty connects with the stroke crossing the top and forms the loop. 
 
70 
 
 The Art of Engraving . 
 
 and that the end of the line of beauty curves around and forms a 
 loop and another loop within the loop, and thus continues around 
 and crosses the line of beauty exactly in the center and forms still 
 another loop. 
 
 Referring to Fig. 69 the first letter at the left, the capital G* 
 differs in formation from the plain letter only in the loop within the 
 top loop, and in the line at the upper left portion of the letter 
 curving over the main shade stroke at the top ; also in the loop at 
 the bottom of the line of beauty, which differs from the ending of 
 same in the plain script. 
 
 Capital H can be made in a great many different ways. The 
 style here shown is probably the most common. The first half of 
 the letter varies only from the plain script letter in the loop being 
 at the end of the line of beauty, the second half of the letter forming 
 the loop terminating within itself at the top, and having an extra 
 line to cross the two bars. 
 
 There can be no change in the capital I with the exception of 
 the loop at the bottom, and a slight continuation of the loop 
 forming the top of the latter. It must be remembered that the 
 lines of beauty in this alphabet can be curved more than in plain 
 script. This is also true of the capital J. The capital J, however, 
 in back hand and perpendicular script, and ciphers, is made exactly 
 the same as the I shown here. 
 
 The looped style of K varies from the regular style of script 
 only in the loop at the end of the line of beauty and an extra loop 
 at the top, and a slight continuation of the loop at the bottom. 
 
 The L is changed very little, simply having a loop within the 
 loop at the top, and the line in the upper left portion of the letter 
 continuing over the line of beauty instead of stopping slightly at 
 the left of same. 
 
 Referring to Fig. 70 the first letter at the left, capital M, is the 
 same in general construction as the plain M, with the exception of 
 the loop, which in this case should come up to the line drawn half 
 
Looped Script. 
 
 71 
 
 way between the top and bottom guide lines. It will also be noticed 
 that the top of this letter curves a little more than in the plain style 
 of letters. 
 
 The looped N has a loop at the top and at the bottom, other- 
 wise it is generally constructed the same with possibly the exception 
 
 of a slight shade near the top and near the bottom of the two hair- 
 lines to enhance the beauty of the letter and fill in or balance up 
 the loops. 
 
 The general character of the capital O is such that it is difficult 
 to make any change in it. The only change that can be made 
 consistently is a continuation of the beginning and ending of the 
 line forming it. 
 
 The capital P line of beauty continues around to the right and 
 forms a very delicate loop, also the regular style of a loop at the 
 end of the line of beauty at the bottom and a slight continuation of 
 the loop at the top. 
 
 There is no change in the style of the O except a slight 
 increase in the loop. 
 
 The capital R loop at the top is slightly shorter than in the 
 plain style and, with the addition of the loop at the bottom and top 
 of the line of beauty, and a slight continuation of the loop in the 
 lower right portions of the letter, it is the same as the plain style. 
 
 Referring to Fig. 71 the capital S is made the same as the 
 plain style, with the exception of the inner loop at the top and the 
 
 main loop at the bottom, and a slight curve in around to the right 
 in the line and in the left portion of the letter. 
 
 The T differs in its construction the same as the F, with the 
 exception of the crossing of the latter. 
 
72 
 
 The Ari of Engraving . 
 
 The capital U can be changed by making a loop at the top of 
 the second main stroke of the letters, instead of beginning it square 
 on top as the top of a D or T. 
 
 The capital V simply has an additional loop at the top on the 
 right upper portion of the letter and a slight increase in the loop in 
 the left portion of the letter. 
 
 The W, being practically the same in general construction as 
 the V, has only the same changes. We would add, however, that 
 these letters can be curved more than in the regular style of script. 
 
 There is no radical change that can be made in the X, with the 
 exception of elaborating the loops if possible and advisable. 
 
 r 
 
 Fig. 73 
 
 Referring to Fig. 72, the looped Y is made the same as in the 
 plain script alphabet, excepting the loop at the end of the line of 
 beauty. 
 
 There is no change that can be made in the Z, except elabo- 
 rating the loops. 
 
 The correct & is made the same in general construction, with 
 the exception of a slight continuation of the loops. 
 
 At Fig. 73 you will notice that the curves run to the right at 
 the bottom, and that the little hair line forming the top has a slight 
 loop at the end. 
 
 Fig. 73 
 
 In the case of the 2 the loop is increased a little at the top and 
 at the bottom. There is also an extra loop at the lower left portion 
 of the figure at the bottom. 
 
 In the 3 there is a loop in the center and a full loop at the 
 bottom and at the top. 
 
 The 4 is practically the same with the exception of the down 
 stroke curving around to the right as m the figure i. 
 
Looped Script. 
 
 73 
 
 The figure 5 has a loop in the center and a loop at the top. 
 The remaining portion of the figure is the same as the plain figures. 
 
 Referring to Fig. 74, the 6 is practically the same as plain 6, 
 except that there is more of a loop 
 at the top. 
 
 The 7 differs only in its main 
 stroke, the same as figures i and 4, 
 with a loop at the top. 
 
 It is equally difficult to make 
 any change in the 8, unless the lines are broken or severed at the 
 top and bottom, as here shown, in wFich case they can curve 
 around as the case may require. 
 
 The 9 simply has an extra loop at the bottom. 
 
 The o cannot be changed, as the letter, by virtue of its shape, 
 gives no opportunity for making loops. 
 
 FANCY SCRIPT WORDS FROM LOOPED SCRIPT. 
 
 In Fig. 75 we show the style of letters we have above described, 
 forming the initials B, G, H, made back-hand. The student 
 
 will observe that it wall be impractical 
 to make the plain script letters back- 
 hand artistically. In Fig. 76 w^e show' 
 the word ‘ ‘ Rose ’ ’ engraved perpen- 
 dicularly, using the style of capital R 
 we have just described, it being necessary in this case to change 
 the loop at the lower right portion of the 
 letter, allowing it to drop below' the guide 
 line and gracefully loop into the base of 
 the R. 
 
 It will be noticed that there is no 
 change in the lower-case letters, with pos- 
 sibly the exception that the letters are 
 more the style of the round-hand script. 
 
 At A, Fig. 77, w'e illustrate the w'ord “Roseline,” the capital 
 of w^hich is formed from the looped style of script. There are many 
 pieces of silver that come to the engraver to be engraved where 
 a word running up on an angle, after the manner of this w'ord, is 
 by far the best form of laying out the work. The pieces in ques- 
 tion are too numerous to mention here, but the student will readily 
 observe where a w'ord of such a form can be used to best advantage. 
 
 Fig. 75 
 
 0 r/# 
 
 Fig. 74 
 
74 
 
 The Art of Engraving. 
 
 At B, Fig. 77, we illustrate the word “Florence,’’ running 
 down on an angle, with a few scrolls above and below and at the 
 end of the word. Of course, the scrolls are not necessary, but 
 they very often fill in the space advantageously. This style of 
 script is what is known as the round-hand style. The method of 
 
 cutting the letter running down on an angle, as here illustrated, is 
 exactly the same as for cutting the regular script, with the excep- 
 tion of squaring up the top of the I, T, U, D, etc., and the bottom 
 of the M, N, H and K, in which case the squaring up is done from 
 the opposite direction. In the case of the bottom of the N in the 
 word “ Florence,” the graver would be inserted at the lower right 
 corner of the base of the first down stroke of N, in order to square 
 it up ; whereas, in case of the regular script, it would be placed at 
 the lower left corner. 
 
 At C we illustrate the word “ Burmingham,” the capital of 
 which is formed after the style of the looped script and the lower- 
 case letters after the style of the round-hand script. It will be 
 noticed here that there is an inner loop in the lower-case G and an 
 inner loop in the top of the H, which add to the artistic features of 
 the letters. A few scrolls placed above and below the letter, as 
 here illustrated, add to the artistic elements of the article to be 
 engraved. In showing these words, we are very cautious to avoid 
 any ornamental work other than loops and scrolls, which we have 
 sufficiently described to make the method of cutting them intelli- 
 gible to the student. Many will undoubtedly desire to ornament 
 the letters in addition to ornamenting above and below the letters. 
 The ornamenting of such letters will be taken up under the head 
 of ciphers or script monograms, and the student who desires to 
 ornament the letters can learn how to do so under that head. 
 
Looped Script. 
 
 75 
 
 At A, Fig. 78, we illustrate the figures “ 1902” 
 in an appropriate style for the style of letters illus- 
 trated at Fig. 77, These figures should be en- 
 graved on an angle of about 10° back from a ver- 
 tical line. 
 
 At same figure, is illustrated “ 1900,” show- 
 ing a style of drooping or running the letters down. 
 
 Figures engraved in this style are very appropriate for the back of 
 teaspoons or small match or stamp boxes. The lines above and 
 below the figures can be added or not, as the artist prefers. 
 
 A B 
 
 Fig. 79 
 
 At A, Fig. 79, we illustrate the vertical script of the looped 
 style and at B the back-hand script of the same style, showing the 
 student that the looped style of script is appropriate for either 
 vertical or back- hand style. 
 
 ■^ 90 ^) 
 
 5 ) 
 
 Fig. 78 
 
CHAPTER XI. 
 
 THE PRACTICAL USE OF SCRIPT LETTERS. 
 
 One of the most troublesome features connected with the art 
 of engraving is the danger of the point of the graver breaking off. 
 If the engraver selects a tool of the best quality and sharpens it 
 correctly, he will experience little difficulty of this kind. How to 
 obviate the point of the graver breaking off is a question which 
 puzzles a great many beginners in the art of engraving. It should 
 be stated in this connection that the angle on which the graver is 
 sharpened on the front should be varied according to the condition 
 of the metal to be cut. If we are cutting on very hard metal, such 
 as plated teaspoons, the angle on the front of the graver should be 
 more blunt than it would be if we were cutting Britannia metal. 
 Fourteen karat gold will be found of such alloy as to make it difficult 
 to cut it and not break the point of the graver, and this is especially 
 true if the point of the graver is left rough, in the condition in 
 which it comes from the oilstone, which is the condition of the 
 graver when used on a polished surface. 
 
 The engraver should remember that in cutting satin finish, 
 Roman gold finish, French gray finish, or oxidized silver, that he 
 should use a polished graver. In nearly all other finishes the 
 graver should be left in the condition in which it comes from the 
 oilstone, in which condition it will cut a ragged line. The term 
 “ ragged line,” as here used, does not mean that the extreme edges 
 of the letter will be rough or irregular, but the incision will appear 
 to be composed of a series of fine lines, due to the condition of the 
 cutting edge of the graver, which has been thoroughly described in 
 instructing the student how .to grind and polish a graver. It will 
 be found more difficult to cut with the graver in this condition 
 possibly than it would if it were polished a very little. If the oil- 
 stone, which the engraver uses, is a very coarse one, then it would 
 be necessary to polish the graver a very little in order to reduce 
 the roughness to a minimum, but not enough to make it cut bright. 
 If in cutting with a rough graver it is found that it grinds and 
 grates as it is pushed forward, and the operator’ is sure that the 
 angles are exactly flat, he will be able to wield the graver easier if 
 
 76 
 
The Practical Use of Script Letters. 
 
 77 
 
 Fig. 80 
 
 he lubricates it with saliva by putting the point of the graver between 
 his lips at each insertion. This is a bad habit to form and should 
 be resorted to only in cases where it is necessary. 
 
 At Fig. 8o we illustrate four hearts, showing the different wa)^s 
 
 in which initials, names and 
 figures can be engraved. Of 
 course, it would be practical, 
 and possibly easier, to en- 
 grave the letters straight 
 across or straight up on an 
 angle. It will be seen that 
 a few little scrolls above or 
 below the letters will add to 
 the artistic effect. 
 
 At Fig. 8 1 we illustrate a locket with the word “Laura” 
 engraved thereon, showing how the looped style of script, with a 
 little ornamental work above and below a word, 
 adds to its beauty. It is not more difficult to en- 
 grave a word in this way than it would be to engrave 
 it perfectly plain, and the artistic effect gained by 
 doing it in this way is such that it is advisable for 
 the student to make the attempt. 
 
 At Fig. 82 w'e illustrate two different styles of 
 engraving teaspoon handles. At A we illustrate the 
 word “Ethelind,” designed ready for engraving, 
 difficult feature in designing a word on a spoon handle is to sketch 
 
 it so that the general effect of the 
 word will be in the center of the space 
 allotted to the word. This is accom- 
 plished in designing a spoon handle, 
 as here illustrated, by first drawing 
 a line from the center of the end of 
 the handle to the center of a point 
 on the handle just at the right of the 
 beginning of the word. The central 
 point at the end of the handle en- 
 graved ‘ ‘ Ethelind ’ ’ show^s where 
 such a line may begin. Now, as to 
 whether or not this line should come 
 exactly at the top of the lower-case 
 
 Fig. 81 
 
 The most 
 
7S 
 
 The Art of Engravmg . 
 
 letters or slightly below depends altogether upon the number of 
 letters coming above the lower-case guide line. 
 
 In the case of the word in question we have five letters coming 
 above the lower-case guide line. It is, therefore, necessary that 
 this center guide line should be the top guide line of the lower-case 
 letters. While, on the other hand, if we had some letters coming 
 above the line and some letters coming below the line, these condi- 
 tions would be changed to such an extent that it would be necessary 
 for the center line to pass through the top of the letters about one- 
 fourth the distance down from the top of the lower- 
 case guide line. A beautifully engraved word on a 
 spoon or fork handle not properly placed, is more 
 irritating to an artistic eye than one properly located 
 of the right size if not so well engraved. There- 
 fore, the student is especially cautioned in regard to 
 this, and advised to practice this particular point 
 diligently. There are too many ways of using script 
 letters to illustrate all. We therefore present for 
 the consideration of the student only a few, which 
 will suffice to give him an idea of how the work 
 should be accomplished. 
 
 At Fig. 83 we illustrate an ornamental handle of a spoon or 
 fork with initials B. C. S. designed thereon, showing how the 
 letters could be designed in such a space. The student should 
 endeavor to so educate his eye as to arrange the style of letters and 
 shape of same to as far as possible correspond with the style of the 
 article to be engraved. 
 
 At Fig. 84 we illustrate a match box, showing 
 how it can be engraved in plain script on a straight 
 line, yet on an angle, diagonally across the box, 
 which is far better than engraving it straight across 
 or perpendicularly. The location of the date is also 
 preferable to having it directly under the name, un- 
 less the customer should request otherwise. 
 
 At Fig, 85 we illustrate a pin tray with the word 
 “Florence” engraved thereon. In a case of this kind the 
 engraver must first find the center of rhe dish and then the same 
 instructions apply as in the case of a spoon handle, shown at 
 Fig. 82. Great care should be exercised in a case of this kind in 
 reference to the size of the letters. If the letters are engraved too 
 
 Fig. 84 
 
 Fig. 83 
 
The Practical Use of Script Letters. 
 
 79 
 
 large and are not appropriately shaded for the size, or too small 
 and too heavily shaded, they will look wrong. The student 
 should carefully study a design after he has placed it on the article 
 and see if it is the right size. Very often students will first sketch 
 the design on the article and then study only the accuracy of the 
 letters. As previously stated, while the accuracy of the letters is 
 
 the principal point, yet we must 
 give due consideration to the size 
 and proportion of the letters and 
 the relation of the same to the 
 space alloted to the word. 
 
 At Fig. 86 we illustrate a few 
 scrolls, which can be used to ad- 
 vantage with script words and 
 initials in engraving ornamental 
 script. As has been previously mentioned, the author is not 
 
 in favor of engraving words or initials very fancy. Simplicity 
 
 and accuracy should be 
 the aim of all artists 
 in engraving. Great 
 care should be exer- 
 
 cised to avoid so elabo- 
 rating the letters or 
 elaborating the space 
 around the letters as 
 
 to detract the atten- 
 tion from the word or 
 initials, bearing in mind 
 at all times that the 
 initial or word should 
 stand out boldly and 
 that w'hatever orna- 
 mental work is done 
 should be executed so 
 delicately, that it will 
 appear to be in the 
 
 background. Fig. 86 
 
CHAPTER XII. 
 
 ENGRAVING COFFIN PLATES IN SCRIPT. 
 
 Engraving coffin plates in script is one of the puzzling features 
 of the art of engraving for a beginner. Students in the art will 
 sometimes see an engraver engrave a coffin plate in very heavy 
 script, or see a plate that has been engraved in very heavy script, 
 and wonder how the artist succeeded in cutting such heavy strokes. 
 We would say that this work is done with a flat-faced graver, ground 
 as has been described. All the shade strokes are cut with a flat 
 graver. The object of using the flat graver for such heavy shade 
 strokes is that the angle on the front of the graver is at right 
 angles to the blade, which enables the operator to cut a wide stroke 
 with less depth than he would be able to with a square graver, 
 because, in the latter case the square graver front is ground back 
 on an angle, thereby making it necessary to turn the graver over 
 to the right farther to make a shade than in the case of the flat-face 
 graver. Some engravers cannot use a flat-faced graver for cutting 
 the hair lines. For the benefit of those who are troubled in this 
 way, we would state that there would be no objection to their 
 using the square graver for the hair lines. Cutting bright cut on 
 the metals of which coffin plates are made is usually difficult, 
 unless one knows the secret, if it is a secret. The method of 
 polishing the graver for any bright cutting is the same. In cutting 
 bright cut on Britannia metal, after the graver has been carefully 
 polished it should be lubricated by wetting it between the lips at each 
 insertion, which will be sufficient to cause the graver to cut bright 
 cut, while, if such lubricating were not resorted to, it matters not 
 how well the graver might be polished, it would not cut bright, owing 
 to the fact that the metal is so soft that the molecules will pull 
 apart and adhere to the cutting edge of the graver. This method 
 of lubricating is sufficient to produce the effect and is the most 
 expeditious. It is, therefore, recommended instead of dipping the 
 point of the graver in turpentine or any other lubricant. 
 
 In laying out the work on coffin plates, the designing wax or 
 transfer wax, previously mentioned, is used by pressing the finger 
 on the wax and then transferring it from the finger to the plate. 
 
 80 
 
Engraving Coffin Plates in Script. 8i 
 
 which will deaden the surface of the coffin plate so that a mark 
 with a hard-rubber marker or even a piece of pegwood properly 
 sharpened will show very plainly. This is the most expeditious 
 manner of sketching letters on a polished plate. Some, however, 
 use Chinese white or gamboge and design it with a soft pencil. 
 This method requires more time in preparation and the results are 
 more hazardous to the polished surface than by using wax and 
 being cautious in reference to scratching the plate by roughly 
 handling it. There will be little trouble experienced in scratching 
 a plate, providing the engraver uses all the piecautions necessary, 
 the principal one being, in sketching through transfer wax, to see 
 that the thumb nail of the right hand, which answers as a fulcrum 
 or a guide for the graver, is reasonably short and also that the end 
 of the thumb is free from any grit or dirt that would scratch a 
 highly-polished surface. The thumb acting as a guide, is the one 
 part of the hand that comes in contact with the surface of the 
 plate, and if that member is free from grit and the nail is short 
 enough not to come in contact with the plate, we are quite* sure to 
 avoid scratching the same. , 
 
 As to the style of rule to use for guide lines, a celluloid rule 
 6" or 8" long is best. Celluloid can be purchased at drug stores 
 in strips of any desired length, and can be cut as wanted. The 
 advantage of a celluloid rule is that it is flexible and can be bent to 
 correspond with the surface of the plate. This rule is also useful 
 in designing on a child’s drinking cup or any round surface like a 
 napkin ring. Of course, the rule for these small pieces would 
 necessarily have to be smaller, but the flexibility of the rule makes 
 it valuable for such work and the engraver should supply himself 
 with several different lengths and widths. 
 
 The style of engraving coffin plates in script used by a great 
 many undertakers is to engra\^e the date of birth above the nam.e 
 and the date of death below. In this case both dates should be 
 the same height and style. A rapid means of sketching such a 
 date and avoiding the necessity of making guide lines, but with a 
 guide to make sure it is in the center of the plate, is to use a cellu- 
 loid rule, previously described, with a hole cut in the center of it, 
 as shown at Fig. 87. If the rule should be exactly the same 
 length as the coffin plate, then the ends of the rule should be even 
 with the ends of the coffin plate. If the plate is a little longer, 
 the rule should by an equal amount fall short of coming to the 
 
82 
 
 The Art of Engraving . 
 
 end of the plate on each side. Or if the plate is shorter than the 
 rule the opposite principle should apply. In each case we would 
 be sure that the little hole cut in the center would be in the center 
 of the plate. Now, the figures are sketched in this hole on to the 
 plate, using the top and bottom of said hole for guide lines, which 
 
 will insure great accu- 
 racy as to each letter 
 and the date at the top 
 and at the bottom. 
 After the student has 
 practiced coffin-plate engraving to some extent, he will find that he 
 can, by placing this celluloid rule on the plate so that the top of it 
 would suffice for the lower-case guide line of the script, sketch the 
 line without the aid of the top guide lines, and with sufficient accu- 
 racy. Of course, it would be impossible to add the loop at the 
 bottom of the lower-case guide line, such as is necessary for a G or 
 a Y, but the top of the letter could be made and then when the rule 
 is lifted Irom the plate such loops could be added. In sketching in 
 this way the writer has found it advantageous to dispense with the 
 designing wax, using simply the steel-pointed stylus and scratching 
 on the shade strokes only. Of course, great care must be observed 
 in forming the letters, as when once sketched on, the cutting must 
 be such as to cut said scratches entirely out, but they are sketched 
 on very delicately, not the full width of the stroke, but nearly so, 
 in order that if a slight variation should be made it could be cor- 
 rected. We wouldn’t recommend this method of designing to a 
 beginner. He can look forward to it after he has become suffi- 
 ciently skilled in designing. 
 
 A great many beginners experience some difficulty in spacing 
 their words so as to make them begin and end an equal distance 
 from the right and the left ends of the plate. In other words, they 
 find it difficult to begin the first letter of a word so that they will 
 have ample room and not too much for the last letter. This can be 
 obviated by spacing before the letters are sketched on. By spacing, 
 as here referred to, we mean making little dots with the stylus on 
 the plate, leaving a space between each two dots for the letter or 
 the space between words, and going across the lower-case guide 
 line in this way spelling the word out, and then if the last letter 
 comes at the right point this spacing can be used, but if it should be 
 found to run short, allowance can be made in the sketching to make 
 
 Fig. 87 
 
Eyigraving Coffin Plates in Script 
 
 83 
 
 the lines far enough apart or larger so as to take up the space left 
 short. Or if the word should be found to run over, the letters 
 should be set closer together or made smaller. A little experience 
 in spacing in this way will enable the student to space in a short 
 time without the aid of such preparatory exercises. The engraver 
 should be sufficiently skilled in this class of work to space by 
 words. By making three dots on the plate he would not vary 
 much from the space allotted to each word. While to the beginner 
 it might seem difficult to space by words, yet the experienced 
 engraver knows that it can be done with great accuracy, and in 
 practice must be done in order to accomplish the amount of work 
 in one day that the engraver is expected to do. 
 
 Some engravers prefer to make their script on coffin plates in 
 scroll shape. A rapid method of doing this is to make of celluloid 
 a rule, as shown at Fig. 88, with a hole cut through the center of 
 
 
 Fig. 88 
 
 it in scroll shape, as here illustrated. In this case it would be 
 necessary to dispense with the guide line for the top of the lower- 
 case letters, having simply the top guide line of the capitals, and the 
 base guide line which, as previously stated, would be sufficient 
 to one with some experience. By using this scroll, most coffin 
 plates being nearly the same size, it would be found possible to do 
 the work with greater accuracy and rapidity than if one should 
 attempt to make the scroll on each plate from the original sketch. 
 Of course, if this scroll should be a little too long, it would not 
 matter, as the first part of the name could begin at the right of the 
 hole in the celluloid rule and end at the left of it. Any different 
 forms, like crescent shapes or ovals, that the engraver might deem 
 advisable to use, could be arranged in this way. However, the 
 names in script should either be straight or on a slight cur\'e or 
 scroll shape as here mentioned. 
 
 After a plate has been engraved, either by scratching the name 
 on as above described, or by the use of the wax or even the Chinese 
 white, and after washing the same off with a brush, water and soap, 
 
84 
 
 The Art of Engraving. 
 
 it is dried by patting it with a towel, not rubbing. After being 
 thoroughly dried with a soft towel in this way, any scratches that 
 may appear on the surface can be obliterated quickly, and the 
 original polish restored to the plate by the use of a pad, illustrated 
 at Fig. 89, which is made of cotton flannel with the flannel side out, 
 
 being filled with cotton or any other soft 
 material. It is held in the hand by 
 taking hold of the top where it is tied 
 together and rubbed vigorously across the 
 surface of the plate, rouge having pre- 
 viously been applied to the under side. 
 The rubbing should all be done length- 
 wise of the plate, and the amount of pressure downward on the pad 
 should be uniform, as the slightest variation of the pressure would 
 change the appearance of the polish, in other words, would make it 
 appear wavy. Of course, those who have access to high-speed 
 lathes could use the lathe for this purpose, but the ordinary foot 
 lathe we do not consider as practical as the hand buff, as the operator 
 finds it almost impossible to hold the plate against the buff with the 
 hand and operate the speed by foot power and maintain equal 
 pressure under the plate, which is necessary in order to secure a 
 high polish, especially on soft metal. 
 
 TURNTABLE FOR HOLDING COFFIN PLATES, TRAVS, ETC. 
 
 A coffin plate, owing to it being irregular, hollow on the back 
 and thin, is difficult to hold on a regular sand-bag pad. A very 
 useful device for engraving coffin plates, shown at Fig. 90, is a 
 table about 6" in diameter on the 
 top, and a base of suitable size 
 with a screw passing down through 
 the center of the top to the base 
 to hold them together. The top 
 of the table being perfectly flat is 
 covered with a piece of chamois. The object of using the chamois 
 is to make it soft for pieces of silver other than coffin plates, and in 
 the case of coffin plates to cause sufficient friction to hold the plate 
 firmly in place. The turning of the article in hand quickly is one 
 of the necessities in order to do work with rapidity. If a coffin 
 plate is held on an ordinary pad (as a trial will prove), it will be 
 difficult to turn the plate around in making loops and curvatures, also 
 
 Fig. 90 
 
Engraving Coffin Plates in Script. 
 
 85 
 
 to reverse the plate when necessary to cut the up and down strokes. 
 A cross section of another style of turntable, very useful for a 
 great many pieces of silver, is shown at Fig. 91. This turntable 
 should be made with brass bear- 
 ings, as the articles used on it 
 would be of such weight that a 
 wood-bearing table would hardly 
 be of sufficient durability. The 
 top of the turntable is grooved 
 out, as shown at Fig. 91, to re- 
 ceive a ring pad, such as is fur- 
 nished with some blocks. Then 
 the pad is placed into these grooves 
 which hold it firmly in place, and then with a chamois laid over 
 the top of it, such articles as a water pitcher, ice or cream pitcher, 
 or any large piece of silver can be placed thereon and held very 
 firmly, even though they are rounding in form. The chamois will 
 also prevent the piece from being scratched, while if it was held on 
 the regular pad, even though it was covered with the chamois or 
 any soft material, the pressure downward necessary to do the 
 cutting would, when it was turned, mar or scratch the highly- 
 polished surface to some extent. When the turntable, as shown at 
 Fig. 91, is used, the article being engraved does not turn separately, 
 as the top of the turntable turns with it, there being sufficient fric- 
 tion between the article and the top of the table to cause the latter 
 to revolve on its bearings. 
 
CHAPTER Xm. 
 
 ENGRAVING ON THIMBLES AND INSIDE OF RINGS. 
 
 Thimbles are difficult things for a beginner to engrave, owing 
 to the fact that they are small and round, and the surface upon 
 which the engraving is being cut is oval. Thimbles are not only 
 hard to hold in the hand, but hard to hold the graver into on 
 account of the oval surfaces. If the engraver will hold the thimble 
 on the pad when cutting the down strokes by sliding it over the 
 end of his index finger of the left hand, he will find he can hold it 
 very securely. Then, of course, the thumb and second finger are 
 held against the sides. When cutting the up strokes, the hold is 
 reversed, the thimble being held between the index finger and thumb 
 of the left hand, pressing it down well on the sandbag pad, the 
 friction of which is sufficient to hold it without sliding. 
 
 ENGRAVING INSIDE OF RINGS. 
 
 Of all work that comes to the engraver it is safe to say that 
 engraving inside of rings is considered the most difficult. Especially 
 is this class of work uninteresting to the beginner in the art. It is 
 a kind of work that must be plain in all cases, and for this reason it 
 has not the fascination that other kinds of engraving have, and it 
 is consequently neglected by the average engraver. Engraving 
 inside of rings is not a difficult or unpleasant work, however, if we 
 have the correct tool, properly sharpened, and go about 
 the work in a proper way. The author has found best 
 the square graver sharpened as shown at Fig. 92, where 
 A represents the original square graver and B represents 
 it after it has been ground off. It will be seen here that 
 the graver is rounding on top and on the sides, and on 
 the under side nearly up to the point, from which point 
 to the extreme point the cutting angles are at right 
 angles with one another, making that portion of the 
 graver equivalent to the square graver. The object of grinding a 
 graver off and in this shape is, that when the graver is thrown out, 
 or when it is curved around to the right or to the left to complete a 
 
 ^.1 ^ 
 
 ) 
 
 \ / ^ 
 
 A B 
 
 Fig. 93 
 
 86 
 
Engravhig on Thimbles and Inside of Rings. 
 
 S7 
 
 loop, coming in contact with the edge of the ring will not mar it ; 
 and also so that it can get just as much nearer the completion of a 
 loop in making the curve to the right or the left as the amount we 
 have cut off from the sides. This is easily understood, as we are 
 just so much nearer the point of the graver. A graver ground in 
 this shape can be used inside the average w'idth of oval wedding 
 rings to make any loop or even to cross a T or make the bottom 
 of an L, yet some engravers use a graver which is bent 
 around to the right. We believe, however, the use of such a graver 
 is not necessary, but may be found useful to those who do not do 
 enough ring engraving to become skilled in the use of the graver. 
 
 Students in the art of engraving often practice inside-of-ring 
 w^ork by placing the ring in a holder, wTich is furnished wath some 
 makes of engraving blocks. We would advise beginners in the art 
 to dispense with all such devices as they are not practical for reasons 
 too numerous to mention here. You will find very few% if any, 
 good engravers holding a ring in any other way than in their hand 
 and on the sandbag pad when cutting it. 
 
 At Fig. 93 we illustrate the pad A, graver B, ring C and block 
 
 D. The little block shown at D, a side view of w'hich is shown at 
 
 E, is made of soft w'ood about i" long, and other proportions 
 accordingly, with a lit- 
 tle groove cut in it as 
 illustrated, through 
 which one can see w hen 
 engraving. The arrow 
 shown at Fig. 93 is 
 pointing in the direc- 
 tion in which one would 
 look when engraving inside a ring with the aid of this block. The 
 little block of wood is so near the size of the ring that the thumb 
 and finger pressing dowm against the edge of it will also strike 
 against the ring. The object of using this little block is to hold the 
 ring more securely by increasing the amount of friction on the pad 
 W'hich adds to the stability of the ring during the operation. The 
 graver is showm at B wTich, of course, wmrks in the opposite direc- 
 tion from the point of vision, as illustrated by the arrow. A little 
 block of this description wall suffice for holding any size ring, and a 
 great many engravers find it very helpful to them, but we believe that 
 wn'th a little practice little or no trouble wall be experienced in cutting 
 
88 
 
 The Art of Engraving. 
 
 the ring directly on the pad, holding it between the thumb and 
 index finger of the left hand. 
 
 The style of lettering used inside of rings is usually script and 
 perfectly plain. The engraver will find it easier to engrave script 
 more nearly perpendicular than the regular angle of script inside of 
 rings. By making the letters more nearly perpendicular by possibly 
 io°, the difference would not be noticed and the appearance would 
 be better than if the letters were made on the regular angle of 50"^, 
 because the curve of the ring inside makes the letters appear to be 
 on more of an angle than they really are, and if it was a very small 
 ring a letter might begin on the downward slope at the left and end 
 on the upward curve at the right, and in this way would have a 
 rolling or curved appearance, which would be very detrimental to 
 its artistic appearance. Students should try both angles, the regular 
 angle and an angle of 60°, and they will readily observe that the 
 more perpendicular style of script is, by far,' better in appearance 
 than the regular. 
 
 Just how to arrange a word or words inside of rings is not an 
 er.sy matter to determine for a beginner. In our description of 
 how to correctly form script letters we said that the lower-case 
 script letters should be about one-third the height of capitals, and 
 also that there were cases where a variation from these mechanical 
 forms would be made necessary by virtue of the shape or size of 
 the article to be engraved. We have now arrived at a class of work 
 where such variations are necessary. In engraving inside of a 
 ring, and especially in a narrow oval ring, it will be found that the 
 lower-case letters should be half the height of the capitals. This 
 is because capitals engraved to nearly fill the ring crosswise would 
 be almost invisible to the naked eye, and if we should reduce 
 the lower-case letters to one-third the height, the lettering would 
 be of no value without the aid of a glass and would be so small 
 that it could be engraved only by the most skilled artist and would 
 of necessity be nearer the bottom than the top of the ring, which 
 would not look correct. We, therefore, find that it is necessary 
 to engrave the lower-case letters half or, in some cases, more than 
 half the height of the capitals, and that the angle of the letters 
 should be about 60°, and that the letters should be so designed 
 that the general effect will appear to be in the center of the 
 ring, as shown at Fig. 94, where we show a section of an 
 interior of a narrow oval ring with the words engraved 
 
Eiigravhig on Thimbles and Inside of Rings. 
 
 80 
 
 thereon, “ Sadie to Rose. ” It will be seen that the capitals are 
 about an equal distance from the top and bottom, possibly a 
 little closer to the top, and that 
 the lower-case letters are a little 
 closer to the bottom than the 
 top, and the difference between 
 the distances to the top of the capital, to the top of the lower-case 
 letters and to the top of the ring is such as to equalize and make the 
 words appear to be in the center of the ring. There are no set 
 rules by which we can go ahead in this work other than the way 
 just described. We cannot commend drawing a line from the 
 center of the ring and using the center line so drawn as a guide line 
 to the lower-case letters, as the width of the ring would change su-ch 
 a rule. There are some widths where the method would apply, but 
 it is not safe to advise a student to adopt it as a guide to follow in 
 all classes of work, but if he will place the capitals, as above 
 described, a little closer to the top than the bottom, he will find 
 then that the lower-case letters are farther from the top than the 
 bottom, and that the spaces thus varied will be sufficient to equalize 
 one another and cause the letters to appear to be in the center of 
 the ring. We have devoted more attention to this subject than at 
 first thought seems necessary, but it is a class of work that is some- 
 what neglected, and yet even a jeweler in a small city has much of 
 it to do. Old English, Roman or block letters are so seldom cut 
 inside of rings that instruction in reference to them is here 
 deemed inexpedient. It would, indeed, be little more than a 
 waste of time and space. 
 
 CARE OF GRAVERS. 
 
 The manner in which some engravers, especially those who do 
 both engraving and watch work, care for their gravers does not 
 reflect much credit upon their care of tools. We often find gravers 
 in jewelry stores that are thrown promiscuously in the drawers of a 
 watchmaker’s bench, one on top of another, the end of the gravers 
 coming together, etc. After a graver has been put in order it 
 should be kept in that condition, and if it is not convenient to lay 
 it in a drawer in such a manner that it will not come in contact 
 with any other graver, especially the point, the gravers can be 
 placed on the top of the bench by making a little holder for them 
 composed of two pieces of wood and a nail or a screw. Such a 
 
CO 
 
 The Art of Engraving. 
 
 holder is shown at Fig. 95. There can be two 
 rows of holes drilled in the top of the holder, 
 which revolves on a base, the two pieces 
 being held together by means of a screw or 
 nail, with as many holes in the top as is neces- 
 sary. Usually, about fifteen or eighteen gravers 
 can be held in a fair-sized holder. The gravers 
 are stuck down into the top of the holder, which 
 should be about thick. When an engraver 
 has finished using a tool it is very easy to put it 
 back in its place, and then he will be sure it 
 will be in the same condition as he left it when 
 next he wants to use it. The gravers can be 
 marked by numbers or letters on the extreme 
 edge of the top of the table if the engraver so desires. It would 
 not, however, be necessary to do this, because the points of the 
 graver would be visible and the tool wanted could be quickly selected. 
 
 Fig. 95 
 
 TABLE FOR ENGRAVERS. 
 
 For those who do engraving, or those who do engraving and 
 watch work, and have room enough for a table for each, a table as 
 shown at Fig. 96 is the best shape for engraving. The gravers can 
 be laid along the top with 
 the points toward the oper- 
 ator as here shown. Small 
 shelves can be placed under 
 the table at the right and left 
 for oilstones, oil can, etc. 
 
 A table of this description 
 can be made very cheaply, 
 and would well repay the 
 
 watchmaker who has sufficient room, and for the engraver who does 
 engraving only it is almost a necessity. A table of this description 
 should be 3 feet long by 2^ feet wide, and should be about 6" 
 higher than an ordinary table. It should be made strong and 
 secure, not necessarily of hard wood ; however, the hard wood 
 would be better. It can be made of soft wood, providing it is 
 well braced. 
 
 Fig. 96 
 
CHAPTER XIV. 
 
 ENGRAVING INSCRIPTIONS IN SCRIPT. 
 
 In inscription work there is a greater opportunity for an 
 engraver to show his ability than in any other class of engraving. 
 He, however, may demonstrate his ability as an artist better in orna- 
 mental work than in any other class of work, but inscriptions, 
 even though they be composed entirely of script letters, will require 
 more ability and judgment on the part of the artist than any other 
 class of work. There are certain rules that can be laid down for 
 inscription work that will be here applied to script only, but the 
 sam.e principles can be applied to more ornamental work when we 
 reach that stage. The great difficulty in engraving script inscrip- 
 tions is not only in laying the work out in such a way as to have it 
 begin and end correctly, and the right number of words on each 
 line with the proper prominence given to each word, but the 
 necessity of maintaining perfect harmony throughout the entire 
 inscription, allowing no one line to appear heavier or closer to the 
 preceding or following line than any other line or lines. Of course, 
 some words would of necessity have to be made larger than others, 
 but they should in such cases be given sufficient space to appear 
 correctly. It is often found that where an engraver has engraved 
 one line a little heavier than others, and has allowed the same space 
 between the top of said line and the bottom of the preceding line, 
 and the bottom of said line and the top of the following line, it will 
 make that particular portion of the inscription appear heavier than 
 the remainder. This would be especially noticeable if it were an 
 inscription to be printed in black ink on white paper. Of course, it 
 would not be as noticeable if cut on the metal to read from the 
 metal. An engraver may be very clever in cutting with a tool, 
 and be able to cut out several styles of letters, and yet he will find 
 when he comes to bring all those styles together in one combination 
 of words or sentences, and give due prominence to each, that there 
 are elements of skill to be brought into action that have not or will, 
 not be necessary in any other class of work. In other words, a 
 man may be able to engrave any piece of gold or silver in a jewelry 
 store, including cipher monograms, with remarkable skill and 
 
92 
 
 The Art oj Engraving . 
 
 rapidity, but when he comes to bring several lines together in one 
 combination of sentences, giving the proper prominence to each 
 word, the task will be more difficult than any work that he has 
 previously experienced, yet the difficulty can be overcome if the 
 advice here laid down is followed strictly. The great trouble with 
 most beginners is that they do not guard sufficiently against errors, 
 or are not as accurate in the detail of their work as they should be. 
 If the details of the work or the preliminaries are properly carried 
 out, and with a mind properly concentrated on the work in hand, 
 little difficulty will be experienced. As a rule, those who suffer 
 most from difficulties in any class of work are those who are negli- 
 gent in other duties, especially in technical work, not giving proper 
 consideration and thought to the technicalities necessary to lay the 
 foundation for the beginning of the work. This will be found true 
 by those who have followed this work from the beginning in refer- 
 ence to putting a graver in order. They know at the present time 
 how to put a graver in order as it should be, but if they had not 
 had the technical instructions to start with it would be impossible 
 for them to do as good work as they are or should now be doing. 
 Great care should be exercised in inscription work to so write the 
 inscription that the right word begins each line. If the engraver 
 should not be sufficiently educated himself to know just how to form 
 the inscription, it is an easy matter for him to have the customer or 
 some other person advise him as to the correct manner of laying 
 out the inscription. Great care should be exercised with reference 
 to the beginning of words with capitals or not. Sometimes it is 
 found advisable to begin other than proper nouns or beginning of 
 sentences with capitals. For illustration, the words “father” and 
 “mother” in an inscription very often appear better if the words 
 begin with capitals. There are a great many instances where a 
 common noun, beginning with a capital in an inscription, appears far 
 better than it would if it were commenced with a small letter, but 
 the engraver should be very cautious, because if he should make an 
 error of this kind the article would probably not be accepted by the 
 customer, but as previously stated, there are cases where variations 
 from the grammatical correctness can be made and be far more 
 pleasing to the customer. We have previously learned how to 
 engrave script back hand, perpendicularly, on scrolls, and in fact, 
 in almost all conceivable manners, and in inscription work we will 
 find it advantageous to use more than the one angle. For illustra- 
 
Engraving Inscriptiojis in Script. 
 
 93 
 
 tion, the principal word in an inscription, the recipient’s name, for 
 instance, in case of a watch being presented, could be very nicely 
 engraved scroll shape, and sometimes the words “presented to” 
 can be put on a slight curve at the top, and the date ending the 
 inscription can often be put on in an inverted oval or crescent shape 
 to correspond with the top, which will also conform to the shape of 
 the watch cap, if the inscription be engraved on a watch. 
 
 We have learned in our mechanical drawings how to find the 
 center, erect perpendiculars, etc. In engraving an inscription on a 
 watch case, the first thing to do is to find the center of the case, 
 which, in this particular piece of work, is done thus : Draw' a line 
 
 from the hinge to a point opposite the pendant ; then find the center 
 of said line, upon which erect a perpendicular through the center ; 
 or, in other words, draw a line across the cap horizontally and one 
 perpendicularly. Now, in case we have five or six lines to engrave 
 on the watch case, they having previously been written out on a 
 piece of paper with the proper words on each line, and the engraver 
 knowing the size that he proposes to or ought to give to each line, 
 he should then find the center of the inscription vertically on the 
 piece of paper. If he finds this to be midway between any two 
 lines, the bottom of one line, or even the middle of one line, he 
 should then begin to space from the horizontal line upward, allowing 
 the upper half of the inscription to be placed between said line and 
 the top of the cap, and proceeding likewise with the lower portion. 
 Most engravers, in doing inscription work, seem to labor under the 
 impression that the inscription ought to fill the watch cap, it 
 mattering not how large the cap or how small the inscription. This 
 is an erroneous idea. The inscription should be made with the 
 center of the inscription as above mentioned directly in the center 
 of the watch cap, and should protrude above and below said line as 
 far as is necessary to get the lines all on. If it should only be one 
 line above, it should be placed close enough to the middle line to 
 look well. If two or three lines the same rule should apply, but an 
 inscription should never be put on to the case or cap unless there 
 are a sufficient number of lines to do so by making tliem the proper 
 size and as close together as they ought to be, according to the 
 strict rules laid down for that class of work. 
 
 The scope for script letters is such that an entire book could be 
 written on the subject of script engraving. There are hundreds 
 and hundreds of pieces of gold and silver, all of which must be 
 
94 
 
 The Art oj E?ig raving. 
 
 treated to some extent in a different manner if they are all to be 
 engraved in script, but the engraver who will studiously consider 
 the suggestions here laid down, which are the result of practical 
 experience, will have little trouble in mastering any work that he 
 will have to do. He should bear in mind at all times that the 
 letters should be made in a size and as far as possible in a shape 
 not varying too much from the correct form to conform to the 
 shape of the space allotted to the letter or letters. 
 
 ENGRAVING SCRIPT IN THE BOWL OF TEASPOONS. 
 
 Engraving script in the bowl of teaspoons is very little more 
 difficult than engraving elsewhere. The only secret of this class of 
 work is the style of graver used, and even expert engravers will not 
 agree as to which is the best. The bayonet-shaped graver can 
 be used, or a regular square graver heeled up on the under side 
 sufficiently to raise the hand the proper height to enable one to get 
 into the bowl of the teaspoon. The latter is the one preferred by 
 the author. In engraving the names of cities in the bowl of tea- 
 spoons in script, it is a good plan to make the style of letter after 
 the style of looped script, which we have described, and where the 
 letter is of such a character that it has a loop at the lower right 
 portion of it, said loop can curve down below the lower-case letters, 
 and a few scrolls such as we have previously described cut around 
 a word thus engraved in script, would enhance its beauty. 
 
 ENGRAVING SCRIPT ON IVORY, PEARL, ETC. 
 
 In engraving script on ivory and pearl a regular square graver 
 can be used. However, in some cases the lozenge-shaped graver 
 is advisable. Especially is this true if the work is to be very fine, 
 as it is necessary to get the work a certain depth in order to hold 
 the enamel. The method of cutting the script is practically the 
 same. Of course, a graver cannot be thrown out exactly the same 
 as it could in metal. A peculiar movement of the hand is necessary 
 in order to turn and chip out the ivory, pearl or celluloid in order 
 not to chip the ending of a letter. 
 
 However, the general turns are required and the little tricks, if 
 we may use the term, to avoid any chipping, will be readily sug- 
 gested by experience. The work should be cut deeper than the 
 regular script, and it is not necessary that the lines be all exactly 
 the same depth, but they should be as nearly so as is practicable. 
 
Engravhig Inscriptio 7 is in Script. 95 
 
 The hair lines especially should be engraved of sufficient depth to 
 insure the enamel remaining in, and it is advisable to use a lozenge- 
 shaped graver for such hair lines. After the work has been 
 carefully cut, it should be brushed off so as to remove any chips 
 that may have fallen into the incisions therefrom, and then with a 
 stick of heel ball, such as is used by shoemakers for polishing the 
 heels of shoes, rub over the lines. This material being soft, as it is 
 rubbed over the incisions will fill them up. It should be rubbed in 
 vigorously. After a sufficient amount has been used to fill the 
 incisions full, it can be rubbed with a burnish in order to press it in 
 firmly and close up any of the little holes that may remain, after 
 which it is wiped off with a piece of tissue paper or a soft rag. The 
 effect of this heel ball is that the harder it is rubbed in the brighter 
 it gets, and the more firmly it adheres to whatever it is on. There- 
 fore, it makes a very good material for this purpose. 
 
 ENGRAVING SEALS IN SCRIPT. 
 
 Jewelers who sell letter seals and ha\ e to engrave them, find 
 the engraving a difficult problem to contend with, as the profit is 
 not sufficient to cut a monogram. Therefore, a large majority of 
 small stores engrave seals in plain script letters, one letter on each 
 seal. The method of engraving a seal is to first place the seal 
 down on a piece of paper and draw a line along its outer edge with 
 a pencil, allowing for the difference in size of the circle made by the 
 point of the pencil protruding out slightly beyond the edge. Then 
 the letter is sketched on to the paper inside of this circle, care 
 being taken that it be placed in the center. This can be done by 
 the use of the mechanical drawings previously described. In this 
 case a perpendicular and horizontal line can be drawn, which gives 
 us the center, and then a line above and below the horizontal line, 
 which give us the top and bottom of the letter, and the center of 
 the letter should be directly over the perpendicular line. The 
 surface of the seal is covered with Chinese white or transfer wax, 
 made especially for the purpose, and composed of Burgundy pitch 
 one part, Canada balsam one part and white wax two parts. This 
 is placed in a bottle with a large neck, and a tablespoonful of 
 benzine put in on top, which will soften or dissolve the wax or 
 amalgamate or mix with it in such a way as to soften it. Then a 
 small quantity of the wax thus softened is taken from the bottle on 
 the point of a knife or graver and placed on the seal and rubbed 
 
96 
 
 The Art of Engraving. 
 
 over the surface, leaving a thin coating. The benzine will almost 
 instantly evaporate and leave the wax on the surface as hard as 
 it originally was, and at the same time it will be sufficiently sticky 
 to hold the paper down after it has been once brushed. Having 
 designed the letter in the center, as above described, it is cut out 
 with a pair of scissors, care being taken to follow the line made by 
 the pencil ; then mark on to the piece of paper which is the top and 
 bottom of the letter. Then place it properly, according to the 
 handle, on to the seal and press it down thoroughly with the thumb 
 or index finger. Then hold it down very firmly with the thumb 
 and index finger and burnish it very carefully, not necessarily very 
 hard. Then with the point of a knife take hold on one side of the 
 paper and peel it off and you will find a very distinct impression 
 from the paper, the wax being sufficiently hard to tear the carbon 
 made by the pencil from the paper. The reason this method is 
 preferred to the Chinese white is that the paper will stick to the 
 wax, while with the Chinese white it is liable to move during the 
 operation of transferring. 
 
CHAPTER XV. 
 
 OLD ENGLISH. 
 
 Old English is a style of lettering that dates back as far 
 probably as any ornamental lettering. We are inclined to believe 
 that it is the first of the ornamental class of letters. The beginner 
 in engraving never feels satisfied with his ability until he has 
 engraved old English letters. There is a peculiar fascination about 
 this class of lettering that appeals to the novice, and it is safe to 
 say that it is used by jewelers for ornamental engraving more 
 extensively than any other class of so-called fancy or ornamental 
 lettering. There are a great many styles of old English, and 
 various ways of cutting these styles, and even the proportions of 
 the letters are found to vary extensively. Our text books confine 
 us to certain rules for the relative proportion of the lower-case and 
 capitals, yet such rules must vary as the practical work would 
 require, which variation must be made judiciously. When a 
 beginner in engraving has first learned the correct formation of the 
 letters (and this is especially true in old English) he must exercise 
 due judgment in any modifications or variations from those rules to 
 suit the practical work that he may have in hand, and this is more 
 true in old English probably than any other class of lettering. It 
 is possible to vary the heights and widths of letters, and the angles 
 of the bars and the space between the letters. This can be done so 
 as to produce a very desirable effect, and if the space allotted to the 
 name be irregular, or large or small in size, the change necessitated 
 by such irregularity or variations of sizes and space must be made 
 with a great deal of care, as it is an easy matter to make a letter too 
 large or too small and thereby spoil the effect of the work, though 
 it be done with a great deal of skill otherwise. It is impossible to 
 outline any mechanical or geometrical system by which old English 
 letters can be laid out. It would be an easy matter to show the 
 student personally how he could take advantage of some little 
 points, but to give written advice as to a system which can be 
 followed in all cases would be impossible. It is the custom of all 
 beginners to draw the letters free hand, using a text book as a 
 copy. 
 
 97 
 
98 
 
 The Art of Engravmg. 
 
 At Fig. 97 is a print from an engraved plate of old English, 
 showing a very neat style, with the proportions of the lower-case, 
 capitals and figures as they should be if an unlimited amount of 
 space were given the letters. Now, in case the space is very small 
 
 rs tvcb\>:ix^z$c 
 
 Fig. 97 
 
 in which the letters are to be engraved, the lower-case letters should 
 be at least two-thirds the height of the capitals, but we find that 
 where old English is engraved by our most skilled engravers on 
 card plates that the lower-case letters are not more than one-half 
 the height of the capitals, and this proportion looks very neat. 
 While on a card plate this proportion is correct, and would be 
 correct on a great many pieces of silver, yet there are spaces on 
 pieces of silver and jewelry that the engraver has to letter, where, 
 if the lower-case letters were made only one-half the height of the 
 capitals, they would be almost invisible, while the capitals would 
 be easily read. In a space of this description the lower-case 
 letters should be at least two-thirds the height of the capitals, and 
 there are spaces, such as inside of rings, where the lower-case letters 
 could be made even higher still than two-thirds the height of the 
 capitals. We seldom, however, have occasion to engrave a ring in 
 old English. Old English letters are composed largely of perpen- 
 dicular and angular bars with hair lines making proper connections, 
 there being very few loops in the letters ; and while the student, as 
 before intimated, has a great desire to do this class of work, owing 
 to it being ornamental and thereby fascinating, he will agree with 
 
Old English. 
 
 99 
 
 the author as he advances in the art, that old English letters are 
 easy to cut. They may, however, be difficult to design in the 
 beginning, and may appeal to the beginner as difficult to cut, yet 
 if he will stop to think for a moment and observe closely he will 
 learn that old English is composed largely of angular and perpen- 
 dicular bars, which, being cut in one style of cutting with a hat- 
 bottom graver and one stroke, must be easier than script letters 
 which are composed of curvatures and loops. We have passed 
 through the most difficult class of lettering when we have accom- 
 plished script lettering, and those who have followed our instruc- 
 tions thus far, and have mastered the work according to instructions 
 given, will find that old English is easy to master. 
 
 In designing old English letters the engraver should hold the 
 work to be designed firmly and in front of him, not bearing to the 
 right or to the left at all, as a slight variation in either direction 
 will cause a tendency to make the letters lean backward or for- 
 ward. Any letter that is engraved vertically is more difficult to 
 make exactly right than those on an’ angle, either backward or 
 forward. This is owfing to the fact that a slight variation from 
 vertical would be very noticeable, but if the beginner will hold the 
 work directly in front of him, and as he advances to the right with 
 the letters slide the paper or the article in hand on which he is 
 designing to the left, so as to keep that particular letter wffiich he is 
 designing directly in front of him, the work wall be found easy. 
 
 The spacing between old English letters is considered by many 
 quite difficult. This is due to the fact that they do not begin the 
 letter to the right of the one just finished accurately. The author 
 has found that if the hair line protruding downward or upw^ard from 
 the main bar of a lower-case letter is designed first, setting it as 
 close to the preceding similar line as is advisable, then making the 
 particular bar according to the location of this hair line, allowing a 
 slight change as the case may require, the w-ork is very easy to do. 
 The student should remember that the vertical lines should be 
 sketched first, or one vertical line sketched first, then an angular 
 bar on that particular vertical line. The next vertical bar, if the 
 letter is of the class that has two vertical bars, can be engraved 
 next, or the angular bar at the top or bottom of it as the operator 
 prefers. The most valuable advice to be given to a beginner in 
 reference to sketching old English, apart from keeping the w^ork 
 
lOO 
 
 The Art of Engraving. 
 
 directly in front of him, is to remember to make the perpendicular 
 main bars of the letter first, and the angular bars next, and then 
 add on the hair lines connecting, unless it be in a case where the 
 little hair lines connecting or protruding from the bar of the letter 
 are made first as a guide for spacing. 
 
 We have given instructions how to grind flat-face gravers for 
 cutting block letters, etc. , which class of gravers will be the class 
 that we now have to use in old English lettering. 
 
CHAPTER XVI. 
 
 METHOD OF CUTTING OLD ENGLISH. 
 
 At Fig. 98 we illustrate the proportion of old English in lower- 
 case letters by giving the capital twice the space of the lower-case 
 letter, a proportion that can be used in a great many places, but in 
 
 Fig. 98 
 
 Fig. 99 
 
 a case where the space is limited it is preferable to make the lower 
 case letter two-thirds the height of the capitals, as shown at Fig. 99. 
 
 It will not be necessary to show by illustration, or to give 
 instructions how to cut all the different bars of the old English 
 alphabet, as there are only a limited number of bars 
 alphabet, many of them being exactly the same, 
 mention of a few of the principal bars will suffice for 
 to cut the entire alphabet. 
 
 The main bar of a great many of the capital 
 letters, shown at Fig. 100, is cut by placing a flat- 
 bottom graver in the position shown in the illustra- 
 tion, and as the graver is pushed forward on the 
 angle there indicated, it is gradually turned over to 
 the right. When at the point where it should go 
 forward directly vertical, it is turned and held flat, 
 both corners of the graver being in the metal an 
 equal distance from the surface until the graver arrives 
 at the point at the top of the bar where said bar com- 
 mences to diminish in its width, at which point the 
 graver is rolled over on its right corner and turned to 
 the left, thereby throwing the graver out, leaving the bar pointed 
 at the top and slightly curving to the right in a direction opposite 
 to that at the start. 
 
 in the entire 
 Therefore, a 
 the beginner 
 
 Fig. 100 
 
 101 
 
102 
 
 The Art of Engraving. 
 
 At Fig. loi we show the graver in position to cut the little 
 bar protruding from the main bar of a number of the letters. It 
 would be easier to make this little cut by beginning at the pointed 
 end and cutting in, but that is not done in this case because if we 
 begin at the end and cut in when the graver arrives 
 at the point of the main bar of the letter where the 
 connection is made, the tendency would be for the 
 graver to slide into the incision of the main bar, 
 thereby making an ugly cut in the center of the 
 same. For this reason the graver is placed in 
 position as shown at Fig. loi, and is pushed for- 
 ward in the direction of the arrow, and as it is 
 pushed forward it is gradually turned up on the left corner and 
 around to the right from the operator, thereby diminishing the 
 width of the cut and curving it so as to point downward. 
 
 At Fig. 102 we illustrate a similar bar of a letter used in most 
 of the capital letters either at the top or the bottom. This style of 
 a cut is used at the bottom of the A, as shown at Fig. 98, and of 
 the B, as shown at Fig. 99. This 
 style of cutting that we are now 
 considering is known as bright cut- 
 ting, where the bars of a letter are 
 cut with a flat-bottom graver, pol- 
 ished. To cut this bar of the letter 
 the flat-face graver is placed in 
 position, as shown at Fig. 102, and 
 pushed forward in the direction of 
 the arrow. When the graver arrives at the end of the line the 
 left point of the graver should just come even with the surface of 
 the metal, thereby making the ending of the bar exactly the same 
 width as the graver. 
 
 At Fig. 103 we illustrate the principle of lapping 
 angular and vertical bars of the lower-case old English 
 letters. It will be seen here that the angular bar of the 
 letter is wider by about one-third than the vertical bar, 
 which proportion makes a most artistic letter. It will 
 Fig. 103 illustration that the left point of the 
 
 graver cutting the angular bar upward should be .placed directly in 
 the center of the vertical bar and the cutting edge of the graver 
 just crossing the upper left corner of the vertical bar, thereby 
 
Method of Cutting Old Ryiglish. 
 
 103 
 
 the 
 
 allowing the graver to protrude upward to the right from the 
 vertical bar. This bar of the letter should be cut on an angle of 
 45°, and a graver should always be placed at this point, that is, 
 with the left corner of the graver directly in the center of the 
 vertical bar and with the cutting edge of the graver crossing 
 upper right corner of the vertical bar. 
 
 The angular bars of the old English 
 letters should be on an angle of 45°, as 
 illustrated at Fig. 104. We here show by 
 a diagram what an angle of 45° is. The 
 line o represents a horizontal line, and the 
 angular line is 45° upward from same, as 
 indicated by the direction of the arrow. It 
 will, therefore, be seen that the angle of 
 these bars is 45°, and is also the angle 
 length of 
 Fig. 104, 
 
 IS 
 
 /<N/ 
 
 Fig. 105 
 
 Fig. 104 
 
 that looks best. The 
 the vertical portion of the lower-case letters, shown at 
 twice the length of the angular portion. By this 
 length we do not mean from the beginning of the bar 
 to the ending of the bar, but the space occupied by 
 the angular bar horizontally is one-half the space 
 occupied by the vertical bar. 
 
 To illustrate the difference between angular and 
 vertical bars of the same and different widths, we illus- 
 trate at Fig. 105 a bar like the one shown at Fig. 104, 
 with the angular bars the same width as the vertical 
 bars. This proves conclusively that the slight increase of width 
 of the angular bars looks much better. 
 
 At Fig. 106 we show a similar portion of the 
 lower-case letters with the vertical portion of the letter 
 reduced from that shown at Fig. 104. The space here 
 occupied by the vertical portion of the bar is the same 
 as that occupied by the angular portion of the bar from 
 the beginning to the ending of the vertical bar. 
 
 These illustrations are given and suggestions made owing to 
 the fact that there are in text books and in some classes of engraving 
 that come to the attention of beginners, letters that vary in the 
 points here mentioned. They are given to show to the student 
 the advisability of using certain portions of letters and the disad- 
 vantage of using others. We cannot say just where the portions of 
 letters shown at Fig. 106, should be used in preference to that at 
 
 Fig. 106 
 
104 Engravmg. 
 
 Fig. 104, but cases will come to the attention of the student when 
 he will find it to his advantage to use a long slim letter or a full letter. 
 
 At Fig. 107 we illustrate a cut used extensively in capital old 
 English letters, which is known as the roll cut. The term roll cut 
 is applied to it because the bar is made by beginning on the right 
 
 corner of the flat-face graver, 
 as shown at Fig. 107, the 
 graver pushed forward and 
 gradually turned down so as to 
 increase the width of the in- 
 cision until the graver arrives 
 at the point indicated by B, at 
 which point the graver should 
 be flat and both corners held 
 into the metal, thereby making 
 a flat incision. It is then pushed forward in this position until the 
 point of the graver arrives at A, where it is gradually turned to the 
 right and tipped up on the opposite corner from the one inserted at 
 the other end of the cut. It is for this reason, as above stated, 
 that the stroke is called a roll cut, as we begin on one corner of the 
 graver and roll the graver over and throw it out on the opposite 
 corner, thereby making the stroke shorter, as shown here in one 
 stroke. The old style of making this cut was to make a straight 
 bar with a flat-face graver and then a pointed cut into each end. This 
 method necessitated three strokes, while in this case it can be done 
 complete with one, and much more rapidly. 
 
 At Fig. 108 we illustrate the capital C, 
 as here shown, to represent a bright-cut 
 letter. In cutting a letter of this kind the 
 graver is inserted at the extreme point of the 
 main bar of the letter indicated by the letter 
 A. As it is pushed forward and curved 
 around sufficiently to make a proper curve, 
 it is gradually turned over to the right from 
 the operator, which would increase the width 
 of the bar. It is thus curved and turned 
 over until the point on the bar indicated by B 
 is reached, at which point the graver is nearly flat, and it is held in 
 such position until it is pushed forward to the letter D, at which 
 point it is gradually tipped back toward the operator from the right 
 
Method of Cuttmg Old English. 
 
 105 
 
 to the left, thereby decreasing the width of the incision until the 
 same is reduced to a hair line at the base of the curve, and it is 
 continued a hair line until the end. The main center bar of the 
 letter is cut the same as shown in illustration at Fig. 100, with the 
 exception that the beginning and ending of the letter is not as 
 pointed, but how to increase and decrease the point of the bar at 
 the top or bottom was illustrated and explained at Fig. 100. 
 
 The top of the C, it will be observed, is an inverted stroke, as 
 shown at Fig. 102, and the method of cutting it is the same. These 
 cuts, above described and illustrated, are the principal ones embodied 
 in bright-cut old English letters, and one familiar with block letters 
 and such cuts as we have here mentioned, will find little trouble in 
 cutting any letter in the alphabet. One reason for beginners being 
 discouraged when they first commence old English, is that the 
 letters are so complicated in appearance that they fear they will not 
 be able to cut them properly, while if they study the letter in detail, 
 as previously intimated, they will find the letters are simple, being 
 composed of vertical and angular bars connected with straight lines, 
 which must of necessity be an easy letter to master. The beginner 
 should not attempt to grasp the entire letter at one time, but simply 
 study and work on one bar of the letter at one time, keeping in 
 mind the other bars sufficiently to give the proper location of the 
 one he is at work on, and he will soon become so familiar with the 
 letters that he will be able to design them with rapidity. 
 
 Old English letters, bright cut, are used usually on Roman 
 gold finish or cheap goods, such as aluminum or Britannia goods, 
 satin finish or even sterling silver satin finish. The higher class of 
 old English is usually fine-line English. The method of cutting 
 what is known in card engraving as solid old English (an apt name 
 for the style above described) is used extensively on watch caps for 
 inscriptions. In cutting this class of letter the method is exactly 
 the same as above described, except that the graver is left in the 
 condition that it comes from the oilstone — not polished — thereby 
 making a bar of a letter in such condition as to cause it to appear 
 to be composed of a series of fine lines due to the ragged condition 
 of the extreme cutting edge of the graver. This style of cutting 
 old English is used on polished surfaces. The student should 
 remember that he should never cut bright cut with a flat-face graver 
 on a polished surface. On a deadened finish, such as satin finish, 
 we cut bright cut, and on polished surfaces the effect of the 
 
io6 
 
 The Art of Engraving. 
 
 incisions should be a deadened or dull one, which is obtained by 
 a series of fine lines cut with a square graver, or with the ragged 
 cutting edge of a flat-face graver. 
 
 At Fig. 109 we illustrate a bar of several of the 
 old English capital letters, which is cut in the direc- 
 tion of the arrows. We do this because of the fact 
 that a great many beginners cut this bar directly in 
 A the opposite direction, while the bar should be cut as 
 indicated by the arrows illustrated at Fig. 109. 
 
 At Fig. 1 10 we illustrate the word “Roe” in 
 J old English. We have previously mentioned some 
 
 Fig. 109 facts in reference to the exact proportions of old 
 
 English, but to show the proportions by means of 
 a drawing the student is referred to Fig. no, where he will observe 
 that the letters are divided into eight equal spaces, the capital 
 occupying eight and the lower-case 
 letters four ; the angular bars of the 
 lower-case letters one space and the 
 perpendicular bars two spaces. This 
 gives to the student with mechanical 
 accuracy the proportions of old 
 English letters when the lower-case 
 letters are to be one-half the height of the capitals. If it is desired 
 to increase the height of the lower-case letters five spaces should be 
 used, and if still higher, six. It is, however, preferred, where 
 proper space is given, to make^the lower-case letters either one-half 
 or five-eighths the height of the capitals. 
 
 One of the styles of cutting old English letters used by jewelers 
 more extensively than any other on plated ware, is that of wriggled 
 old English. The method of wriggling has been previously described 
 by an illustration showing the position of the graver rocking to the 
 right and the left, and the student should refer back to such descrip- 
 tion. In wriggling, a flat-face graver is used and held in the 
 hand on a proper angle to keep the point of the graver in the metal 
 so as to enable the engraver to rock the tool to the right and the 
 left, and as the graver is thus rocked it is gradually turned in the 
 hand, which causes the point of the graver that is out of the metal 
 to slightly protrude out beyond the point that it left when it was 
 raised from the metal, thereby taking a little forward movement as 
 it is rocked backwards and forwards. 
 
 Fig. 110 
 
Method of Cutthig Old E 7 iglish. 107 
 
 At Fig. Ill we illustrate one of the principal bars of the lower- 
 case letters, showing how the vertical bars are wriggled coarse with 
 one width of the graver and the angular bars wriggled finer with 
 another, the latter bars being one-third wider than 
 the vertical bars. The width of the wriggling is 
 increased and diminished by the angle on which the 
 graver is held. The higher up the graver is held 
 and the less rocking to the right and the left the 
 finer the wriggling will be. The finer the wrig- 
 gling, if accurate, the more beautiful is the work, 
 but in a case where the vertical bars of the work 
 are wriggled coarse and the angular bars wriggled as fine as 
 possible, the best effect is produced. 
 
 Again, referring to Fig. iii, we illustrate from the top of the 
 bar down to the point indicated by the letter B, how the wriggled 
 old English letters can be shaded with a flat-face graver. The 
 method of shading, allowing the angle of the incision to incline 
 toward the bar of the letter, has been previously described, but 
 attention is again called to it. These letters could be shaded even 
 wider than here illustrated, but a width such as is shown, is 
 advisable for the beginner. After one is skilled in the use of a 
 flat-face graver for shading, a shade made one-third the width of 
 the bar should be used, but it requires great deftness in the use of 
 the tool to make a shade stroke this width. 
 
 Wriggling can be used in conjunction with bright-cut letters 
 by making the vertical bar of the letters, both capitals and lower- 
 case, bright cut, and having all angular and horizontal bars wriggled 
 very fine. A letter cut in this way would produce a very beautiful 
 effect, providing, however, that it is on an unpolished surface. If on 
 a polished surface the bright-cut strokes should be cut with a graver 
 unpolished, when the effect will be found to be equally as artistic. 
 This method can be reversed by bright cutting the angular and 
 horizontal bars and wriggling the vertical bars. 
 
 At Fig. 1 12 we illustrate one of the bars of 
 the old English letters wriggled. The method of 
 wriggling such a bar is a very difficult thing for a 
 writer to describe. It would be an easy matter to 
 show a student how this class of work is done, but 
 if he were told that it was possible to take a flat-face graver and 
 wriggle from an incision equal to the width of the graver itself and 
 
 Fig. 113 
 
io8 
 
 The Art of Engraving. 
 
 gradually tapering down to a fine line he would not believe it, yet 
 this is a very easy thing to do, and it is very useful to the engraver. 
 Indeed, if it were not for our ability to make such a cut wriggled we 
 would not be able to wriggle certain old English letters, and this 
 would cause a great deal of additional work when engraving cheap 
 articles by making it necessary to engrave shaded old English 
 letters instead of wriggled letters, as it would be quite impossible 
 for any but the most skilled engravers to cut with a flat-face graver 
 a bar on to hard metal such as plated spoons and forks. 
 
 The method of cutting the bar, shown at Eig. 112, is to place 
 the graver in position for regular wriggling, and as the graver is 
 pushed forward and gradually rocked, it is pulled upward toward 
 the operator. Now, just how much to pull the graver toward the 
 operator and just how much to push it forward, is the secret of 
 doing this work with accuracy. It will be plainly seen that in 
 order to make the letter curve around with any degree of accuracy, 
 the pressure forward and the pull toward the operator must be 
 in harmony or in unison. If we push the graver forward with more 
 power than we pull it toward the operator, the bar of the letter 
 would be too long, while if we pulled it toward the operator with 
 more power than we pushed it forward, it would be too short, and 
 if the pressure forward and toward the operator should vary at 
 different stages from the beginning to the end, we would have an 
 irregular curve. It will, therefore, be readily seen that some 
 thought and very careful practice is very necessary to do this work, 
 remembering that the reduction of the width of the bar of the letter 
 is caused by pulling the graver toward the operator, allowing its 
 position forward to be exactly the same. The graver must not 
 be turned or its position changed ; it should be facing the same 
 direction when it is thrown out at the bottom of the line as when 
 it was first inserted in the metal. 
 
 At Fig. 1 13 we illustrate what has pre- 
 viously been described as the roll cut. In 
 this case it will be observed that it is necessary 
 to start the graver by wriggling a hair line, 
 gradually increasing the same to the width of 
 the graver and then diminishing again to a 
 hair line. This to those not skilled in the art 
 would seem to be a very difficult thing to do, yet it is not difficult. 
 On the contrary, it is quite easy. When the graver is first inserted 
 
Method of Cutting Old English. 
 
 109 
 
 Fig. 114 
 
 at the upper right corner of this bar it is pulled toward the operator 
 with more pressure than it is pushed forward, which makes it curve 
 around on a sharp curve. After such curve is made the graver is 
 pushed forward and not pulled toward the operator at all, until the 
 point of the curve at the left is reached, at which point it is 
 gradually again pulled toward the operator, thus reducing the bar 
 to a hair line. The method of shading these bars of wriggled old 
 English letters is the same as has been previously described for 
 shading block letters, remembering that it is usually the custom to 
 shade the bars of all letters on the lower right-hand side. 
 
 At Fig. 1 14 we illustrate the center bar of the capital S. This 
 is a bar that bothers students to wriggle, it being difficult to start a 
 hair line and end a hair line in this position. We 
 therefore find it necessary to start at A and wriggle 
 in the direction of the arrow, and as the graver is 
 inserted it is pushed forward, and as the curve is 
 reached it is gradually pushed away from the ope- 
 rator, it being necessary to push the graver away 
 from the operator with more power than it is pushed 
 forward, keeping in mind that the graver should not 
 be turned around. The position of the graver is the same at all 
 times in making these cuts. It is simply the pressure to the right 
 or the left which reduces the width of the stroke. The right portion 
 of this stroke is cut in the opposite direction as indicated by the 
 arrow. The method of cutting is exactly the same as described for 
 that portion at the left. 
 
 At Fig. 1 15 we illustrate the capital O, which will be consid- 
 ered the most difficult letter of the old English alphabet to wriggle. 
 
 It is in this case practically impossible to begin 
 at the top of the pointed portion of the old 
 English O at the right and wriggle from that 
 point down to the bottom, increasing and dimin- 
 ishing the width of the wriggled stroke. It 
 cannot be done because the stroke does not 
 curve sufficiently. It is, therefore, necessary to 
 begin as shown here at that point where the bar 
 of the letter is sufficiently wide to be made the 
 same width from that point down to a corre- 
 sponding point at the base of the letter, and at the extreme right 
 the same rule prevails. The center of the bar of the letter is an 
 
I lO 
 
 The Art of Engraving, 
 
 easy matter to wriggle. The vacant spaces left by the taper at the 
 top and bottom of the letter are filled in if the letter is to be shaded 
 by making the bright-cut stroke and then running a hair line along 
 the upper edge of the same. If the lines are simply wriggled and 
 not shaded then that portion of the letter not shaded is filled in 
 with fine lines, making about three lines from the point of the letter 
 at the top down to the wriggled bar and the same at the bottom. 
 
 This letter, as here shown, would convey the idea that the 
 letter is outlined with the square graver and then filled in with a 
 wriggled stroke. This is erroneous. The letter, as here illustrated, 
 is to show a wriggled letter only with no lines cut on the outside. 
 These lines here are used simply as a guide. Now, if it is desired, 
 the letters could be shaded on the lower right hand side, as shown 
 at Fig. Ill, and then a fine hair line run around on the opposite 
 side of the bar of the letter. This class of wriggled letters produces 
 a very beautiful effect, but it should be borne in mind that on cheap 
 work the old English letters are wriggled only, there being no cuts 
 made before or after. 
 
CHAPTER XVII. 
 
 SOME USES AND STYLES OF OLD ENGLISH. 
 
 Wriggled old English shaded on the lower right-hand side 
 about one-third the width of the bars of the letters, or even less, 
 is a very suitable style of English for coffin plate engraving. The 
 - student will find it very necessary in designing old English letters 
 to first use the wax or Chinese white, reference to which has been 
 previously made. The letters should be designed on quite accu- 
 rately and then wriggled, after which the little hair lines connecting 
 the different bars of the letters and protruding therefrom, should be 
 made. This will complete the work and leave a wriggled letter 
 only, and be the cheapest class of fancy old English work. If it is 
 desired to shade the old English strokes, the wriggling is done 
 first, then the shading, then the hair lines connecting the different 
 bars of each letter. Old English cut in this way produces a very 
 desirable effect and answers the purpose just as well as old English 
 outlined and filled in with cross lines, which would require nearly 
 double the time to execute. The letters can be shaded with the 
 same graver that the bars of the letter are wriggled with. Old 
 English letters are usually engraved perfectly vertical. They can, 
 however, be engraved on an angle of about 15° to the right from 
 vertical. 
 
 Some engravers engrave old English back hand about 10° from 
 vertical, but the vertical or angle to the front is preferable. It is 
 much easier to engrave old English letters on an angle about 15° 
 from vertical then to engrave them vertical, because on the angle a 
 very slight error would not be observed, while if they were vertical 
 it would be. For this reason a great many beginners in the art of 
 engraving tilt all their old English letters, and the author’s advice 
 would be to the novice to avoid doing so. It is not the easy things 
 in life that are always the most desirable or most beneficial from a 
 business standpoint. The most difficult work at first may prove to 
 be the most profitable in the end, and it is the kind of work we 
 would enjoy most after we had experienced the early struggles of 
 fully mastering it. All students, therefore, should make their old 
 
 111 
 
II2 
 
 The Art of Ejigraving, 
 
 English letters vertical at first, until they are masters of old English 
 in that position, after which any variation from it can be made with 
 perfect ease. 
 
 WRIGGLED OLD ENGLISH SHADED. 
 
 In shading old English, as previously described, the beginner 
 should be very cautious before he commences to design his letters, 
 and before he decides on the width of graver to be used, to know 
 whether he is to shade the wriggled strokes, in which case he must 
 select a graver narrower than would be used if letters were to be 
 wriggled only. This is necessary, as the shade stroke increases the 
 width of the bars of the letters about one-third. A properly pro- 
 portioned old English letter wriggled should not have the addi- 
 tional width by being shaded. Very often, after a letter is wriggled, 
 the original intention being to leave it wriggled only, the engraver 
 will decide to elaborate the letter by shading it. This should not 
 be done for the reasons above stated, because if the letter was in the 
 right proportion when wriggled, it is readily seen that it would be 
 wrong if the shade stroke were added. 
 
 FINE LINE OLD ENGLISH 
 
 It is safe to say that fine line work, as applied to the art of 
 engraving, is one of the most popular styles, because it is superior. 
 We are inclined to believe that fine-line lettering originated in the 
 beautiful effect observed on card plates and steel engravings by the 
 letters being formed of a series of fine lines engraved very close 
 together, this being done in this case to receive and hold the ink. 
 This class of work is, of course, more expensive than bright cutting 
 or wriggling, and requires more skill to execute. One of the 
 common errors of beginners in this class of work is that they think 
 it necessary in order that a line should be engraved very fine, to 
 hold the graver so as to cut a V-shaped incision. This is not so. 
 A fine-line letter should be engraved with very fine lines, it is true, 
 and the lines should be left in V-shape, but it is not necessary to 
 cut the lines in that way, and the effect is not obtained by cutting 
 them V-shaped only. 
 
 At Fig. ii6 we illustrate the correct method of cutting fine 
 lines for jewelry and silver engraving. A represents the plate upon 
 which the lines are engraved, and B the graver, which in actual 
 operation is supposed to be pushed forward in the direction of the 
 
Some Uses and Styles of Old Eyiglish. 113 
 
 arrow. It will be seen by the position of the graver that it is 
 tilted apparently to the left, but if held in the engraver’s hand it 
 would be to the right, and by holding the graver in this position an 
 incision is engraved, as shown at the 
 end of the line, which proves that the 
 angle on the left of the incision is less 
 than the angle on the right. This is 
 the form of the incision when used in 
 connection with shaded letters. In 
 cutting the fine lines, it matters not 
 whether in lettering or monograms, 
 the lines are always cut from the ope- 
 rator. In other words, the first line 
 to be cut is the one nearest the ope- 
 rator, and as he cuts the lines he cuts 
 from him. You will, therefore, see 
 that the second stroke of this graver, if 
 placed on the extreme edge of the incision and the surface of the 
 plate, will split the line so as to leave the original stroke cut with 
 the angles on the sides of the incision equal. 
 
 Referring to the series of lines illustrated at C, on plate A, 
 Fig. 1 16, it will be seen that the highest points of the lines are, 
 when cut in this way, below the original surface of the plate as they 
 should be. By so cutting the lines the work is not subjected to as 
 much wear as it would be if they were cut just even with the surface. 
 The method described here and illustrated by the position of the 
 graver B, thoroughly explains how it is that we are able to lower 
 the lines below the surface. Not only are we, by this method, 
 enabled to lower the lines below the surface, but it will be found 
 that a graver used in this position is much easier to operate, and 
 also that while we are doing rather coarse work, the work left 
 behind is fine. And it must be borne in mind that the last stroke 
 of any bar should be engraved with the graver held in a position to 
 cut a V-shaped incision, which is done by tilting the graver towards 
 the operator from the position shown at B, so as to cut a stroke 
 with the angles on each side of the incision equal. When cutting 
 fine work on polished surfaces it will, of course, be necessary or 
 advisable to use a graver in the condition that it comes from the 
 oilstone, thereby producing a deadened surface, due to the rough- 
 ness of the graver making apparently additional fine lines. The 
 
The Art of Engraving . 
 
 114 
 
 effect of work when done in this way when the lines are cut with 
 extreme accuracy, is most beautiful, and is by far superior to any 
 other kind for richness and plainness. 
 
 It is the practice of some engravers, and it is preferred by 
 some jewelers, to cut fine-line work on to a deadened finish by 
 making the lines bright cut. It is difficult to say which is best. 
 Of course, it is true that lines cut in this way are more effective 
 than they would be if they were cut with a deadened finish. The 
 author’s experience has been, in observing the work of some of our 
 most skilled artists, that they very seldom polish a graver for this 
 work. It would not, however, be wrong to do so, and might in 
 some cases be advisable. It is one of those cases in which the 
 judgment of the engraver should be exercised. It is difficult to 
 illustrate fine-line work as it should appear. As here shown the 
 lines appear to be separated. This, from the illustration shown at 
 Fig. 1 16, and the description given with reference thereto, will 
 prove to the student that there is no surface showing between the 
 two lines. 
 
 In Fig. 1 17 we have the main bar of the capital letters of the 
 old English alphabet. It will be here seen that the first line starts 
 down and does not come up as high as those that remain, and so on 
 through the bars of the letter. Sometimes we find old 
 English letters engraved where the operator has commenced 
 ^ all the lines and ended them all equal. This, of course, 
 should not be. After the lines have been cut, as here 
 described, a line should be cut along the edge of the lines at 
 the top and bottom as here shown. In Eig. 118 
 that portion of the bar at A is cut by cutting the 
 strokes out from the bar, all of which should be cut 
 perfectly straight, excepting possibly at the extreme 
 end, where a slight curve should be given. It 
 would be better, however, to make no curve at all 
 than to make too much of a one. Each line as it 
 is cut upward is shorter, until the last line is reached, 
 which line is short horizontally, but after starting from 
 the main bar it turns and curves down and just touches n* 
 
 the extreme end of the other lines, thus finishing the stroke. It 
 is needless to say that the cut shown at Eig. 119 would be the most 
 difficult in fine-line work. This, it will be remembered, is termed a 
 roll cut. The correct way to cut this stroke would be to begin at 
 
 Fig.117 
 
Some Uses and Styles of Old English. 1 1 5 
 
 one end with a very fine line and make the line increase as it is 
 pushed forward, and as the opposite end is reached a gradual 
 decrease in the width of the line should be made, thus allowing 
 each and every line to begin at the same 
 point and end at the same point. This is 
 quite an easy operation to describe, but very 
 difficult to execute. It will be found diffi- 
 cult at the turning point at the beginning to 
 cut the lines smooth and clean and not allow 
 the second line to run into the first one and 
 so on. At the last curve also the natural tendency is to increase 
 the width of the lines at the point where they should be diminished. 
 Great care should be exercised in this matter. 
 
 The method above described is the correct one in which to cut 
 this bar. However, we find that even our most expert engravers 
 avail themselves of a variation from what might be described as 
 the exact method as practice necessitates. The objection to cutting 
 the line in the manner referred to, that is, by cutting the half of 
 the stroke at the right of the line A A to the right and that at the 
 left to the left, would be that the lines being turned in an opposite 
 direction, an opposite effect of light would be produced, showing- 
 very plainly that the work had been done in this way. However, it 
 will be found necessary in some cases to cut the lines in this manner. 
 Of course, they can be cut with a higher degree of accuracy and 
 much smoother around the curves, the only drawback being that 
 above mentioned. 
 
 Now, the objection to the other method, as previously stated, 
 would be the roughness and the tendency to run one line into 
 another. In deciding which method to use the engraver should 
 decide between the two evils, remembering that if 
 he cannot so master the work as to cut the lines 
 smoothly and accurately, the first method is the one 
 he should use. Those bars of old English letters of 
 the form of the one shown at Fig. 120, are very easy 
 to cut and need no special mention. It should be 
 borne in mind, however, that the lines should all 
 begin at the same point and end exactly on the 
 line designated for their termination. The width of the bar is 
 increased and diminished as the case may be by the width of the 
 lines. 
 
 Fig. 130 
 
 Fig. 119 
 
The Art of Engraving. 
 
 1 16 
 
 FINE LINE AND BRIGHT CUT OLD ENGLISH COMBINED 
 
 A very neat effect can be produced on polished surfaces by 
 cutting the perpendicular bars fine line and the angular and hori- 
 zontal bars with a flat-face graver unpolished, or vice versa. The 
 old English fine-line method of cutting can also be combined with 
 wriggled old English by cutting the perpendicular bars one style 
 and the horizontal and angular bars another. By making these 
 various changes it will be readily seen that a great variety of styles 
 of old English can be easily made. 
 
 CUTTING OLD ENGLISH ON PEARL, IVORY, ETC. 
 
 Engravers are very often asked to engrave old English on 
 pearl, ivory, celluloid, etc., where it is necessary to fill the same 
 with enamel. The method of filling with enamel and the style of 
 enamel to be used have been mentioned. The style of cutting old 
 English for this purpose, it can be seen very readily, could not be 
 the regular bright cut or solid old English style, as the graver 
 cutting a flat, wide stroke would have a tendency to crumble or 
 crack the edges of the incision. It is, therefore, necessary to 
 outline the bars to be cut with a fine-line cut as deep as possible, 
 and then to cut the surface between the lines thus outlined with a 
 flat-face graver. This will obviate the danger above mentioned. 
 Some find it convenient to engrave the old English much coarser 
 with fine lines, not cutting the lines very close together and then 
 digging it out with a flat-face graver. The former method would 
 be more expensive. Of course, we could cut old English on any 
 of the materials above mentioned by cutting it fine line according 
 to the method described and illustrated at Fig. ii6. This would, 
 however, except in a very elaborate piece of work, be too expensive. 
 
CHAPTER XVIII. 
 
 ROMAN LETTERS. 
 
 One of the most difficult styles of letters to engrave, either 
 on card plate, steel die, silver or gold, is Roman letters. This 
 style of letter becomes fashionable from time to time for calling 
 cards, wedding announcements, invitations, etc. It is, therefore, 
 the duty of a skilled engraver, and one who would do the work 
 with credit to himself, to be master of this style of lettering, not 
 only for the reason that it is sometimes the fashionable style, but 
 also because it is a class of lettering that can be used in connection 
 with general jewelry and silver engraving to the advantage of 
 the operator and to the satisfaction of the owner of the article 
 engraved. 
 
 The most useful place for Roman lettering in jewelry engrav- 
 ing is engraving inscriptions, in which case the words connecting 
 lines, such as prepositions and conjunctions, should be cut in this 
 style of letter, because if cut in script they would occupy too much 
 space vertically, and if cut in Gothic or block letters would be too 
 prominent for the space occupied, while the Roman letter occupies 
 a small space and produces a delicate and neat appearance. These 
 letters can be cut in all the various ways in which a flat-face graver 
 can be used. In other words, they can be cut in all the different 
 finishes that old English can be cut in. The first method we will 
 mention will be the bright cut, and it must be borne in mind that 
 when the words bright cut are mentioned we do not mean that the 
 letters cut after this method cannot be cut in any other way than 
 bright cut. Whenever we describe a method of bright cutting it 
 must be borne in mind that such class of work applies to deadened 
 finishes, and if the same class of work is desired on polished surfaces 
 the method of cutting and the tool used are exactly the same except 
 that in cutting on polished surfaces the graver is unpolished. 
 
 In Fig. 1 21 we have the upper portion of the letters R, P and 
 complete B, the perpendicular bars or all bars of the letters, where 
 they are the same from beginning to end, being cut with a flat-face 
 graver. That portion of the bar shown at Fig. 121, indicated by 
 the letter A, is cut either with a flat-face graver that cuts the 
 
 117 
 
ii8 
 
 The Art of Engraving. 
 
 Fig. 131 
 
 perpendicular strokes or it can be cut with a square graver. It is 
 better, however, for the beginner to use the fiat-face graver for this 
 purpose, as he will then avoid cutting the 
 stroke too wide or too narrow if he will permit 
 the graver to cut the maximum width at the 
 center of the curve indicated by the line C. 
 In cutting this line the student will know, 
 from what has been mentioned previously in 
 reference to the use of the flat-face graver, 
 that the lines should all be cut by curving 
 around to the right, and that in starting the 
 line a hair line the left corner of the graver is used, and as it is 
 pushed forward it is gradually thrown over to increase the width of 
 the incision as is required, the diminishing being done by an oppo- 
 site movement of the graver. When the graver is thrown out at 
 the point indicated by the letter E, the flat-face graver can be 
 exchanged for a square graver, and the line continued to the end 
 with a square graver, or the flat-face graver can be used if the 
 operator prefers. 
 
 Referring to Fig. 122 we have the same stroke with the bar 
 swelled at the top, which is the style of these bars at the top and 
 bottom. They can be left as shown at Fig. 121, in which case the 
 work could be done quicker 
 and easier. At Fig. 121A 
 we illustrate the bar with and 
 without the swell, the arrows 
 showing the direction for 
 cutting the swell cuts needed dX H H. However, when it is 
 required to swell the bars, as shown at Fig. 122, the little strokes 
 indicated by the letters C H cut with the square graver in the 
 direction of the arrows, beginning the stroke on the lines directly 
 back of them. The graver, in cutting this stroke, should be skill- 
 fully wielded so that the under side of the graver will not chip the 
 top line. There is great danger of doing this and thereby widening 
 the stroke in that particular place and producing a very ugly 
 appearance. It will be seen that these little cuts, one only on each 
 side, should curve very slightly. We sometimes see this class of 
 work with the stroke swelling the bar simply chipped off on a 
 straight line. If the engraver will observe the work in our text 
 books or on our finished card plate, he will observe that these 
 
 
 
 
 
 
 
 
 
 
 
 
 A 
 
 Fig. 131 A 
 
 Fig. 133 
 
Roman Letters. 
 
 119 
 
 Fig. 133 
 
 we 
 
 lines are, as they should be, slightly curved. Another difficult 
 part of this class of Roman letters is shown at Fig. 123. In cutting 
 the letter S in bright cut, the main 
 stroke is cut by making a roll cut 
 with a flat-face graver. If fine line, 
 it is cut in either of the two methods 
 illustrated at Fig. 119, as previously 
 described. The end of the bottom 
 curve and the beginning of the top 
 curve in the letter S are difficult to 
 end satisfactorily. This same style of 
 
 ending is required in the initials C and G. At A, Fig. 123, 
 show a straight bar, which is cut vertically at the end of the top 
 and bottom of the S, as shown in the same figure at the beginning 
 and ending of the letter. After cutting this stroke downward or 
 upward, it doesn’t matter which, the graver is placed at the extreme 
 lower point of the bar, shown at B, and cut up in the direction of 
 the arrow, which connects with the main stroke of the letter. Then 
 the graver is again placed at the extreme top point of the bar, as 
 shown at C, and cut downward, thereby making a stroke in the 
 shape shown at C, Fig. 123, which is the shape of the beginning 
 and ending of this letter. In cutting these strokes fine line, the 
 same method is adopted except that it is necessary to cut more 
 than one line to make the proper swell. 
 
 In Fig. 124 we show the flat-face 
 graver in position to cut the stroke at the 
 top of the F, which is a similar stroke to 
 the one in E, L, etc. In cutting this 
 stroke the graver is pushed forward and 
 gradually turned down from the operator, 
 thereby increasing the width of the in- 
 cision. The bottom of the E or L would 
 be cut in the same way. 
 
 The middle stroke of 
 an E or an F is cut in like manner, it being, 
 of course, necessary to cut in both directions. 
 
 At Eig. 125 we illustrate the method of 
 cutting this stroke in fine lines. The lines 
 should all be cut down, each succeeding line 
 being shorter ; then a line cut down across 
 
 
 iiMiiliil 
 
 Fig. 135 
 
120 
 
 The Art of Engraving. 
 
 the extreme tops of these lines, as shown at Fig. 126. These lines 
 are sometimes cut by beginning all at the same point and gradually 
 swelling out. This produces a star effect, which is 
 entirely wrong. For this reason the engraver is 
 especially advised to follow the methods shown at 
 Figs. 125 and 126. It will not be necessary to 
 describe the methods of wriggling Roman letters, as 
 this class of letter is very seldom cut in any way other 
 than mentioned. If, however, it is desired to cut 
 them in any other way, sufficient knowledge of wriggling as applied 
 
 A 
 
 B 
 
 C 
 
 D 
 
 E 
 
 P 
 
 G 
 
 H 
 
 I 
 
 J 
 
 K 
 
 L 
 
 M 
 
 X 
 
 0 
 
 P 
 
 Q 
 
 R 
 
 S 
 
 T 
 
 u 
 
 V 
 
 W 
 
 X 
 
 Y 
 
 z 
 
 & 
 
 
 1 
 
 2 3 
 
 4 
 
 5 6 
 
 Fig. 136 A 
 
 7 
 
 8 9 
 
 0 
 
 to old English is known to the student to be able to easily apply it 
 to this class of letter. At Fig. 126A we illustrate the complete 
 Roman alphabet and figures. 
 
 A 
 
 A 
 
 Fig. 136 
 
CHAPTER XIX. 
 
 
 Fig. 137 
 
 ODD LETTERS. 
 
 At Fig. 127 we illustrate the word “ Engrave” in the Japanese 
 style of lettering. These letters can be cut to the best advantage 
 with a fiat-face graver, the size of which will depend upon the size 
 of the letter. The 
 graver should be as 
 wide as the widest 
 portion of the letter. 
 
 It will be seen that the 
 letters are simply composed of lines starting in a fine line and 
 ending up heavy, gradually increasing from the hair line to the wide 
 stroke. These and other letters to follow under this head are to 
 be used in such places as the engraver will find that they can be 
 used to best advantage. Of course, it must be acknowledged, and 
 the student is advised that script letters and old English are the 
 styles used mostly by engravers. The class of lettering we are 
 considering under this head is seldom used, but a knowledge of the 
 method of cutting it will be found very useful and in some cases 
 valuable. This is especially true when applied to lettering souvenirs 
 and bowls of teaspoons, where possibly this class 
 of lettering is most used. We often find very cheap 
 napkin rings, children’s cups and inexpensive sou- 
 venirs engraved in such letters. 
 
 At Fig. 128 we illustrate a style of letter which 
 might properly be called a piccadilly letter. These 
 letters are composed of several cuts, one of which is shown at A. 
 It will be seen that the three widest portions or the wide extremity 
 of the letters are illustrated at points indicated 
 by the letter C, Fig. 128. This style of letter 
 is very often used by engravers in ornamental 
 work. At Fig. 1 29 we have a block letter H, with 
 the left half perfectly plain and the right half 
 with the little cut, after the style of those which compose the letter 
 shown at Fig. 128, added to each of the corners of the letter. The 
 arrow B and the cut directly under it illustrates the direction in 
 
 Fig. 138 
 
 HiE 
 
 Fig. 129 
 
 121 
 
122 
 
 The Art of Engraving.. 
 
 which these cuts are made in the lower right-hand corner of a letter. 
 The cuts are made by cutting in the extreme corners of all the 
 letters, allowing the graver to increase the width of the incision as 
 it advances, thus making the letters pointed, as shown in the right 
 half of the letter H. To complete the letter H in this style would 
 necessitate eight strokes. The E, same figure, would also neces- 
 sitate eight strokes. The upper and lower left corners of the letter 
 E require one cut only. This work can be reduced by making the 
 cuts very short, allowing them to protrude beyond the corners of 
 the letters only a very little, which would make the letters, if they 
 were very small, appear to be very sharp and pointed, while if they 
 are allowed to be drawn out farther, as shown in the letter H, an 
 effect will be produced which would change the general appearance 
 of the letter radically. This method of squaring up letters is 
 sometimes used in cutting letters for printing in order to make the 
 corners very sharp. A letter cut in this style is very useful for 
 prominent lettering such as would be used on a dog collar or some 
 coarse piece of work. It can be done on very fine work, but usually 
 heavy lettering is not used on that class of work, unless it is 
 outlined and filled in. 
 
 At Fig. 130 we illustrate what is known as a cap block letter. 
 We have already told how to cut block letters and all the technical 
 points in connection therewith. In this illustration we 
 
 H merely show that these letters can be changed in their 
 general formation by adding a bar across the end of the 
 bars, as shown here, and are then known as cap block 
 Fig. 130 They can be cut in the various forms previously 
 
 mentioned for cutting plain block letters, and can also be shaded as 
 in plain block letters. A letter of this kind on a coffin plate can be 
 engraved so as to appear very showy and neat by wriggling the 
 vertical bars coarse with a narrow graver, and with a wider graver 
 wriggling the horizontal and angular bars very fine. Then add the 
 shade on the lower right side. 
 
 At Fig. 13 1 we illustrate the word “Harmoniums” in a block 
 letter shaded at the top only. We illustrate this style of letter to 
 show the student how a slight shade will change the position of the 
 letter. As here seen the letters appear to be tipped forward at the 
 top. The opposite effect would be produced if the shading was 
 reversed and placed at the bottom. Letters to be cut in this style 
 should be designed and outlined very accurately, and then cross 
 
Odd Letters. 
 
 123 
 
 lined as here shown. The white portion of the letter at the top, it 
 is unnecessary to say, is not cut at all. The dark showing between 
 the letters and just above the top of the letter is made by cutting a 
 series of fine lines. The ornamental work above the word, and at 
 
 Fig. 131 
 
 the end, is made with a square graver. In fact, the entire illus- 
 tration is made by a series of fine lines, all of which is done with 
 the one tool, the square graver. Such work as this is seldom 
 practical, except in a very elaborate inscription on a fine piece of 
 work, and is referred to here for the benefit of the student from an 
 artistic standpoint, showing him the effect of shading. 
 
 At Fig. 132 we have the word “Homes” in a fancy block 
 letter. Space would not permit, neither would it be advisable, to 
 give many of the styles of fancy block letters that can be used. 
 The engraver will learn from 
 text books and from obser- 
 vation and study of fine 
 specimens of engraving many 
 fancy letters which are the 
 result of years of experi- 
 ence of skilled artists. The letters at Fig. 132 will show the 
 student that the general form of a block letter can be made very 
 elaborate. It will be seen here, which is very noticeable in printing 
 from type, that the spacing is not accurate. The space between the 
 H and O and the O and M is noticeably more than the spacing 
 between the other letters. This is necessary, as these letters were 
 printed from type. If we were designing the word we would close 
 up the space each side of the O. This is an advantage that the 
 engraver has over the printer, and it is a point that should be 
 considered very carefully by the engraver when designing. The 
 letters shown at Fig. 132 are all cut with a square graver, with the 
 exception possibly of the shading on the lower right side, which is 
 done with a flat-face graver if cut bright cut. If cut on to a fine 
 piece of polished metal this could be done with a series of fine lines. 
 
 Fig. 132 
 
124 
 
 The Art of Engravmg. 
 
 At Fig. 133 we have the same class of ornamental letter, 
 formed after the style of Gothic letters. This illustration is given 
 
 to show the student that 
 almost any kind of letter 
 can be applied to the forms 
 of the various alphabets. 
 
 At Fig. 134 we illustrate what is known as French script. This 
 style of letter is nearly vertical, and is formed after the style of the 
 round-hand script and is used quite extensively in printing. We 
 show these letters here, not to encourage the student in the use of 
 this style of script, but as an aid in cutting them. These letters 
 
 cWoedi 
 
 itatiortD 
 
 Fig. 134 
 
 can all be cut with a square graver after the method of the regular 
 script letters. It is very often the case that a beginner, when he 
 has a piece of work to do that differs from the regular style with 
 which he is familiar, uses the wrong graver and does not cut the 
 letters properly. It is for the correction of such possible errors 
 that we advise that the same should be cut with a square graver and 
 after the method of the regular script. 
 
 At Fig. 135 we illustrate the word “ Cruiser” in a style known 
 as italics. This class of letters, which is familiar to all students in 
 lettering and can be found in text books, is useful in engraving the 
 prepositions and conjunctions and connecting 
 letters in inscriptions, etc. Some engravers 
 use this style of lettering quite extensively. ' 
 
 It is seldom practicable, but it is sometimes 
 
 necessary to either reproduce some work or execute it according to 
 directions, in which case our judgment cannot be exercised. For 
 the benefit of those who have this class of lettering to do we would 
 say that the general method of cutting it is the same as for script 
 except the capitals, which are practically the Roman letters, and a 
 description of which has previously been given. These letters can 
 be either bright cut or fine line, and can be ornamented by making 
 little cuts each side of the letter. 
 
Odd Letters. 
 
 125 
 
 At Fig. 136 we illustrate the block letters shaded by a series 
 of fine lines on the lower right side. These lines, it will be seen, 
 do not come up to the main stroke, which 
 can either be cut bright cut or fine line. 
 
 By not permitting the hair lines to come 
 up to the main bar we leave a prominent 
 line of surface along the edge, the effect 
 
 of which, as will be seen here, is such as to increase the promi- 
 nence of the letter. 
 
 At Fig. 137 we have just the reverse of Fig. 136. In Fig. 137 
 we have a block-shaded line, which can be easily made by cutting 
 bright cut or fine line and the surface of the letters cross lined. 
 
 Figs. 136 and 137 show the stu- 
 
 
 mm 
 
 IM 
 
 Fig. 131 
 
 dent how radically the cutting of 
 letters can be changed in prac- 
 tically the same form. 
 
 At Fig. 138 we illustrate a 
 bar of music. The object of presenting this to the student’s consid- 
 eration is that it is often required of an engraver to engrave a bar 
 of music on to a watch case. We have had in the first part 
 of this work sufficient instruction in reference to mechanical draw- 
 ing to show us the correct method of procedure in laying out 
 the horizontal bars for this work. The heavy bars should be cut 
 
 Fig. 138 
 
 with a flat-face graver, the fine horizontal bars with a square graver 
 and the oblong dots on the notes are made with a round-face 
 graver. The round-face graver can be used in such a way as to cut 
 a round dot or an oblong one. In the latter case the graver should 
 not be inserted as deeply in the metal. The dots between the 
 notes are made with a round-face graver. The little crescent cuts 
 and bars at the left of the notes are cut with a fiat-face graver. 
 It will be seen that the same are pointed at the beginning and end 
 up wider on the horizontal line. This is done, as described for 
 beginning the vertical bar of bright-cut old English, by beginning 
 on one point of the graver and gradually turning it down until 
 the full width of same is reached. 
 
126 
 
 The Art of Engraving. 
 
 At Fig. 139 we illustrate some Hebrew letters. It is very 
 often required of an engraver to engrave Greek and Hebrew letters 
 on to various articles for presentation, and the engraver often being 
 unfamiliar with such letters has to depend upon the rough drawing 
 that may be submitted to him by the customer. All engravers 
 
 DN1 iiN 
 
 Fig. 139 
 
 should supply themselves with text books, so that they may know 
 the exact form of any style of letter. Type books are easily 
 obtainable from printers, and alphabets of Greek and Hebrew letters 
 can be found made in their exact form. If the engraver has such a 
 book he can easily submit it to the customer and have him point 
 out the letters which he wishes used. The cutting of these letters 
 would be done, as here shown, with a fiat-face graver or by cutting 
 fine lines. If cut with a fiat-face graver their form is such that 
 instructions given for cutting similar bars in old English letters 
 would suffice for cutting these. 
 
CHAPTER XX. 
 
 ENGRAVING IN SPOONS AND ON BANGLES. 
 
 At Fig. 140 we illustrate a style of block letter used quite 
 extensively for engraving or etching the bowls of teaspoons. These 
 letters are simply the invention of the engraver, who makes the 
 letters any style and form to suit his artistic eye and any space 
 in which the word is to be en- 
 graved. Of course, the general 
 form of the letter must follow a 
 certain style, the style followed in 
 this case being, as above stated, 
 block or Gothic. A letter cut in 
 this style could be either bright 
 cut with a round-face graver or wriggled with a flat-face graver, and 
 then bright cut along the lower right side, the appearance of which 
 would be very effective if the bowl of the teaspoon were satin finish, 
 gold plated. Fancy script letters with a very large capital designed 
 in scroll shape, after the form of those mentioned in our description 
 of script letters, are also used, but heavier letters are usually desired. 
 The same class or style of lettering could also be used for etching. 
 This one style of lettering is not given to the student for him to 
 follow at all times. It is simply given to show a form of letter that 
 can be used, and the student must know that many changes can be 
 made, and should be made, as the case would require, he using 
 regular block or Gothic letters as a general form. 
 
 To hold a spoon while en- 
 graving is not an easy matter 
 for some engravers. We, 
 therefore, illustrate at Fig. 141 
 a block of wood with a spoon 
 thereon. A block of wood a 
 very little larger than the bowl of the spoon and about half an inch 
 thick can be used, in the top of which is carved or burned a hole 
 the form of the back of the teaspoon, so that when the spoon is 
 placed into it the edge of the teaspoon bowl comes even with the 
 surface of the block or a trifle above it. It is not necessary that 
 
 127 
 
128 
 
 The Art of Eyigraving. 
 
 the hole in the top of the block should be very deep, neither is it 
 necessary that it be the exact form of the bowl, because wax is put 
 into it and then the bowl of the teaspoon is heated, which spreads 
 the wax around in the hole and fills up any of the crevices that may 
 be deeper than others and makes the foundation the exact form of 
 the bowl. To engrave a bowl of a teaspoon it is placed on this 
 block, the bowl being slightly heated and forced down on to the 
 wax. After it is allowed to cool the bowl is covered with the 
 transfer wax and then the words sketched in and cut through the 
 wax, unless the work is very fine, in which case the design could 
 be first sketched on, then scratched on very carefully, and then the 
 wax rubbed off, leaving the graver only the smooth polished surface 
 to work on. It is seldom, however, that a piece of work in the 
 bowl of a teaspoon is so fine that this method is adopted. You can 
 usually engrave through your wax, the coating of which should be 
 very even and thin. 
 
 Etching the bowl of a teaspoon is done by painting around the 
 letters wfith a fine camel’s hair brush in the bowl of the spoon or on 
 the bowl of the spoon as the case may be, with asphaltum varnish, 
 one of the cheapest grades of varnish. After the letters have been 
 painted on in some odd style, as has been described, a heavier 
 brush is used for painting the back of the bowl and up on the 
 handle as far as necessary to insure the acid not running on to it and 
 along the edges of the spoon in an irregular way down nearly to 
 the letters forming the word, thus leaving in the letter space the 
 original surface of the spoon. It is now dipped into a bottle of 
 one-fourth nitric acid and three-fourths water. This composition 
 will eat the silver where it is not protected by the asphaltum 
 varnish quite rapidly, and will leave a soft deadened finish. The 
 time required for etching the proper depth is a difficult matter to 
 decide. The best way to learn is by experience. If the point of 
 the stylus is placed on the extreme edge of the letter and then 
 allowed to drop off, one can tell if the letters are sufficiently deep. 
 It is not necessary for the acid to eat very deep around the letters. 
 Just little more than is necessary to deaden the finish of the article is 
 all that is actually required. After the spoon has been subjected to 
 the acid a sufficient time to allow it to eat in the proper depth, it is 
 washed off in water to remove any acid, after which it is washed 
 in turpentine. Onlv a small quantity of turpentine will be necessary 
 if it is put in the bowl of the teaspoon, the latter being then rubbed 
 
Engraving hi Spoons and on Bangles. 
 
 129 
 
 vigorously with the finger, after which the spoon bowl can be 
 polished on the back and a very little in the bowl. The effect of 
 work done in this way is very artistic, leaving the letters apparently 
 embossed or raised above the surface of the background and thus 
 very prominent, the prominence being increased by the fact that 
 the surface of the letter and the background are of an entirely 
 different color, one being highly polished and the other a deadened 
 finish. Etching on steel can be done in the same way. It will be 
 found, however, that acid diluted slightly more than for silver would 
 be necessary. 
 
 BORDERS FOR BANGLES, ETC. 
 
 At Fig. 142 we illustrate a very common border for medals, 
 bangles and bars for medals, etc. This border is cut by first 
 engraving two lines parallel with each other, the distance apart to 
 be gaged by the size of the border wanted. 
 
 The wriggling in between the lines indicated 
 by the initial E should be so done as to allow 
 the outer edge of the flat-face graver to just 
 touch the outside line and the left side of the 
 graver to just come up to the inside line. The 
 wriggling should be done very uniformly, 
 leaving the spaces indicated by A and B exactly 
 the same size. Lines C and D can be wrig- 
 gled with the round-face graver after they have been cut with the 
 square graver, if so desired. This method would elaborate the 
 border. The spaces A and B are cut with a flat-face graver starting 
 at the point of intersection of the wriggled stroke and the outside 
 circle, and as the graver is pushed forward it is turned down so as 
 to widen the incision until the widest part of the 
 space is reached, and from that point to the end 
 of the space the graver is gradually raised up, 
 thus decreasing the width of the incision. 
 
 At Fig. 143 we illustrate still another style 
 of border, the general method of cutting it 
 being the same. The lines G and H are first 
 cut, as in the case of the border shown at 
 Fig. 142, and can either be left a heavy hair line or can be 
 wriggled as the engraver prefers. The space E is cut out with a 
 flat-face graver, as described for cutting out the spaces A and B^ 
 
130 
 
 The Art of Engraving. 
 
 in Fig. 142. The space J on the outside of the wriggling can be 
 filled in by adding a different style of ornament made by three 
 strokes of the square graver, as at K, Fig. 143, or it can be cut out 
 with a square graver, beginning at the intersection of the wriggled 
 stroke and the outside circle and cutting half of the space out one 
 way, then throw the graver out and begin on the opposite side and 
 cut the other half out. The wriggling in this case should be 
 executed with great accuracy, as a poorly-wriggled border or 
 poor wriggling in any place produces a very bad appearance, while 
 very accurate wriggling is very artistic and produces the effect that 
 is desired in case of a fancy piece of engraving, such as borders. 
 The graver, in cutting this border, is started on the inside line, 
 cutting the crescent-shaped cut ; as the graver arrives at the inside 
 circle on the return, after making the first wriggled crescent, it is 
 turned, in order to start for the next trip, on the right corner of the 
 graver. By doing this the graver is in the correct position to start 
 for the next curve, and it will be seen that it will not be necessary 
 to remove it from the metal at all until the entire wriggling is 
 completed. 
 
 At Fig. 144 we illustrate what is known as the fan border. 
 This is made by wriggling a half circle, shown at A, with a flat-face 
 graver. We first cut two lines parallel to each other, either straight 
 or in a circle as the case may require. Then starting 
 the graver, as shown at M, Fig. 144, the graver is 
 operated as it is in regular wriggling, with the 
 exception that the left corner of the graver remains 
 in the same place all the time. In other words, 
 it acts as a pivot for the revolution of the rem.aining 
 portion of the cutting edge of the graver. As the 
 graver is wriggled the article is turned in the hand very uniformly, 
 because if it is turned too rapidly or too slowly the wriggling will 
 be irregular. Of course, the wriggling appears to be irregular in 
 our illustration, as these illustrations are made with pen and ink, 
 and it is quite impossible to reproduce the effect as accurate 
 as it would be if engraved on the metal. This border is one of the 
 most fancy borders that can be engraved cheaply. It requires 
 some skill to do it to the best advantage, but a little practice will 
 enable the student to engrave these fan cuts very accurately. The 
 little space left between the tops of the fan cuts near the outside 
 circle can be filled in by making a double cut, cutting from top of 
 
Engravhig in Spoons a?id on Bangles. 13 [ 
 
 each one towards the center of the space with a flat-face graver. 
 This, however, is not necessary as the work looks quite complete 
 as here shown. 
 
 At Fig. 145 we illustrate a style of border made by wriggling 
 the same, as shown at Fig. 144, with the exception that the 
 wriggled cuts are made all round instead of half round. The 
 method of doing this work is to place the left 
 point of the flat-face graver midway between 
 the circles. Of course, it is to be understood 
 that the graver is to be half the width of the 
 parallel lines. When the graver is properly 
 placed, as shown at M, Fig. 145, the left corner 
 of the graver remains as a pivot, and the graver 
 is rocked back and forward as the article is 
 turned, which will produce a wriggled or wheel effect, as shown at 
 Fig. 145. The space between the cuts thus made on the outside 
 and inside can be filled in by making the chop cuts, or they can be 
 left perfectly plain. Of course, it will be understood that these 
 little wheel cuts will just touch one another. The position of the 
 graver N shows how the spacing is measured. The right corner 
 of the graver being placed at the left extremity of the last wheel 
 cut, the position for the center of the next wheel is easily located. 
 The graver is then started in that position and wriggled around, 
 and the measuring for all other cuts is the same. 
 
 It is often difficult for beginners to end up any of the borders 
 above described properly. They will find that, as they near the 
 completion of the border, they will lack a little of coming up to the 
 first one started, or they will not have room for the last one. Of 
 course, it is not practical to design such borders. They should be 
 cut by eye only, and even when learning the student should practice 
 the work without designs, in which case, of course, his inexperi- 
 enced and untrained eye will lead him to the difficulties above 
 mentioned, while the experienced engraver, as he nears the comple- 
 tion of the border, will observe by his accurate eye that he can 
 place a certain number more of the ornaments by either closing up 
 the space a very little or lengthening it out a very little. We do 
 not mean that the student infer from this remark that an engraver 
 should do his work so irregularly that such would be necessary. 
 Yet, it not being practical to measure mechanically and figure the 
 number that we can put in, we must arrange them artistically, and a 
 
32 
 
 The Art of E 7 igraving . 
 
 Fig. 146 
 
 slight closing up or drawing out of the lines would not show, as 
 the change necessary to make such a completion, either one way or 
 the other, would be so very little that it would not be noticed. 
 
 At Fig. 146 we illustrate a style of border that is also used for 
 filling in letters. This style of border is one used probably more 
 than any other by engravers. In fact, very few engravers who have 
 any knowledge of engraving whatever in the orna- 
 mental line, are unacquainted with this style of 
 ^ border. The graver, as shown, is in position for 
 cutting outside cuts, the flat-face graver being 
 placed with the left corner on the outside line in 
 position to make the cut. The graver is tipped up 
 on the left corner and pushed forward in position, as 
 here shown, to the maximum width of the incision, 
 when it is thrown out. and then the next stroke back of it is made, 
 remembering to cut toward the finished work all the time. By 
 cutting in this way we mean to have the finished work always in 
 front of the graver. 
 
 Some beginners will cut these strokes so as to leave the 
 finished work back under the graver. This is wrong, as the length 
 of the cut thus made is not visible, and it should be and will be if 
 cut in the position shown at Fig. 146. After the cuts are made 
 with the graver all the way around the circle, as shown at S, it is 
 again placed in the metal in the position shown at R, and a little cut 
 made from the inside circle. It will be seen that these cuts, W and 
 T, are made by beginning the inside one where the outside one left 
 off, thus leaving an irregular surface on the metal between the guide 
 lines. These guide lines are, of course, cut with a square graver, 
 and are heavy enough to be used as a guide for the flat-face graver 
 in cutting the little cuts only. The point of the flat-face graver 
 should very accurately follow the guide line or guide-line cut. 
 
 At X and Fi Fig. 146, we illustrate another method of cutting 
 this border, which produces a similar effect, except that the entire 
 surface is cut away. The method of cutting is exactly the same, 
 with the exception that the cuts are made so wide 
 that they come together, leaving no space between 
 them. 
 
 In Fig 147 we show at ^ a very simple style of 
 border for cheap work, with dots between the guide 
 lines, which lines are cut with a square graver. Fig. 147 
 
Engi'civing in Spoons and on Bangles. 
 
 133 
 
 These guide lines can be wriggled with a narrow flat-face graver, or 
 with a round-face graver if desired. At B, same figure, we illus- 
 trate still another style of border by making five dots, one large in 
 the center and four small ones situated above and below and on the 
 right and left sides. 
 
 At D we illustrate the cut shown at Fig. 146, with the dot in 
 between the two cuts. This style of border is very artistic when 
 accurately executed. At A, same figure, we illustrate a style of 
 border by cutting a chop cut in both directions between right and 
 left, and adding a dot with a round-face graver between the extreme 
 points of the cuts. 
 
 At Fig. 148 we illustrate one of the most difficult and beautiful 
 borders that is cut ordinarily by the engraver. This style of border 
 is known as the diamond border, as the cuts are made 
 with the graver so as to leave the surface between 
 the guide lines in the form of a diamond. The graver 
 K is shown in position for making the first cut. After 
 the cut is made with the graver it is reversed and 
 placed in an opposite position and the stroke cut 
 down over the first one. The graver in position for 
 cutting this second stroke is shown at H. It will be 
 seen that it is necessary to cut these cuts both ways, 
 both on the outside and inside, which, of course, necessitates a 
 large amount of work, but when the border is done, if the little 
 diamonds are all exactly the same size and shape, the engraver will 
 see that he has been well paid for his effort. As above stated, this 
 border requires some skill, but it is used extensively, and the 
 student should thoroughly master it. 
 
 Fig. 148 
 
CHAPTER XXL 
 
 SHADED OLD ENGLISH, 
 
 Shaded old English is probably not used by the engraver as 
 much at the present time as it was formerly, or previous to the 
 popular style of fine-line old English coming so prominently in 
 vogue. We have described the method of shading block letters 
 and of shading wriggled old English, which in cheap work has 
 largely taken the place of regular shaded old English. 
 
 What is known as shaded old English is a method of cutting 
 old English by outlining the main bars of the letter and filling in 
 between said outlines ornamental cuts. The lower right side or 
 upper right side of each bar of the letter is shaded. We will first 
 start shading these lines with a flat-face graver bright cut. 
 
 At Fig. 149 we illustrate the graver E in position to cut the 
 It will be seen here that the right corner of the 
 flat-face graver is used, and that by using said 
 corner and inclining the graver in the position 
 here shown, the incline of the incision when com- 
 plete will be toward the bar of the letter which is 
 the correct angle of the incision in a shaded letter, 
 it matters not whether in monogram, fancy or 
 plain letters. Some space was given to this sub- 
 ject of shading correctly in a former chapter, and 
 those who have followed our instructions are 
 thoroughly convinced of the necessity of shading in 
 this way, and will make no errors in its execution. 
 
 The graver F is shown in position to cut the 
 shade stroke B. The graver, as here shown, is 
 in position to use the opposite point from the one 
 shown at the bottom of the letter at E. This 
 change is necessary in order to incline the incision of the bar of the 
 letter. In cutting the shade stroke A in the middle bar of the 
 letter, if cutting it from the top down, the left corner of the graver 
 will be used. If cutting from the base upward the right corner of 
 the graver will be used, thus inclining the incision toward the 
 bottom. After the shading has been completed the hair lines on 
 
 shade stroke C. 
 
 134 
 
Shaded Old Eriglish. 
 
 135 
 
 & H 
 
 Fig. 150 
 
 left of same or all the hair lines of the letter are cut with a square 
 graver^ if a small letter. If a large letter the flat-face graver could 
 be used for hair lines also, but there is no objection to using the 
 square graver. In fact, it is preferable, as it is much more conve- 
 nient for cutting such lines. After the hair lines are thus cut a hair 
 line along the extreme edge of the surface of the bar just inside of 
 the shade stroke, is cut with the square graver. This line trues up 
 and sharpens up the shade stroke along the surface of the metal on 
 the inside of the bar. 
 
 At Fig. 150 we illustrate different styles of filling for old 
 English letters. The style, however, shown at E and A, are the 
 most common and usually preferable, especially if plain old English 
 letters are used. The other styles of fillings are 
 so near what has been mentioned, in reference to 
 borders, etc., that special mention of them is 
 not necessary, except the scroll work shown at 
 the bottom of the bar F. This work is quite 
 elaborate and is made by a series of scrolls, the 
 main scroll being slightly heavier than the others 
 and cut dov/n through the center, and then the 
 other little curves inside and outside of the same 
 are added. Just where shaded old English should be used is 
 difficult to say. Probably the most usual place for the use of 
 old English is in ordinary engraving, as in coffin plates. However, 
 we have mentioned a method of shading wriggled old English for 
 that purpose, which can be done much easier. It would hardly be 
 practicable to engrave shaded old English on a watch cap. Just 
 what style of shaded old English to use it is difficult to say. There 
 are a number of text books giving the forms of old English letters, 
 and the type book previously mentioned will show a number of 
 different styles, many of which, of course, would not be practical in 
 
 engraving. The plain style 
 vr of old English letters, a 
 
 complete alphabet of which 
 we have illustrated for 
 bright-cut old English, is 
 preferred. This form of 
 letter can be cut by the shaded or outlined old English method as 
 well as by any other. To give the student an idea of the various 
 styles of shaded old English, we illustrate one style at Eig. 151. 
 
The Art of Engraving, 
 
 136 
 
 Fig. 153 
 
 Fig. 153 
 
 These capitals are slightly ornamented and the shading is on the 
 lower left side instead of being on the right side. 
 
 At Fig. 152 we illustrate a style of 
 letter formed after the old English style. 
 This is shown merely to illustrate to the 
 student how old English can be converted 
 into practically a different style of letter. 
 
 At Fig. 153 we illustrate still another form of shading of 
 old English showing the cross line finished. At Eig. 154 we illus- 
 trate still another style. This 
 style of old English can be 
 made by cutting the main bars 
 of the letters with the flat-face 
 graver or with fine lines, and 
 the fine-line shades shown at the lower right of the letter should be 
 
 cut with a square graver. 
 The ornamental work around 
 the capital P is also done with 
 a square graver. It will be 
 seen here that this work is 
 very delicately and accurately 
 executed, which is the form 
 that should be followed by the beginner. 
 
 At Fig. 155 we illustrate a style of cutting old English which 
 is rather difficult and not much practiced in ordinary bright cutting. 
 The method of cutting this 
 style of letter is to cut that 
 portion of the letter between 
 the outside lines with a nar- 
 row flat-face graver or to cut 
 three or four fine lines very close together, and then to cut a fine 
 line for the outside lines an equal distance from the shade thus cut. 
 
 It will be seen here that the bars 
 of the letter where connecting 
 J 1 II 2.re rounding instead of forming 
 sharp corners as in most of the 
 old English. This is a charac- 
 teristic feature of the German text letter, which is shown at Fig. 156. 
 
 At 157 we illustrate a style of shading old English, the letters 
 being drawn out so as to fill the space horizontally if the space is 
 
 
 Fig. 154 
 
 Fig. 150 
 
Shaded Old English, 
 
 137 
 
 long and the word short. At Fig. 158 is illustrated the opposite 
 style, the letters being tall and slim. This style of letter repre- 
 
 rig. 157 
 
 sents fine line or bright-cut work, while the more prominent letters 
 can be used in shaded old English. Shaded old English capitals 
 can be made very elaborate. 
 
 Fig. 158 
 
 At Fig. 159 we illustrate the capital A, with ornamental work 
 in and around the letter. This class of work is more elaborate than 
 is usually required in engraving, yet it shows the student how the 
 style of letter can be changed, and yet show that it was taken from 
 some particular style of alphabet. 
 
 Fig. 159 Fig. 160 Fig. 161 Fig. 163 
 
 At Fig. i6o we show another ornamental letter, still more 
 elaborately filled in and around. At Figs. i6i and 162 we show 
 two other styles of old English letters, the idea of filling in 
 and around the letter in this manner being to elaborate a single 
 letter where but one is required, and to fill in the space above and 
 below it. 
 
138 The Art of Engraving. 
 
 At Figs. 163 and 164 we illustrate two other styles of letters, 
 with more work on the letters and less around them. These styles 
 
 of letters will be good for the student 
 to practice, as they will help to broaden 
 his views as to the scope of the work. 
 It would not be practical for us to illus- 
 trate all the various styles of alphabets 
 or even the old English styles ; nor to 
 illustrate all the different styles of orna- 
 ments and ornamental work, nor would 
 it be practical for an engraver to cut 
 them. Ordinarily, for an elaborate letter, an old English letter 
 with a little work around it, beautifully cut, is all that is required 
 of the engraver. 
 
 ORNAMENTAL SCROLLS, ETC. 
 
 The engraver will be called upon to ornament the ends of 
 words, inscriptions, etc., or above and below the letters, and to 
 assist them in this class of work we illustrate at Fig. 165 a few 
 
 ornamental cuts, which can be used for the purpose. The method 
 of cutting such ornaments will be readily understood by those who 
 followed our instructions. The square graver is used mostly for 
 this class of work. 
 
Shaded Old English. 
 
 139 
 
 At Fig. 166 we show some styles of ornaments that can be 
 used in and around letters, words, etc. These ornaments are very 
 easy to cut, and will be found very useful in ornamentation. 
 
 Fig. 166 
 
 At Fig. 167 we illustrate a plate of ornamental work to be 
 used for inscriptions, in and around words, above and below and at 
 
 • — S S — • "b ~)^ 
 
 
 
 " 56 ^ 
 
 
 Fig. 167 
 
140 The Art of Ejigraving. 
 
 the sides of fancy letters, such as above described. Ornaments of 
 this kind, when properly placed and very delicately and accurately 
 cut, add ver}^ much to the beauty of the work, but if they are cut 
 irregularly and too heavy they only detract from it. 
 
 A FAVORITE STYLE OF SHADED OLD ENGLISH. 
 
 At Figs. 168 and 169 we illustrate a favorite style of shaded 
 old English, suitable for calling cards, wedding invitations, etc., 
 
 and the correct proportions of the 
 lower-case letters and the capitals. 
 It will be noticed here that the 
 lower-case letters are about one-half the height of the capitals, and 
 that the style of letter varies somewhat from the form of the old 
 English plate that we have illustrated complete. Yet the changes 
 
 tit ^tiMx 
 
 Fig. 169 
 
 are so slight and the relative proportions so little changed that the 
 student would find little difficulty in executing this style and 
 adapting to it the complete alphabet which we have illustrated for a 
 general form of the letter. This style of old English can be shaded 
 by bright cutting, or by cutting the shade strokes by making several 
 fine lines very close together to take the place of the one bright-cut 
 stroke. The lines filling in between the shade stroke and the hair 
 lines should be cut horizontally, as in illustrations given. 
 
 This style and this angle are those mostly used, and the 
 engraver should follow them in all of his practice, exQepting in 
 cases in which we commended the use of the style shown at 
 Eigs. 157 or 158. If it is necessary to put a long word in a short 
 space, and this style of old English is to be used, the proportion of 
 the letters could be slightly changed, the letters being made nar- 
 rower or drawn out and made fuller, as shown at Eig. 157. These 
 changes can be made as the case may require, but in making them 
 great skill is necessary, and the student is cautioned to be very 
 careful and accurate in making any change from the regular form 
 of letter. 
 
Shaded Old English. 
 
 141 
 
 GERMAN TEXT. 
 
 At F'lg. 170 we illustrate the German text alphabet shaded. 
 It has been previously stated that the old English alphabet was 
 probably an outgrowth of the German text. We are, therefore, 
 inclined to believe that the German text is the one, if not the 
 original ornamental alphabet. This is without doubt true in refer- 
 ence to the class of ornamental letters used by engravers. German 
 
 text letters are not used as often as old English, due no doubt to 
 the fact that they are so extremely ornamental and so radically 
 different from the plain foundation of our block letters or any of the 
 plainer styles. These letters are difficult to design and somewhat 
 difficult to cut. They are mostly composed of scrolls and crescent 
 cuts in their general form, there being no straight bars in the 
 capitals, and the absence of the latter proves that the letters are 
 difficult to cut, as well as design. The irregular shape of the letter 
 is such that it would be quite difficult to arrange a m.echanical 
 drawing, around which or in which the letters could be designed 
 with any degree of accuracy. In fact, German text is a style of 
 letter that should be designed free-hand, and from an artistic 
 standpoint, not mechanical. The method of shading German text 
 is the same as has been described for shading old English. The 
 
142 
 
 The Art of Engravmg. 
 
 filling in between letters is also the same. However, in the regular 
 shaded German text the plain angle hair line, as shown at Fig. 150, 
 is used and preferred, but any of the fancy fillings could be used. 
 Usually this alphabet has little cuts along the outside of the bar 
 from the shaded stroke, which are made with a flat-face graver ; or 
 a square tool could be used, making what is known as little scallops 
 or chop cuts, previously described. The German text can also be 
 cut bright cut or fine line, the method being the same as has been 
 illustrated and described for old English. 
 
 It is the custom of some engravers to use German text capitals 
 and old English lower-case letters in combination. The use of 
 German text can be applied in any case where old English could 
 be used, as the letters are so similar. Many engravers think it 
 unnecessary to learn to sketch these letters accurately, as they 
 think old English will take the place of the German text in all 
 cases. It is true that old English is the most popular, yet there 
 are many people who will insist on having the Germant-text style, 
 and one who is skilled with the graver and pencil in old English 
 work, would find little difficulty in designing and engraving German 
 text letters. It is not practical to engrave these letters on an angle 
 tilting backward or forward. They should be engraved perfectly 
 vertical. 
 
CHAPTER XXII. 
 
 ENGRAVING SCRIPT INSCRIPTIONS. 
 
 Of all the different classes of work with which the engraver 
 has to deal, that of engraving an inscription on a watch cap is, 
 without doubt, the most difficult. This is due to the fact that the 
 letters and words must be given prominence according to the signifi- 
 cance of the word from the standpoint of the meaning of the 
 inscription, or from a grammatical standpoint. 
 
 It is sometimes necessary to vary from the rules of grammar 
 in reference to the prominence of different words, but more often 
 the grammatical accuracy of the inscription can be carried out and 
 due prominence given to the various lines according to the value of 
 the word or words as used by the person ordering the inscription 
 engraved. It is difficult to engrave an inscription on a polished 
 watch case and make all the letters on exactly the same angle and 
 all the lines exactly the same size and width of stroke, but this 
 must be done in a script inscription. 
 
 In engraving an inscription in plain script the student must 
 bear in mind the facts above mentioned in reference to inscription 
 work. When the inscription is written out by the customer it 
 should be rewritten by the engraver, he putting certain words on 
 the lines as they would best fit and balance in the circle, and at the 
 same time be grammatically accurate. One may be very skillful 
 with the graver and yet be unable to cut an inscription and do the 
 work with the accuracy necessary to produce a finished inscription. 
 After the inscription has been rewritten and arranged with the 
 words on the lines, as it is proposed to engrave it, allowing for the 
 principal name or names to be engraved in a trifle larger letter, the 
 next step is to find the center of the inscription. By this is meant 
 that if there be eight lines or seven lines, the second line being 
 larger than any of the others, being the principal name of the party 
 or parties mentioned in the inscription, the first four lines would 
 occupy more space than the four lines to follow, and such allowance 
 for space must be given in spacing the inscription on a piece of 
 paper. By spacing is meant drawing a circle with a compass and 
 then a horizontal and vertical line through the same. Then write 
 
 143 
 
144 
 
 The Art of Ejigravmg. 
 
 the inscription in this space, enlarging the name or names to tne 
 extent called for, and thus giving them more space than is allotted 
 to smaller lines. When such words as “of the,” “by the,” “is,” 
 “and,” “of,” “for,” or any prepositions, conjunctions or con- 
 necting words occur, they should be engraved in smaller letters, 
 and in spacing a much smaller line should be allowed for such 
 words than for the principal words or names. 
 
 After the inscription has been written into the circle, as above 
 described (and said circle can be as large as desired, the object of 
 writing the inscription in the circle being to see how the inscription 
 would appear from a grammatical standpoint), the engraver can 
 form an idea of how it will appear when finished. He can also find 
 the center of the words and whether or not the center of the cap 
 will come through the center of the third line or, if there will be eight 
 lines, between the fourth and fifth. This knowledge is obtained by 
 writing the inscription in this manner, making the lines that should 
 be large larger, and those that should be small smaller. Those that 
 are to be all the same should be written accordingly. 
 
 After the center is thus obtained the watch cap is removed 
 from the watch. This is not an easy matter to accomplish, as 
 sometimes the rivet in the hinge is very tight. A pin punch, such 
 as is used by jewelers, will avail, but it should be blunt or flat on 
 the end, not pointed or sharp, as in the latter case it will spread the 
 pin and have a tendency to rivet it over, while if it is flat and of 
 the same size as the rivet it will drive the pin out without any 
 trouble. Before the cap is removed it should be pricked with a 
 stylus or any sharp instrument at the point directly over the 
 pendant. Then when the case is removed a line is drawn from the 
 center of the rivet to this point, which will be directly across the 
 watch cap when placed in its position again. 
 
 The cap is now filled wfith cement in order to hold it firmly 
 while engraving and to prevent the case from being dented if it is a 
 thin one. Most watch cases in solid gold are so thin that it is 
 advisable to cement them. A little oil should be placed around on 
 the extreme edge of the inside of the cap to prevent the wax from 
 sticking to it. One drop of oil when the cap is heated will be 
 sufficient to oil the cap all the way around. After this is done the 
 cap is laid down with the concave side up and the wax melted and 
 run into the cap until the same is filled full of the heated wax. Now 
 the brass or wood, to which it is to be cemented, should be held on 
 
Eyigraving Script Inscriptio7is. 
 
 145 
 
 to the pad or block as the engraver prefers. The cement on such 
 block is heated and the wax in the cap, which by this time is prob- 
 ably somewhat cooled, is warmed again slightly and the cap thus 
 heated placed on the cement block. After the cap has cooled (if 
 it is desired to rush the work, it can be plunged into cold water, 
 which will cool it very cjuickly), it is dried thoroughly and covered 
 with the transfer wax, mention of which has been previously 
 made. It must be remembered that the wax is not to be rubbed on 
 to the watch cap or any other article, but must be put on by patting 
 with the finger, which has been pressed down on to the wax. A 
 sufficient amount of wax will stick to the finger so pressed down to 
 cover a watch cap. The patting gives it a deadened appearance. 
 Then a line is drawn over the hinge to the point indicated by the 
 dotted line made opposite the pendant before removing the cap, 
 which is exactly horizontal and passes through the center of the cap. 
 There is here an opportunity to bring into practical use those 
 geometrical or mechanical problems mentioned in the early chapters 
 of this work. We now desire to erect a perpendicular line on to 
 this horizontal line ; in other words, to draw a vertical line through 
 the watch cap. This can be done by erecting the perpendicular 
 on a horizontal and dropping the same below the line. Instructions 
 as to the exact method of doing this have already been given. 
 
 Having thus made the horizontal and perpendicular lines we 
 now know where the center of the watch cap is, and having 
 previously found the center of the inscription by the method 
 described, we now dot, by the use of the stylus, little marks on the 
 vertical line above the center of the horizontal line, each dot indi- 
 cating the space allotted to each line. We thus find the location of 
 the principal word in the inscription. For instance, if the inscription 
 is a presentation to a certain person, that person’s name is thus 
 found, and having found the location of it by this method we then 
 draw a line for a base guide line of said words parallel with the 
 horizontal line across the watch cap. It is to be understood that 
 we are now considering only inscriptions such as are to be engraved 
 in plain script, and the lines here mentioned are to be all perfectly 
 straight. 
 
 Having found the location of the principal name of the inscrip- 
 tion, the all-important point now is to decide on the size of the 
 letters. The size is decided in the mind of the operator at the 
 moment when he places the rule to draw the second guide line 
 
146 
 
 The Art of Engraving. 
 
 for the lower-case letters. This is the time that all his skill 
 and judgment should be brought into account, as, if the line is 
 made too large or too small, the inscription is spoiled, and these 
 first words, the name of the recipient, constitute the nucleus for all 
 the other lines, as it is necessary to engrave such words in a size 
 appropriate for the size of the watch cap and befitting the importance 
 of the name. Then all the other lines are engraved according to 
 the size of this one, but none can be engraved larger. Some may 
 be the same size, but most should be smaller. 
 
 Having decided upon the size of the letters and having drawn 
 the letters, the spacing for the first, middle and last name is the 
 next consideration. Some engravers space by letter, some by 
 words. If the words are short it is safe to space by words. By 
 spacing we mean making a little dot on the line from the extreme 
 left of the case to the end of the first word. Then, allowing for a 
 space between the first and second words, make another dot to the 
 extreme right of the middle name. If, however, the beginner finds 
 it necessary it is not objectionable to space by letter, allowing, of 
 course, more space for the capital letter and then allowing space for 
 the letters in the name, according to the size of each. For illus- 
 tration, if we come to the letter I we allow less space than we 
 would for an M, and so on. In other words, we allow a space 
 according to the width of the letter to be placed therein. Having 
 spaced the lines by either of the methods above described, we then 
 hold the watch cap at a distance of fourteen or fifteen inches in 
 front of the eyes and study the appearance of it before it is cut. 
 By this the reader must not infer that it is necessary for a skilled 
 engraver to deal with such preliminaries ; we are now speaking 
 especially for the benefit of the beginner. 
 
 Holding the watch cap as mentioned we study the size of the 
 letters and their appearance as sketched, to note if they are too 
 large or too small for the watch cap. If they are too small they 
 must be obliterated by patting the index finger over the words and 
 doing them over again, and if any change is necessary great care 
 should be exercised to avoid crowding of the letters or allowing 
 more than the proper space for letters or words. The distance 
 allowed between the letters, that is, lower-case letters, at the begin- 
 ning of the line, should be maintained throughout the line. In the 
 work of students it is sometimes observable that words are begun 
 by drawing the letters out, and as the student nears the end of the 
 
Engraving Script Inscriptions. 
 
 147 
 
 line the letters are crowded, which is found necessary in order to 
 get all the letters on the line. Such spacing, of course, must be 
 very carefully avoided. We must maintain the same spacing and 
 same width of letter both in the width of the letter from the right 
 bar to the left bar of the same, and the v/idths of the bars or the 
 shade strokes. If the beginning of the line is cut heavy each and 
 every letter of the line should be cut exactly the same. For 
 instance, if the student will study the lines of a finely-cut monogram 
 or letter by actual measurement, he will find there is not a variation 
 of a thousandth part of an inch in the width of the shade strokes. 
 Especially is this true of an inscription. There is probably more 
 skill required in engraving an inscription on a watch cap when the 
 inscription is composed of eight or ten lines than in almost any 
 other class of engraving that is done in a jewelry store. The 
 difficulty in this case arises from a cause similar to that in the case 
 of a wedding announcement or invitation, as all the lines must be 
 exactly the same, according to the importance of the words. 
 
 If the words appear to the engraver to be accurate when held 
 in front of his eyes as above mentioned, he then commences at the 
 left to engrave a line. Among the students who have had years of 
 experience as practical engravers there are few who would begin to 
 cut a word at the right and work to the left instead of beginning at 
 the left and working to the right. The reason given by them for 
 this is that they do so in order to avoid rubbing out the line. Of 
 course, this would not apply to a watch cap, as the fingers and 
 thumb work around the edge of the case and seldom pass over the 
 horizontal line, but if it was on a larger piece the argument in favor 
 of cutting from the left to the right would not hold, as it matters 
 not whether you cut from the left to the right or right to the left, 
 the same amount of crossing of the horizontal line is necessary in 
 doing the work. 
 
 Some labor under the impression that in cutting shade strokes 
 they turn to the left and rub out the design. If anyone holding 
 this opinion will carefully observe his finger and thumb he will learn 
 that he does not curve his hand around on an angle of more than 
 50° to the right. Therefore, we find that there is no more danger 
 of erasing a sketch than there is in cutting from the left to the 
 right, and as it is more natural to work forward than backward, the 
 student is advised by all means to begin at the left of the line and 
 cut the capital letter first complete. Then cut all the down strokes 
 
148 
 
 The Art of Ejigraving. 
 
 in the first word. Then reverse the article and cut up all the shade 
 strokes that should be cut up. Cutting the shade strokes up, going 
 backwards, is done by beginning at the right and cutting back to 
 the left. When we arrive at the capital letter again we go over the 
 word the third and last time, and cut up all the hair lines and all 
 the cross lines, such as the top of an R. Then the second word 
 and third and so on are engraved similarly throughout the line. A 
 great many engravers prefer, in work of this kind, to cut all the 
 down strokes first throughout the line, then all the up strokes and 
 then the hair lines, but it is perhaps more advisable to cut one word 
 only at a time when such words begin with capitals, such as the 
 names of persons or any proper noun. Where a line begins with a 
 lower-case letter and is composed of lower-case letters throughout, 
 the spacing being very accurate, all the shade strokes throughout 
 the line should be cut first, but this method is scarcely orthodox 
 from a practical standpoint when we find capitals on the line. 
 
 Opinions may vary as to the proper procedure, but there are 
 certain rudimentary principles which apply equally to differing 
 methods. Now, in the case of cutting all the down strokes in a line 
 where it is composed of lower-case letters only, it is advisable to do 
 as above stated if the spacing is very accurate, as in this way the 
 work can be accomplished with much more rapidity, because it 
 is not necessary to reverse the plate so often. This, however, 
 amounts to but little when working on the modern engraving blocks. 
 
 After the principal name has been designed and engraved, then 
 the words “presented to,” or “awarded to,” or any forms pre- 
 ceding the principal name, should be engraved in a size smaller, 
 and otherwise harmonizing with the first name engraved. Then 
 the second line should be engraved, and if there is a preposition or 
 conjunction, or other connecting word between the third and second 
 lines they should be engraved after the third line has been cut. The 
 spacing between the second and third lines should be a very little 
 more than is necessary, as it can be filled in by the prepositions or 
 conjunctions, such words being engraved so small that they can 
 often fit in well over the smaller lower-case letters. After these 
 lines are engraved in ‘this manner the lines following are engraved 
 in rotation. The engraver should be very particular to engrave the 
 last line, which is usually a date, in exactly the same size letter as 
 the words “presented to,” or whatever the first word of the 
 inscription may be. 
 
Engraving Script Inscriptions. 
 
 149 
 
 If an inscription is of the style where an article is presented to 
 a person in honor of any event or for heroic performance of duty, 
 the sentence in reference to such incident should be engraved 
 exactly the same size and style of letter. 
 
 The reader will remember that we have previously mentioned 
 the condition of the graver for engraving on polished metals, which 
 is the condition it is in as it leaves the oilstone. Now, this advice 
 will not always apply, as some engravers use an oilstone that is 
 altogether too coarse. The advice given will apply only to those 
 using a fine Arkansas stone, because if a coarse stone is used the 
 condition of the cutting edge of the graver will be such that it will 
 be almost impossible to hold it into a piece of highly-polished gold, 
 and it will be so grooved on the front that the extreme point of the 
 graver will break off very quickly. A fine Arkansas stone will 
 leave the cutting edge of the graver in condition to cut a line giving 
 an appearance of a deadened finish, as described in the early portion 
 of this work. This is the condition of the graver required for the 
 work mentioned. 
 
 After the inscription has been designed and engraved the wax 
 should be washed off with a brush and soap and a very little 
 ammonia, after which it should be heated by holding it with the 
 engraved side just above the alcohol lamp. After it is heated a 
 very little the screw driver, or even a graver, may be placed on the 
 edge of the cap ; this can be pressed down and will immediately 
 drop off from the block, leaving thereon nearly all the wax. The 
 little wax that does adhere to the watch cap can be removed by 
 boiling it in wood alcohol, which is not expensive, or in water, to 
 which latter should be added borax, in the proportion of a tea- 
 spoonful of borax to a glass of water. But even twice this amount 
 of borax would do no harm. The advantage of using this proportion 
 is that there is no danger of it catching fire. After the wax has 
 boiled off from the cap in this manner it is thoroughly washed and 
 dried with a towel, after which it is ready to be polished on the 
 lathe. In polishing, the engraver who finds it necessary to wait on 
 customers in a store and desires to keep his hands as free as possible 
 from the bad effects of a polishing lathe, should hold the cap by its 
 extreme edge with a piece of tissue paper, and should pick up the 
 buff with a piece of tissue paper, placing it on the lathe without 
 allowing his fingers to come in contact with the rouge buff. The 
 polishing should be done very carefully and very accurately, the 
 
150 
 
 The Art of Engraving . 
 
 lathe running at as high a speed as is possible, the pressure on the 
 watch cap being uniform. The cap should not be held in any one 
 position for any period. It should be constantly changed. The 
 ordinary felt buff should be used first, after which the very fine 
 cotton buff should be used. After the cap has been thus polished, 
 if there is any rouge in the engraving, as there often is, it should be 
 washed by pouring several drops of ammonia on to a brush, which 
 has been previously drawn across a bar of soap ; then a little water 
 may be added to the brush and the surface of the cap washed by 
 giving a circular motion. The ammonia will cut the rouge very 
 quickly, and the surface of the cap is thus washed off very easily. 
 It is now thoroughly rinsed off in clean water, and then a little 
 alcohol should be poured on to the surface, or it should be dropped 
 into a dish of alcohol and afterwards thrown into boxwood sawdust 
 and dried. After removing it from the sawdust the little dust that 
 adheres to it should be brushed off with a very soft brush or very 
 clean chamois skin. The watch cap is now placed on the case and 
 should be held in the hands with a piece of tissue paper to avoid 
 the finger marks. 
 
 In engraving inscriptions on gold filled watch cases it is not 
 necessary to cement it if one has an engraving block. The 
 engraving block can be used by setting it with pins on the inside of 
 the cap. The pins should never be placed on the outside of the 
 cap. The method first mentioned should be followed, as it holds 
 the cap very firmly without any danger of injuring it, as the pins 
 are grooved in such a way that they will exactly fit the inside of a 
 watch cap. 
 
 The exact diameter of an inscription is a matter that has 
 attracted the attention of a great many beginners in engraving. 
 Some labor under the impression that in engraving a monogram on 
 a watch cap, for example, the monogram should be made as large 
 as can be placed on the case. The best rule to follow is that the 
 inscription on a cap or monogram on a watch case should protrude 
 out to the edge of the case where the latter begins to bevel down- 
 wards. Of course, some cases decline from the very center, but we 
 refer in this instance to where the case begins to bevel over to form 
 the outer edge. If this rule is followed, the engraver will rarely 
 make any mistake as to the size of the inscription or the size of the 
 monogram. Of course, some customers might prefer to have a 
 very small monogram or inscription right in the center of the case. 
 
CHAPTER XXIII. 
 
 INSCRIPTIONS IN DIFFERENT STYLES OF LETTERS 
 
 At Fig. 1 71 we illustrate an inscription engraved in three 
 different styles of letters, which styles are used mostly in inscription 
 work. The circle here shown represents a watch cap. The space 
 indicated by the lines C C inside the circle and yet outside the line 
 B B, circumscribing the inscription, is left perfectly plain. The 
 idea entertained by many students that in inscription work they 
 should fill the circle of the watch cap is erroneous, as we have 
 already shown in discussing this class 
 of work. Inscriptions should be worked 
 from the center up and down, occupy- 
 ing only such space as the distance apart 
 of the lines would necessitate, and leav- 
 ing an equal amount of space above the 
 first line and below the last line of the 
 inscription. 
 
 The inscription shown at Fig. 17 1 
 has three names, which occupy a space 
 much longer than any of the other lines, 
 and for this reason we have engraved it in scroll shape, showing the 
 student that a greater number of words can be placed in this way 
 than in a straight line, and we have, besides, a desirable place for 
 the word “by.” It is not advisable to place two lines that are 
 scroll or oval-shaped near each other. A line engraved horizon- 
 tally should be placed between any two curved lines. Of course, 
 this could not apply in the case of the words ‘ ‘ presented to ’ ’ 
 and “ Ethelind Fowler Rees,” as it is necessary or rather desirable 
 to engrave the words “presented to” oval, so as to make them 
 conform to the shape of the watch cap as nearly as possible. We 
 sometimes see several lines throughout an inscription engraved in 
 scrolls, ovals and various fancy forms. This plan should not be 
 followed, as it is not good form. A straight line should be made 
 between curved lines to give prominence to them and show a con- 
 trast. If several curved lines are close together the appearance will 
 be what we might term “ mixed up,” in other words, very irregular. 
 
 151 
 
152 
 
 The Art oj Engraving . 
 
 In engraving the inscription, shown at Fig. 17 1, it is not 
 intended that the line B B should be engraved. It is here given 
 simply to circumscribe the inscription so as to show the amount of 
 space left above and below. Now, if there were less lines than are 
 given here the inscription would not occupy as much space verti- 
 cally, while if there were one or two additional lines it would 
 occupy that much more space. The relative proportion of letters 
 in inscriptions, especially when engraved in script, Roman and old 
 English, is one of the necessary points to be considered by the 
 student, as a beautifully engraved inscription can be spoiled in its 
 general appearance by making the letters either too large or too 
 small. In the case of the inscription here given the proportions of 
 the letters are as they should be. It will be observed (and it is a 
 good rule for the student to follow) that in engraving the words 
 “presented to,” preceding a line of old English, where the latter is 
 the prominent name of the inscription, the words “presented to” 
 should be engraved not any larger than the small lower-case old 
 English letters, and it is sometimes advisable to make them a little 
 smaller. The same rule will apply to the word “by,” or any 
 smaller words connecting the principal letters. Roman letters can 
 be engraved with fine lines and, therefore, the size can be made as 
 desired by the engraver to fit his inscription. When the giver’s 
 name follows the recipient’s name in the inscription, the former 
 should be engraved no larger than the latter, but could be engraved 
 the same size. As is here shown it looks well when engraved the 
 same size ; nor would it matter if it was a little smaller, but it would 
 be in bad form to make it any larger. 
 
 In reference to the size of script, as compared to old English, 
 it cannot be definitely stated just what would be right, as the 
 proportions of old English letters vary to some extent, engravers 
 very often engraving some bars of the letters heavier than others. 
 The proportions here given are about correct, and the student 
 should gage the proportions from the lesson here given. The idea 
 possessed by many of our beginners in engraving that in forming 
 the inscription they should make the lines as ornamental and 
 irregular as possible, is erroneous. Lines of words in inscriptions 
 engraved straight are usually acceptable, and very slight curves in 
 some of the principal lines are all that should be considered in a 
 well-formed inscription. Inscriptions must be legible and at the 
 same time artistic, and the engraver should engrave them with this 
 
Inscriptions in Dijferent Styles of Letters. 153 
 
 fact in view. In the case of the words “presented to,” in the 
 inscription under consideration, it will be observed that the arc on 
 which these letters are formed is about the same as the arc of the 
 line “April 21, 1902.” The curve, however, of the latter is a little 
 sharp, which is necessary, as the line “presented to” occupies a 
 greater space and is a longer line, which necessitates the arc being 
 greater than that of the date. If the line occupied by the date 
 were in the same style and size of letter and of the same length in 
 relation to the line preceding it, as the words “presented to” in 
 relation to the line following them, then both these lines should be 
 on the same arc. 
 
 The student should be very cautious in reference to these little 
 points in inscriptions, as if the proper curve is not given to the 
 beginning and ending of a line the inscription will appear irregular. 
 We sometimes see one that appears flat on top and rounding at the 
 base. Of course, this should not be. As indicated by the line 
 B B, in the case of the inscription in question, we And that the lines 
 are so formed that they conform to a circle above and below on 
 the same arc. This is as any well-formed inscription should be, 
 provided there is no curve at all to the first and last lines. Some- 
 times inscriptions are engraved by making all the lines exactly 
 horizontal, which is not bad form. However, if slight curves can 
 be given, after the form of the lines here shown, the artistic features 
 of the inscription are enhanced and the legibility is not lessened. 
 
 Great care should be exercised in making the little curves in 
 and around the lines in an inscription. They should be very deli- 
 cate and very accurate. It is not necessary that they should be 
 extremely ornamental. We often find inscriptions in which the 
 ornamentation and fancy curves in and around the lines are so 
 elaborate that they detract from the lines of the letters. Such 
 inscriptions are not as legible as they would be if such embellish- 
 ments were absent. It should be remembered by all students in the 
 art that the ornaments in and around letters should be so engraved 
 as to appear in the background, and should never be made suffi- 
 ciently prominent to detract attention from the lines or letters. 
 
 Inscription work is one of the most difficult kinds that the 
 engraver has to do, owing chiefly to the fact that in the case of 
 the making of the three most prominent styles of letters which we 
 illustrated at Fig. 171, it is very difficult to engrave the letters in 
 different styles so as to be in the correct size in relation to the 
 
154 
 
 The Art of Engraving. 
 
 preceding or following letters, in order to maintain harmony 
 throughout the entire inscription. It would be an easy matter to 
 either make one line a little too heavy or a little too small, but to 
 get them all, when in different styles of letters, the right width, 
 height and distance apart, is not an easy matter. Inscription work, 
 therefore, is a most difficult class of work, and affords a broader 
 field for study than any other. If practiced in accordance with the 
 suggestions here given it will educate the engraver more than any 
 other practice in which he could engage. No one is entitled to 
 call himself an engraver until he has mastered the engraving of 
 inscriptions, as he will find in a store of ordinary size, or in any 
 engraving establishment that there is a great demand for this class 
 of work. Hence the necessity of being able to execute it with the 
 greatest degree of accuracy and artistic skill. 
 
CHAPTER XXIV. 
 
 ENGRAVING ON SPOON HANDLES. 
 
 Engraving on spoon handles is one of the classes of work that 
 the engraver is most frequently called on to do, and the patterns 
 vary so radically that some knowledge of laying out the work is 
 necessary. We often see letters, initials or names engraved on 
 spoon handles too far to the right or left, too far up or down ; in 
 other words, not in the center of the spoon handle or the space on 
 the spoon handle for initials. Of course, these errors do not exist 
 among skilled engravers. It is merely a weakness of the beginner 
 who has not the advantages of experience or the technical knowl- 
 edge of laying out such work. 
 
 At A, Fig. 172, we illustrate a representation of a spoon 
 handle with a line drawn through the center of it, which is the first 
 
 Fig. 173 
 
 thing to do after the handle has been covered with wax in the 
 method previously described. If the design is of such a shape that 
 it is impossible to get the centers to the right and left ; in other 
 words, if the space on the handle is irregularly shaped, then a line 
 should be drawn horizontally as here shown through the center of 
 
 155 
 
The Art of Efigravmg. 
 
 156 
 
 the space and should be on a line direct from the center of the bowl 
 of the spoon to the center of the end of the handle. We some- 
 times find spoon designs with a space for the initial or initials below 
 or above the center. In this case the method above described by 
 drawing a line parallel with a line from the center of the bowl to 
 the center of the end of the handle should be made, said line 
 passing directly through the center of the space. In the case of 
 the design shown at A, Fig. 172, the handle here represented is a 
 plain one and the method of laying out the work to be described 
 for this one will apply to nearly all styles of spoon handles, and 
 when we mention spoon handles of course we have reference to 
 spoon, fork or knife handles, or any similar spaces suitable for 
 initial or initials. After having drawn the line horizontally through 
 the center of the handle, as shown at A, we next find the center 
 of the space. We might term this center the general center, as 
 the vertical line here drawn is not half way from the extreme left 
 and the extreme right, but it is in what may be termed the general 
 center of the space on the spoon handle. This line is used to give 
 the engraver when designing an accurate idea of the center of the 
 space. If his mind were on the accuracy of the design at the time 
 of execution he would not be so apt to observe the proximity of 
 the letters to the left or their distance from the right, in which case 
 they might not be properly placed. It is our duty to place the 
 initials exactly in the center of the space intended for them and in 
 the size appropriate for said space, but it must not be understood 
 that the letters should be midway between the extreme left and 
 right. As above described, the letters should be in the general 
 center of the space near the end of the handle proper. 
 
 After having drawn the horizontal and vertical lines we now 
 draw a line, if engraving a name, just below the center line as 
 shown at B, Fig. 172. The space between the center line and the 
 line below the center is to be the height of the lower-case letters 
 and the line above the center line is the top of the capitals. In some 
 cases it is necessary to have the top of the lower-case letters slightly 
 above the center, but in the case of a design such as the one here 
 shown the top of the lower-case letters may well be arranged to 
 pass directly through the center of the space, the capital protruding 
 so much farther above the center counterbalancing the lower-case 
 letters below the center. This rule will not apply to all names, but 
 will answer for any name without any great variance from exactness. 
 
Engravmg on Spoon Handles. 
 
 157 
 
 If we are engraving a word with several lines below the lower lower- 
 case guide line such as G, Y, Z, P or F, then it would not be neces- 
 sary to drop the small lower-case letters so far below the center. If 
 we have a word with several of the lower-case letters protruding above 
 the top guide line of the lower-case letters, such letters as T, H, L, 
 K or D, then the capital and these letters protruding so far above 
 the center would necessitate lowering the small lower-case letters 
 farther than if we had several of the letters above described pro- 
 truding below the line. These are technicalities that should be 
 considered seriously by the engraver, and are one of the features in 
 engraving that are conducive to accuracy and high art in the work. 
 The engraver who simply draws a line by guess work on a space 
 and throws the letters on promiscuously, or carelessly, is usually 
 the one who does not make a success of his calling. These little 
 points may be deemed by the student to be of little value, but he 
 will find that it is necessary, especially in beginning, to know the 
 proper location of initials or names in order to reach any degree of 
 accuracy. We do not mean that all of our most skilled engravers, 
 when engraving a single spoon, would make all of these lines, but 
 they must have a knowledge of their proper location and draw such 
 lines as are necessary to follow out the principles here outlined. 
 A student can plainly see that if these rules are followed the greatest 
 accuracy will be attained, and after he has followed these rules for a 
 time it is possible that experience will enable him to place the word 
 or initials on the space with great accuracy by drawing one line 
 only. This is the way that our most skilled and experienced artists 
 design names on such spaces, but the beginner must follow the 
 rules we have mentioned in order to make sure that he knows just 
 where to place such letters. 
 
 At C, Fig. 172, we show the second and third vertical lines in 
 addition to the ones shown at A. The one at the left is the base 
 line and the one at the right the top line of the space in which a 
 single letter is to be placed in the spoon handle when said handle is 
 held in a vertical position and the letter is to be read in that way. 
 By the aid of the horizontal and vertical line, and the two other 
 lines, we have the exact center of the space together with a guide 
 for the base and a guide for the top of the letter, and a student in 
 the art would be indeed very cumbersome or awkward in his 
 designing if, with such guide lines, he would not be able to place 
 the initial in the proper position. 
 
158 
 
 The Art of Engraving. 
 
 At D we show a line drawn from the center of the handle. 
 This illustration is to be viewed by holding the handle vertically. 
 The object of this line is to guide the engraver when sketching 
 initials on the spoon handle after the style known as drooping 
 letters. By the aid of this line he is sure that the letter will be 
 midway between the right and left of the handle. 
 
 THE PROPER SIZE OF LETTERS FOR ANY SPACE. 
 
 We have thus far considered the exact formation of letters and 
 the method of engraving the same, together with some points in 
 reference to properly laying them out. We now arrive at that 
 stage where it is necessary to consider the subject more deeply and 
 give some thought to the subject of the exact size of the initial in 
 proportion to the article being engraved, and before we pass to this 
 all-important question it will be necessary for us, in order to follow 
 the work through the different styles of letters, to first consider the 
 method of engraving ciphers or entwined script. This,. undoubtedly, 
 is a subject which will be appreciated more by the beginner than 
 any other, as the author’s experience has been that students are not 
 satisfied until they have reached the monogram course, and it will 
 be admitted, even by skilled engravers, that monograms are 
 extremely interesting, and there is a fascination about the work 
 that does not attach to general lettering. 
 
 INITIALS FOR CIPHERS. 
 
 In considering the subject of ciphers it is our first duty to learn 
 the correct form of letters for such work. The cipher initial varies 
 from the regular script letter which we have illustrated and described, 
 in reference to the loops more particularly. The letters, of course, 
 in ciphers are usually vertical and are made with all loops complete, 
 and wherever a loop can be made on the letter it is made complete. 
 The letters are usually made a little fuller than the regular script, 
 an illustration of which is shown at Fig. 172, where we show at L 
 the monogram style of B, and at M the regular style of the same 
 letter. The student will observe that it will be an easy matter to 
 entwine script letters made in this manner. The trouble with most 
 of our engravers, who have not been taught the art thoroughly, in 
 doing monogram cipher work, is that they have not the correct 
 form of the initials. If the student will bear in mind that the letters 
 are all to b^ made with all loops complete, and a little fuller than 
 
Engravhig on Spoon Handles 
 
 159 
 
 the regular letter, and vertical as shown and illustrated at Fig. 172, 
 he will experience little difficulty in entwining the initials. We will 
 first consider entwining, and then proceed step by step to complete 
 cipher work. 
 
 We will first entwine the initials in what is called running or 
 entwined script. We begin by making the first letter complete ; 
 then the second, and hook it into the first as closely and at such 
 points as the form of the letter will make convenient, illustration of 
 which is shown at N, Fig. 172, where we have the initials B, M, R, 
 entwined in what is known as running or entwined script. The 
 engraver, in learning cipher or script monogram work, should prac- 
 tice designing initials in this manner until he has become so skilled 
 in the work that he can entwine them as rapidly as he could design 
 them separately. Then the student should commence closing the 
 letters up, and by so doing gradually work into a regular monogram. 
 
 At O, Fig. 172, we illustrate the same letters designed closer 
 together. Of course, it requires some more skill to design the 
 letters as close as this which makes what we might term a cipher or 
 script monogram, yet the same initials can be made more compact 
 than here shown, and can be engraved after the same style, either 
 round, oblong or full in design. ’ 
 
 At P, Fig. 172, we show a complete cipher of the same initials. 
 Now the student is especially cautioned in reference to engraving a 
 complete cipher at the start. He should have patience in the work 
 and practice after the style shown at A^and O, Fig. 172, until he is 
 complete master of any initials that he may desire to engrave 
 in this design before he attempts to set them as close together as 
 shown at P, Fig. 172. The trouble with most of our monogram 
 engravers is that they are not sufficiently skilled in designing, 
 thinking that the great test of skill is in the cutting. There is really 
 more skill required in laying out the cipher after the style here 
 shown than in cutting it. For this reason the student is advised to 
 diligently practice designing. 
 
 This work can be done in the evening, or at such leisure time 
 as the student may have outside his regular business or studies. 
 One who will practice the designing of ciphers diligently will 
 experience little difficulty in mastering the art providing he follows 
 the plan here described. It confuses a student very much if he 
 launches out from plain letters into complete monogram as shown 
 at P, Fig. 172, at first ; while if he will practice entwining the 
 
i6o 
 
 The Art of Engraving. 
 
 initials as described and shown at and ( 9 , Fig. 172, he will 
 gradually master the work before he realizes it, and the work as he 
 advances will seem much easier to accomplish. 
 
 After the student has become familiar with designing the 
 ciphers, he must consider the method of cutting them. We have 
 said in the early part of this work that in cutting script letters the 
 graver should always be thrown out in the center of loops or at the 
 top or bottom of a loop. In monogram engraving this advice in 
 reference to script is to be ignored. Indeed, it is almost impossible 
 to lay down any set rules by which the student can be guided. 
 One of the most important points to be borne in mind is the method 
 of procedure after the monogram has been designed. If it is a 
 large one the monogram should be scratched on with a stylus very 
 delicately, so that it could be easily polished off if it were necessary 
 to do so. 
 
 Some engravers will commence a monogram by beginning at 
 the extreme right of the last letter and work to the left, and others 
 will begin at almost any point convenient for them, which is entirely 
 wrong. We should go about our work systematically in order to 
 insure a successful end. We should start a monogram by com- 
 mencing at the beginning of the first letter at the left and cutting 
 the loop of said letter around to that point where it may cross 
 another loop, or where said loop terminates in a line of beauty ; and 
 if said line of beauty have a loop of another letter curving around 
 it, we should, when arriving at that point, throw out the chip in 
 front of the graver, stop the cutting of the loop or line and cut the 
 loop around the line. In other words, loops should be cut first 
 where they curve around vertical or angular lines. This is neces- 
 sary, as a loop is more difficult to cut than a straight line, and 
 usually in a hair line, where the vertical or angular lines getting 
 nearly straight are shaded, if a shade stroke were cut first, a loop 
 around the shade stroke would have to be cut by cutting up to the 
 shade stroke, then throwing the graver out and raising it across the 
 incision of the shade stroke, inserting it on the opposite side and 
 continuing the curve of the loop around in this manner. By 
 proceeding in this way it will be an easy matter to make a letter 
 untrue. In other words, it is difficult to insert the graver on the 
 opposite side of an incision where it has been previously thrown 
 out, and begin it so as to curve around on exactly the same arc as 
 the line on the opposite side of the incision. 
 
Engraving on Spoon Handles. 
 
 i6i 
 
 The student must not misunderstand this point and get the 
 idea that it is his duty to cut all loops first. It is only his duty to 
 cut such loops as come in contact with the vertical and angular 
 portions of the first or any other letter that he may be cutting. 
 After he has cut such loops, he then proceeds with the letters in 
 rotation and cuts as far as he can without coming in contact with 
 other loops. Whenever a loop crosses a shade stroke, or vertical 
 stroke, or a stroke nearly vertical, such loop should be cut first — 
 whether it is the first, middle or last letter of the monogram. 
 By doing the work in this way our loops are cut by a continuous 
 stroke, it not being necessary to throw them out in the center or at 
 the top or bottom. Thus the highest degree of accuracy is attained. 
 
CHAPTER XXV. 
 
 LETTERS ON SPOON HANDLES AND LOCKETS. 
 
 At E, Fig. 172, is illustrated a spoon handle, such as has been 
 previously mentioned, with a cipher engraved thereon, with the 
 initials L, T, P. The illustration is intended to show the student 
 how a little cut at the top and bottom of the monogram will add to 
 its beauty, and also to show the student the size the monogram 
 should be for a spoon handle or a space on a spoon handle. It is 
 not to be understood that such little cuts as are shown at the top 
 and bottom of this monogram should always be made, but in a space 
 at the top and bottom such as this, the engraver will see that such 
 cuts add to the beauty of the monogram and make the work appear 
 more complete. 
 
 At F, same figure, we illustrate a two-letter monogram, showing 
 how a loop of a B can swing down under the E and the first portion 
 of the B in order to fill in the space below, it being formed in 
 such a way that the little cut at the bottom will fill in the 
 space below the monogram after the style shown at E, same figure. 
 Monograms are sometimes engraved on spoon handles horizontally, 
 but usually they are engraved vertically, as here shown. 
 
 At G, Fig. 172, we illustrate hanging initials. This style of 
 entwining letters on spoon handles is very popular and is not difficult 
 to do, and the student who will practice this class of lettering will 
 find that he can, after a little experience, throw the letters together 
 in this way as quickly as he can design them perfectly plain and 
 separately, and he will also find that this class of lettering will please 
 his customers much more than the plain letters. It would not be 
 safe to say that this class of work could be done as quickly or quite 
 as easily, but the difference between the amount of time and skill 
 required to do the work and the plain letters is so slight that it is 
 advisable in most cases to engrave spoons, where they are sold 
 singly, after this style, unless otherwise ordered. 
 
 At E[, Fig. 172, we show another style of engraving spoon 
 handles, known as drooping initials. The letters in this case are 
 entwined similar to those shown at G, and are slightly plainer, and 
 if the letter is such a style that it is practical, they should be 
 
 162 
 
Letters on Spoon Handles and Lockets. 163 
 
 engraved in such a way as to appear drooping. The initials shown 
 here are of such a form that it is quite impossible to obtain that 
 appearance. 
 
 At K, same figure, we illustrate a spoon handle with the initial 
 S engraved thereon in old English in a size appropriate for the 
 space, which is the point we have endeavored to emphasize in all 
 the spoon designs here illustrated. We show these illustrations 
 that the student may form an idea of the various ways in which the 
 spoon handles can be engraved in addition to the regular way. Of 
 course, it is useless to show the old English engraved horizontally, 
 in plain script initials or old English words, as the student is well 
 aware that this is a very ordinary way of engraving. 
 
 PROPORTIONS OF LETTERING FOR LOCKETS. 
 
 At R, Fig. 172, we illustrate an initial R in a circle. The 
 circle is to represent a small locket or a round space in or on any 
 article. This initial is here shown to give the student the idea of 
 the form of the letter and the size to fit in such space. The idea 
 here given is illustrated on a larger and more elaborate scale at T, 
 Fig. 172, where we have the initial S in old English made in a form 
 to fit into the circle there indicated. 
 
 At K, Fig. 172, we illustrate an oblong S, which is made to fit 
 in an oblong space, and at T we have the opposite effect to attain. 
 Here we have a round space, and it is the duty of the artist to 
 make the letter as nearly as possible to conform to the article or 
 space in which the letter is engraved. In this case it is our duty to 
 make the letters as nearly round as possible, which we have done, 
 and made the letter in a size appropriate for the space. 
 
 At A, Fig. 172, we illustrate the initial G, in old English, 
 engraved on what is represented to be a heart locket. It is assumed 
 that the locket when it comes to the hand of the engraver is per- 
 fectly plain. The little curves around the letter have been added to 
 show the student that such spaces can be filled in by slight curves 
 of this description if it is desired. The little curve or loop at the 
 bottom of the letter is simply a continuation of the letter itself, and 
 if artistically formed and engraved will enhance the artistic appear- 
 ance of the letter. 
 
 At U, Fig. 172, we illustrate the idea of engraving initials on a 
 heart reading upw^ard diagonally. If these letters were engraved 
 straight across the locket they would appear stiff, while if they are 
 
t64 The Art of Engraving. 
 
 engraved diagonally, as here shown, with a slight ornament, even a 
 straight line, above and below, the work is much more artistic. 
 
 At V, Fig. 172, we illustrate the word “Louise,” engraved on 
 a locket, showing how the first letter of a word in such a case can 
 be ornamented to fit in the space, and also to show the advisability 
 of slightly curving the name, especially if it be a long one. With 
 a slight ornament above and below the letter, and the initial itself 
 slightly ornamented, the work is much improved. 
 
 At W, Fig. 172, we illustrate a B on a heart locket formed in 
 such a way as to fill in the space as nearly as possible. It will be 
 seen in all these cases that it is necessary to vary from the general 
 formation of the letter to such an extent as to fill in the space as 
 nearly as possible and yet not deform it or make it appear inartistic. 
 
 At X, Fig. 172, we illustrate a cipher formed to fit into the 
 shape of a heart as nearly as possible. It will be seen in this case 
 that it will be necessary to make many more loops to the monogram 
 than would be necessary if it was round or flat on top and bottom. 
 There are some monograms that can be formed after this style to 
 better advantage than others. The one shown here is one of the 
 kind that is difhcult to form in this way to advantage, and its 
 objectionable features are that there are so many loops that the 
 monogram is not as readable as it would be otherwise. 
 
 At Fj Fig. 172, we illustrate a regular monogram formed 
 nearly the shape of the heart. It will be seen here that these initials 
 are more appropriate for such a space than the ones shown at W, 
 and that it is possible to fill in this space on a heart with such initials 
 without any radical changes from a regular plain cipher, the prin- 
 cipal change being in the cutting off of the last loop of the R and 
 throwing it around over the line of beauty, as here shown. 
 
 We have shown these illustrations to the student as a result of 
 practical experience in engraving, and he will profit by following 
 the instructions given. The important point to be considered in 
 this work is to make the cipher initial or initials in shape and size 
 appropriate for the article or space on the article allotted to the 
 letter. Usually they are too large, and the student is cautioned 
 accordingly. It is better to make an initial or monogram too small 
 than too large, but if a little judgment is exercised it is an easy 
 matter to form a monogram or a letter of a size that will be 
 perfecty right. It is our duty first to learn howto cut a letter, then 
 to learn to cut the letter perfect ; then to learn to cut in a size and 
 shape appropriate for the space or article to be engraved. 
 
CHAPTER XXVI. 
 
 DESIGNING AND ENGRAVING CIPHERS. 
 
 At O and P, Fig. 172, we illustrate the initials B, M, R, en- 
 twined in two different styles of ciphers. We might use the term 
 “form” instead of “style,” as the letters are both of exactly the 
 same style, being plain ; but the form of designing them as shown 
 at O is not as closely entwined as shown at P. A few little points 
 in reference to these two monograms will start us on our studies in 
 cipher work with some knowledge of entwining, as these letters 
 have been chosen because they are not easily entwined. 
 
 The monogram shown at O would possibly be more properly 
 termed entwined script. The difference between the entwined 
 script and the monogram or cipher is, in the engraver’s parlance, 
 that entwined script is drawn out much more than the regular 
 cipher. A regular cipher or monogram is so compact that it would 
 occupy a space either square, round or oblong. In the case of the 
 monogram shown at O it will be seen that the first stroke or line 
 of beauty of the M has a loop entirely different from the regular 
 loop shown at This is necessary, as it is impossible to put the 
 other style of loop on to the letter and make it close to the first 
 letter. Even then we find that there is a slight vacant space 
 between the top of the M and the B, which is easily filled by the 
 continuation of the line of beauty of the B, curving it around and 
 filling the space. Such little so-called tricks as this are necessary 
 in order to become a skilled artist in monogram designing. 
 
 It will be seen that the space between the first hair line or 
 line of beauty of the M and the second vertical hair line of the M 
 and the shade of same are farther apart than the first hair line and 
 shade stroke. Usually the distance between these two shade strokes 
 and the hair line preceding them is the same, but in this case it will 
 be observed that the shade stroke of the M at the right is necessarily 
 curved out to the right to allow room for the loop at the lower end 
 of the line of beauty of the R and the continuation of the loop of 
 the M to lock or cross. This is done because there is no other 
 place where they can be entwined. We must, in this case, make 
 
 165 
 
The Art of Engraving . 
 
 1 66 
 
 the loop of the line of beauty of the R at the bottom a little larger 
 than would be necessary otherwise, which, of course, necessitates 
 making the top of the R smaller than usual. Therefore, we have 
 by necessity the top of the B large and the top of the R small, in 
 order to fill in the space around the same. A loop of the style 
 shown at the end of the line of beauty of the M is a very conve- 
 nient loop to use in entwining monograms where the initials have 
 lines of beauty or capital stems, for the reasons mentioned. 
 
 Referring to the same initials in the cipher P, if we study the 
 cipher we see that it is equally divided, or nearly so, and that the 
 highest point of the cipher at the top is in the center of the cipher. 
 Now, if we study the individual letter, we find that the top loop of 
 the R appears to be irregular or too high at the extreme left, yet 
 it fills in the space it should fill and makes the highest point of the 
 entire cipher in the center of the same. In order to allow room 
 for the top of this loop to curve around with a fair-sized loop, it is 
 necessary to lower the loop of the B around its line of beauty. 
 We also find that it is not convenient to put either the style of loop 
 shown at TV’ or O in the figure on the line of beauty on the M in 
 this cipher, as there is not room for either one ; therefore, it must 
 be cut off as here shown. 
 
 It will be seen that if we put either of the styles of loops on, 
 there would be crowding, but as it is, it locks into the other letters 
 sufficiently, owing to its proximity to the B, by simply making a 
 dot at the end of the line. It will also be seen that it is convenient 
 in this case to cut off the last loop of the R and make instead a 
 dot, as in the case of the M. By doing this we have the cipher 
 with an oval top and a flat base and the angles of the right and left 
 sides about equal, which some spaces would necessitate, and in 
 order to meet those cases we show this cipher with loops cut off in 
 this way. We do not mean that the student should understand 
 that this is the best and only way that these three letters should be 
 entwined. They are entwined in this manner simply to show how 
 changes can be made from the general form of a letter in order to 
 entwine to best advantage. 
 
 Ciphers can be engraved either bright cut or fine line, the style 
 depending on the article to be engraved. If a cipher is to be en- 
 graved on a polished tea spoon or any sterling silver article highly 
 polished, it is advisable to either cut fine lines with an unpolished 
 graver or to cut it in the style of bright cut with an unpolished 
 
Designing a7id Engraving Ciphers. 
 
 167 
 
 graver. Some skilled engravers have been criticised for engraving 
 with an unpolished graver on polished metals, the criticism being 
 that the cuts were ragged, the critic believing that the skill of the 
 engraver is manifested in his ability to cut a bright cut. Of course, 
 this is an erroneous idea. The reason an unpolished graver is used 
 on a polished surface is to produce a contrast between the surface of 
 the metal and the lines cut. It has been said before, and a repeti- 
 tion will do no harm, that the aim of the engraver is to produce 
 a contrast and effect to the best advantage. It is needless to say 
 that it would be unwise to cut a bright-cut stroke on a polished sur- 
 face and a ragged stroke on a deadened surface in order to produce 
 the best effects. Therefore, the student is advised to engrave all 
 polished surfaces with an unpolished graver. 
 
 We have said before that the stone to be used should not be a 
 very coarse one. The graver should be finished on a very hard, 
 fine stone, as a coarse stone would leave the graver in too rough a 
 condition to cut smoothly. The incision should be cut smooth but 
 not polished. We do not mean when we say an incision should be 
 cut with an unpolished graver that the cuts should be necessarily 
 ragged and rough, but a deadened appearance should be produced, 
 clean, but not bright or polished. Fine-line engraving, such as we 
 mentioned and described in reference to fine-line old English is the 
 most beautiful of all the styles of engraving and perhaps requires as 
 much skill to execute properly as any other. In cutting fine lines 
 the graver should always be unpolished, it matters not where or on 
 what the lines are cut. 
 
 Some engravers use a polished graver for cutting a fine-line 
 monogram on a deadened surface. This, generally speaking, is 
 unwise, as a satin or French gray finished article could be engraved 
 with a bright-cut monogram, and if a bright-cut monogram was not 
 wanted there are other styles of outlined monograms which we will 
 describe later on that could be used. Of course, if a customer re- 
 quests a fine-line monogram it will be our duty to cut it, and then 
 an unpolished graver should be used, unless it is a very cheap arti- 
 cle, in which case the polished graver could be used even in cutting- 
 fine lines to produce an effect. 
 
 In cutting ciphers the all-important feature to be borne in mind 
 is that loops of letters or bars should not be made so close together 
 that they appear crowded. Whenever a loop is made so that it 
 comes near to another loop it is advisable to stretch it a little more 
 
i68 
 
 The Art of Engraving. 
 
 and have it hook into the loop. The great trouble with most ciphers 
 is that they do not produce a harmonious or uniform appearance. 
 A cipher should be so formed that the space occupied by it is 
 nearly uniformly filled in by bars or loops of the letters. This is a 
 point that is largely overlooked by some of our artists in cipher 
 work. We often see a beautifully cut cipher crowded in some 
 places and space sufficent for relief of such crowding left in others. 
 
 One point of advice to be followed by the student is to cross all 
 vertical lines with loops as nearly as possible at right angles, always 
 endeavoring to avoid crowding and never form one loop to run par- 
 allel with another. We might even say that parallelism should be 
 entirely avoided in cipher work. We do not mean that all the capi- 
 tal stems and lines of beauty of letters should not be parallel with 
 one another and perpendicular. It is necessary in some cases to 
 have bars of letters run parallel one with another, even though they 
 are close together. This would be the case if we were to have a V 
 for the first letter and an A for the second. It is necessary in this 
 case that these lines run parallel with one another. To entirely 
 avoid parallelism in ciphers never allow one loop to run parallel 
 with another and never allow one loop to curve around entirely 
 within another loop. 
 
 Such a case as the one cited above is very rare. If the points 
 mentioned in reference to crossing all bars and loops of letters as 
 nearly as possible at right angles, avoiding lines running parallel 
 with one another and equally dividing the lines in the space alloted 
 for the cipher, were followed, the student would in time find cipher 
 engraving very easy. The trouble with students in engraving 
 ciphers is that after they have designed the cipher they are some- 
 what confused by its apparently conglomerated state. It might be 
 safe to say that they get lost in their design. By this we mean that 
 they fail to see the individual letter. It is a difficult matter for a 
 beginner to see the letter separately and then see the entire cipher 
 at the same time. We do not mean by this that he is to keep in 
 his vision the entire cipher, but that he is, while studying and work- 
 ing on a single letter, to consider and observe its relation to the 
 cipher as a whole. 
 
 All loops in the monogram should be absolutely perfect and all 
 bars and limbs of the letter should be perfect in their angle or 
 whatever form they may be made in. It is just as easy to make a 
 perfect letter in a cipher as it is to make a perfect letter separately. 
 
Designmg ayid Engraving Ciphers. 169 
 
 The trouble with a student is, as above stated, that he loses himself 
 in the combination. He cuts the bars but does not exactly see the 
 individual letter, and if his design is at all out of the way the com- 
 plete cipher will be likewise. 
 
 In designing ciphers it has been said by some so-called expert 
 engravers that when any three letters are mentioned to them they 
 can see before their mind’s eye the cipher as they would sketch it. 
 It is needless for me to say that such a mental feat is impossible, as 
 no one can see before his mind’s eye the entire combination of any 
 three letters. It is possible, of course, for an engraver to gain 
 some idea the moment three letters are mentioned to him as to how 
 he would sketch them, but to see the entire combination in detail 
 is impossible. 
 
 In working on a cipher, when we first select the letters to be 
 used we start out with the first letter and make the main bar of the 
 same. Then, as we study in our mind what the form of the fol- 
 lowing letter wall be, we find before completing the first letter that 
 it can be changed in such a way as to fit or allow for some portion 
 of the letter to follow, and so on, between the second and third 
 letters. In sketching a cipher at first it should be sketched by 
 broken lines, making no attempt to draw it perfectly. The sketch- 
 ing should be done very delicately at first. Then if any change is 
 required as the engraver proceeds it can be made without mixing 
 the cipher up and confusing the engraver to such an extent that he 
 may become disgusted with his design. 
 
 In designing a cipher the engraver should go about his work 
 very deliberately and very carefully, but no attempt, as above 
 stated, should be made to draw the letter accurately. We often 
 see engravers designing ciphers on paper for a trial before placing 
 them on the article. This is advisable and should always be done 
 by beginners. They should not bear on their pencil so heavily as 
 to make a very dark and heavy line. Sketching should be done 
 free hand, allowing the hand to rest upon the third and fourth 
 fingers very freely, giving perfect freedom to the index finger and 
 the thumb, and it should be done in broken lines and very finely. 
 This leaves an opportunity for us to make such changes as the 
 complete combination or the combination nearing completion would 
 require. 
 
 It is considered by many engravers very difficult to design a 
 cipher in a circle. This is due to the fact that they do not follow 
 
lyo The Art *of E?igraving. 
 
 the rudiments. By proceeding properly it is no more difficult to 
 design a cipher round than square, or any other shape. We know 
 of engravers who would take a watch case and proceed to design a 
 cipher on it perfectly round without the aid of any circle or other 
 lines, and very often in such cases the result would be that the 
 cipher was to one side or the other. Such a guesswork method as 
 this should be carefully avoided. 
 
 At Fig. 173 we illustrate a circle with a vertical and three 
 horizontal lines. If we want to engrave a plain cipher on a watch 
 case we take the compasses and allow one point 
 to rest against the edge of the case and the 
 other to protrude over the case to such a dis- 
 tance as it is desired to engrave the cipher from 
 the edge, thereby making the circle around 
 the case the size that it is desired to make the 
 cipher. After making this circle it is needless 
 to say it is designed through the wax. The 
 vertical line is drawn from the pendant to the 
 center of the hinge below. Then the horizontal line is drawn 
 across the center of the same. Then a line above and below said 
 horizontal line as shown at Fig. 173. Now, assuming that we have 
 at this point learned how to design a cipher flat on the top and 
 bottom and nearly square, it will be an easy matter to place the 
 same in the circle here shown, allowing the top of the cipher to 
 protrude up to the line A A and drop down to the line B B. We 
 have now the first and last letter as near the form of the circle as is 
 possible with slight changes near that portion of the letter next 
 to the vertical line. In order to make the cipher, it matters not 
 what the letters may be, perfectly round or nearly so, all that is 
 necessary to do is to change our design above the line A A and 
 below the line B B. By this change we mean simplv to drop the 
 center letter, or such portions of it as can be changed, down below 
 the line B B, and to raise it, or such portions of it as can be raised, 
 above the line A A. 
 
 To more thoroughly explain this point we illustrate at Fig. 174 
 a cipher of the initials T, R, S designed with flat top and flat base. 
 The dotted line will indicate how, after making a design in this 
 way, we can simply drop the loops down and make the cipher 
 nearly round. Any intelligent student following these instruc- 
 tions will experience little or no difficulty, while if he were to 
 
 Fig. 173 
 
Desig 7 iing ayid Eiigraving Ciphey's. 17 1 
 
 attempt to engrave the cipher in a circle without the aid of this 
 method he would find it quite difficult to do. It is often necessary 
 to engrave a cipher oblong. In this case the engraver must make 
 his letters long and slim, and his loops oblong 
 instead of rounding. By so doing he will find it 
 no more difficult to make the oblong cipher than 
 the square or rounding one, except that it is nec- 
 essary to make the letters closer together, inas- 
 much as the proximity of the letters requires the 
 highest degree of accuracy, there being no room 
 for any irregularities or variations of the letters. 
 
 We often have ciphers to engrave in the bottoms of oblong 
 dishes or trays. An example of this style is shown at Fig. 175, 
 where we illustrate an outline of a button or pin tray. Now, in 
 
 order to engrave a cipher in a tray of this kind, we first caliper a 
 line around the inside as indicated here by the dotted lines. Then 
 w^e make our cipher what might be termed rounding script, with 
 the letters drawn out so as to fill the space within the dotted lines 
 as nearly as possible. 
 
 Another style of engraving ciphers in a tray of this kind would 
 be to make the letters after the style shown at G, Fig. 172, hanging 
 or drooping letters. There are many forms of cipher monograms 
 all of which are engraved in the same general style, and the general 
 rules in reference to their construction are the same. 
 
 A cipher with the top tipped in is very desirable for some 
 spaces and is well adapted to cigarette boxes, match boxes and 
 some styles of trays. However, it is not necessary that a student 
 
172 
 
 The Art of Ejigraving. 
 
 in engraving should make all of these different forms of ciphers. 
 The ciphers that we have, and will illustrate, will be the principal 
 styles used and will suffice in all ordinary cases. 
 
 Having briefly considered the method of designing ciphers and 
 the different styles of the same, we will now consider ornamenting 
 them. The beginner, as a rule, does not like perfectly plain work, 
 as he never feels that he is a perfect master of his business until he 
 is able to do all styles of fancy engraving. This is a wrong idea. 
 A student should remember that perfectly plain work calls for the 
 highest degree of accuracy, and accuracy should be first attained. 
 No attempt should be made to ornament a cipher until after one has 
 become sufficiently skilled to engrave the letters perfectly in detail. 
 
 It is a very common error with unskilled engravers to cover 
 up their deficiencies, and we might say blunders, by ornamenting 
 the letters. It is needless to say that this is entirely wrong ; that a 
 cipher should be ornamented only in order that its beauty may be 
 enhanced, and we cannot enhance its beauty if it is not perfectly 
 accurate to commence with. Of course, to an easily satisfied 
 customer the ornamentation may cover up the errors, but it is un- 
 wise to resort to such a scheme. 
 
 But the beginner may ask what shall he do in case the graver 
 slips and a line is made in a place or direction where it is not wanted. 
 If a graver is in perfect order it is very seldom that it will slip. 
 Of course, it is possible that the point will break off the graver 
 when in the metal, and unknown to the operator, in which case it 
 is possible, and very probable, that it would slip, but a graver in 
 the hands of a skilled operator will not slip far enough to do any 
 great damage as a rule, as the delicacy of touch, or feeling of the 
 hand, of the skilled engraver is such that the moment the point of 
 the graver is broken off and deviates a little in its course he knows 
 that there is something wrong, and even if he does not learn of it 
 before the graver does slip out, he is so skilled in its use, and so 
 sensitive to its every move that the slip will be a very slight one, 
 in which case it can be easily burnished with a jeweler’s hand 
 burnish ; it being borne in mind that the burnishing should always 
 be done lengthwise of the incision and never crosswise. 
 
 Sometimes it is possible that a slip will be sufficiently deep and 
 long that it would not be possible to burnish it out entirely. In such 
 a case, a scraper sold by any jobbing or material house, and used 
 extensively by jewelers, is to be used. This scraper scrapes off the 
 
Designmg and Engravmg Ciphers. 
 
 173 
 
 surface of the metal. After its use the surface should be Scotch- 
 stoned and then burnished and polished, after which the engraving- 
 in the location of the repairs should* be recut. Of course, if the 
 article in hand were one with a French gray, satin or Roman gold 
 finish, or any finish other than a polished one, we could not use 
 this method. In those cases it would be necessary to refinish the 
 article, and if this could not be done the only remedy would be 
 to allow the slip to remain as it was made and ornament the cipher 
 regardless of it ; not attempting to make an ornament out of the 
 cut unless it should by good fortune happen to be of such a kind 
 that this could be done. 
 
CHAPTER XXVII. 
 
 ENTWINED AND ORNAMENTAL CIPHERS. 
 
 At Fig. 176 we illustrate a watch case as it would appear after 
 the cipher is sketched on through the designing wax or Chinese 
 white. It will be seen that the letters are made by a series of 
 broken short lines and are sketched delicately, so that any change 
 that is desired can be made. It matters not what style the cipher 
 
 is to be, it should always be designed 
 after the manner of the above men- 
 tioned sketch. In any cipher or mon- 
 ogram work it is our first duty to lay 
 out the cipher in the rough sketch, as 
 here shown, perfectly plain. Then 
 such ornaments as we may desire to 
 use are added. By this method the 
 student will never become perplexed 
 in the combination. If the design is 
 first made perfectly plain, then the 
 ornaments can be added in such places 
 and on such bars and in such a form 
 as to fit in and beautify the letters. It 
 is an erroneous idea that a great many 
 engravers have that in making a fancy 
 monogram they must design the ornaments as they are advancing 
 with the general form of the letter. A trial will convince the most 
 skeptical that a design made perfectly plain and then ornamented, 
 can be made much more artistic. 
 
 Many of our engravers are of the opinion that a monogram 
 should be entwined regardless of its legibility. One of the para- 
 mount points to be considered in reference to monogram work is 
 the simplicity of the letters. All of the loops should not be added 
 in a cipher if they interfere with other loops that are necessary in 
 completing the general form of any of the letters. It will be often 
 found convenient to cut off some of the loops of letters, that is, 
 superfluous loops. The loops and bars forming the general founda- 
 tion of the letter should always be made as nearly complete as 
 
 Fig. 176 
 
 174 
 
Entwined and Ornamental Ciphers. 
 
 175 
 
 possible, and should be formed in such a way as to fill in and 
 balance up the monogram perfectly. There should be no crowding 
 of the loops or bars, and the spaces should be filled in by changing 
 the forms of the loops in such a way as to balance the monogram. 
 It will be considered by some impossible to do this, but there are 
 very few combinations that cannot be made to balance well. 
 
 ORNAMENTING CIPHERS. 
 
 When cutting a cipher on britannia metal, or in any soft metal 
 in bright cut, if the cipher is a large one, it should be cut with a 
 flat-face graver, the width of which should be a little more than the 
 widest part of the shade strokes. After the cipher has been 
 engraved in this way a fine line should be engraved along the edge 
 of the shade stroke at that point where the surface of the letter and 
 the incline of the incision meet. This line often enables an engraver 
 to correct any variations of the width of the shade stroke which 
 may exist owing to the unsteadiness of the hand, or possibly the 
 spring of the metal when engraving. A square graver can be used 
 for cutting a bright-cut cipher, providing it is very small, but, as 
 above stated, the flat-face graver should be used for cutting large 
 ones. In cutting the hair line of even a large cipher the square 
 graver can be used if the engraver so desires. Some engravers use 
 the flat-face graver for the entire work. 
 
 Having briefly considered forming and sketching ciphers, 
 together with the method of cutting same, and assuming that the 
 student will practice the 
 plain ciphers diligently be- 
 fore any attempt is made to 
 ornament them, we will now 
 proceed with what is known 
 as the lily ornament for 
 bright-cut ciphers. 
 
 At Fig. 177 we illus- 
 trate a line of beauty with 
 the ornament known as the 
 lily ornament added thereto. 
 
 We are pardoned for using 
 the term ‘ ‘ lily ’ ’ ornament in this case from the fact that it resem- 
 bles to some extent the general form of the lily. In cutting this 
 stroke the graver is thrown out at C, and then inserted again 
 
176 
 
 The Art of Engraving . 
 
 at B, and the little cut indicated by said line is cut around to C, as 
 in finishing the end of a capital stem of a regular script letter. The 
 ornament as here shown is disconnected. This is not as it should 
 be. The stroke should be connected, but it is disconnected here to 
 show the student where the two cuts come together. After making 
 this cut, the cut at the right is made in the direction of the arrow 
 with one stroke. After this stroke the little cut is made by starting 
 on the original line and cutting almost straight downward, as shown 
 at D D. This stroke on a larger scale, to show its exact form, is 
 illustrated at E. It will be seen that the cut is not as blunt on the 
 end as it would be if the graver were lifted directly out. When 
 throwing the graver out at the extreme lower end it is not lifted 
 directly up, but is forced a little forward as it is lifted out of the 
 metal, thereby elongating the end of the cut. 
 
 It will be remembered in referring back to plain script work that 
 this is the style of throwing out the end of the hair line at the top of 
 the R and S in lower-case script. This ornament is made the same 
 on the hair line as on the shade strokes, excepting that on the 
 shade strokes it is cut a trifle heavier, and when on the hair lines 
 the dots indicated by the initials ////are cut preceding and follow- 
 ing the same, and varying in their size as here indicated. These 
 cuts are made with a round-face graver, the heavy ones being cut 
 deeper than the little ones. By decreasing the width of the 
 incision the dots are reduced in size. 
 
 Referring to that portion of the line of beauty at Fig. 177, 
 indicated by the line J/ it will be seen that we have one-half of the 
 ornament in question on the inside of this curve. It will be found 
 in making ciphers that there are a great many little places that can 
 be filled in artistically by making such cuts. It is not always conve- 
 nient to make the ornament complete owing to its proximity to 
 another line or loop. Hence the advisability of making few orna- 
 ments. This style of an ornament is 
 more appropriate for a small bright- 
 cut cipher than for any other. We 
 would suggest that it be not used on 
 fine-line ciphers or on very large 
 bright-cut ciphers. Very large bright- 
 cut ciphers should be cut only of such 
 size as can be done with a flat-face graver, and an ornament should 
 be cut something after the style of the one illustrated at Fig. 177, a 
 
Entwmed and Ornamental Ciphers. 177 
 
 portion of which is shown at Fig. 178. These cuts are cut with a 
 flat-face graver shading inward by cutting in the direction of the 
 arrows. After these strokes are made, as shown at Fig. 178, a 
 hair line is cut on the inside of same, as shown at Fig. 179. 
 
 After these are cut the graver is inserted 
 at the point where these little cuts separate 
 from the original one, which point is indi- 
 cated by^, Fig. 180. The graver starts in 
 with a flne line and curves around, gradu- 
 ally increasing in width until the end, as 
 shown. This line should be so cut as to 
 gradually creep away from the original 
 stroke so as to leave a little surface between, 
 as here illustrated, and the end of this last 
 line should not connect with the original one, 
 thus leaving a slight opening and producing a desired effect. In 
 cutting this last line, as at B, Fig. 180, the graver is inserted at the 
 opposite end from the point of beginning of the first one, shown at 
 and cut around to the point where the original stroke and the 
 second stroke separate. In cutting in this way it is necessary, of 
 course, to commence the stroke heavy at C, and 
 as it is cut around in the direction of the arrow to 
 diminish the width of the incision. The object of 
 cutting this stroke in a direction opposite to the 
 one on the other side is that it enables the operator 
 to curve to the right, which is the most advanta- 
 geous way to cut curved strokes. Of course, it 
 would be practical to use the opposite corner of 
 the graver to the one ordinarily used in operating 
 the flat-face graver, and cut this line in the same 
 direction as the one shown at A. There is no objection to doing it 
 in this way if the operator so desires. 
 
 At Fig. 181 we illustrate the line of beauty of a cipher shaded 
 with what is known as the chop-cut ornament. We have placed 
 the ornaments thereon as they would appear if this 
 line of beauty were a portion of a completed letter. 
 
 At Fig. 182 we illustrate the method of forming these 
 cuts on a large scale. They are cut by starting in at 
 the pointed end and cutting deeper and heavier as the graver ad- 
 vances. It will be seen that they are separated sufficiently at the 
 
178 
 
 The Art of Engraving. 
 
 beginning so that when the cut is thrown out the ends of the same 
 will exactly meet. There should be no space between the ends of 
 the cuts. 
 
 These three ornaments are those mostly used in bright-cut 
 ciphers. The last mentioned is also used very extensvely on 
 fine-line ciphers. 
 
 The method of cutting fine lines has been 
 thoroughly described, and further mention of it 
 is not necessary at this time. It suffices to add 
 that an appropriate ornament for 
 fine-line ciphers is shown at 
 Fig. 183. 
 
 At Fig. 184 we illustrate 
 this ornament on a large scale, 
 
 Fig. 183 
 
 making the method of cutting 
 
 Fig. 184 
 
 same perfectly plain to the stu- 
 dent. It will be seen that the ornament is very similar to the one 
 described and illustrated at Fig. 177. The method of cutting it is 
 exactly the same, with the exception of the little twisted hair line, 
 starting from the division of the outer and inner cuts. Some 
 engravers prefer to cut these little hair lines in, some to cut them 
 out. It matters not which way they are cut so long as the best 
 results are attained. They are begun quite heavily and decrease 
 in the width as they are cut, and should curve around, as shown. 
 These cuts can be divided up in the same proportions as the 
 others. This ornament is more appropriate for fine line than 
 any other. 
 
 Having learned all the preliminaries in cipher work, where the 
 hair lines are made of a single stroke, and the shade strokes in 
 proportion thereto, based upon the principles of formation of the 
 plain script letters, we are now ready to advance to the more 
 difficult study of ciphers and study the method of cutting them 
 on a larger scale or in a style appropriate for a larger scale. 
 
 The first thing to do is to convince the student that a regular 
 fine-line cipher can be cut by making the hair lines wider than a 
 single stroke. This would increase the width of the cipher, making 
 it heavier throughout. A cipher cut after this style would be more 
 on the order of a parallel-line cipher or a ribbon monogram, 
 excepting that the letter would, of course, not be irregular. 
 
Entwined and Ornamental Ciphers, 
 
 179 
 
 RIBBON CIPHERS. 
 
 B 
 
 Fig. 185 
 
 
 Fig. 1G5A 
 
 A ribbon cipher should first be designed perfectly plain, as 
 illustrated on the watch case, shown at Fig. 176. After sketching 
 the cipher in this manner it is again gone over and the form modi- 
 fied to represent the ribbon style of letter, which is simply shaded 
 and twisted at the ends, as here shown. This twisting of the ends 
 and other strokes of the letters is done by making the lines com- 
 posing the letter all radiate or emanate from one given point, as 
 shown at B, Fig. 185. Now, all that is 
 necessary in order to make this 
 stroke appear to be twisted over 
 is to cut the stroke shown at C 
 a trifle heavier at the point indi- 
 cated by D and allow it to cross 
 the line E at the point D. Then 
 all the lines at F should radiate 
 from that point. One of the 
 
 great difficulties in cutting ribbon ciphers is that the engravers do 
 not cut their lines accurately. In fine-line work or in ribbon work, 
 or any style of ciphers composed of a series of 
 fine lines or parallel lines, they should radiate 
 from the same point and not disappear or run 
 into one another before they arrive at their des- 
 tination. To give the student an idea of the 
 form of a ribbon letter we show the initial B 
 at Fig. 186, the general construction of which 
 will be seen is the same as a plain cipher 
 initial, the location of the shading simply 
 having been changed. If a student should 
 attempt to design a cipher in the ribbon form 
 at first he would find it almost an impossibility, but if he will follow 
 our advice to make all ciphers perfectly plain first in a delicate 
 sketch and then make such modifications as the form or style of the 
 cipher desired would require, he will experience little difficulty in 
 making such modifications to suit the style wanted. 
 
CHAPTER XXVIII. 
 
 PARALLEL LINE CIPHERS. 
 
 The next style of cipher to be considered is one of the 
 most difficult, if not the most difficult style of cipher to engrave. 
 It is known as the parallel line cipher. We cannot technically apply 
 the appellation of parallel line to this style of cipher, because the 
 bars of the letter vary in width ; therefore, technically speaking, 
 the lines would not be parallel, but they are so nearly so that the 
 most appropriate name for this kind of cipher would be the one 
 above given. 
 
 It is difficult to cut a plain parallel line cipher composed of 
 lines an equal distance apart, except when the bars of the letters 
 increase and diminish, in which case, of course, the lines increase 
 and diminish in distance apart and widths accordingly. The line 
 on the lower right side of a bar, or limb, of a letter should be cut 
 a very little heavier than others in a plain parallel line cipher. 
 Then the others should all be exactly the same width and the same 
 distance apart according to the oval of the bar of the letter. Such 
 lines are shown at Fig. 185 A. A cipher of this kind is very diffi- 
 cult to cut, owing to the fact that it is difficult to make the lines so 
 close together, and yet leave a small amount of surface between 
 them. Indeed, the lines run so very close together that it is almost 
 impossible not to allow one to come up to the edge of the other, 
 which of course would not be correct. A cipher of this kind should 
 not be cut very small. The engraver should use judgment in 
 selecting the style of cipher to suit the size. It is not practical to 
 engrave a parallel line cipher very small for obvious reasons. 
 
 It is safe to say that the most diffi- 
 cult cipher to cut correctly from the 
 standpoint of accurate wielding of the 
 graver is what is known as an oval 
 parallel line cipher. Such a cipher, 
 slightly ornamented with a plain leaf, is 
 shown at Fig. 187. It will not be 
 necessary for us to illustrate this cipher 
 
 180 
 
Parallel Line Ciphers. 
 
 i8i 
 
 plain, as the student will readily see that the ornaments could be 
 easily dispensed with and the cipher composed of perfectly plain 
 parallel lines made in such a way as to make the bars of the letter 
 appear oval. This effect is produced by diminishing the proximity 
 of the lines and their widths as the lines approach the center. 
 The entire cipher, when made plain and de\ oid of such ornaments 
 as here shown, should be composed of exactly the same number of 
 lines from beginning to end ; the widths of the bars being increased 
 and diminished by increasing and diminishing the widths and 
 distances apart of the lines. 
 
 We have here shown the oval parallel line cipher ornamented, 
 as such a cipher is quite difficult to cut. The upper portion of the 
 initial C in this cipher is left unfinished to illustrate the method of 
 cutting. The dotted lines indicated by H are left to show the 
 student the outline of the original sketch. Engravers differ as to 
 the best method of cutting this style of cipher. Some think that it 
 is best in cutting it to outline it first and then fill in between the 
 outlines by cutting a line first on one side and then on the other, 
 the finished side of which is shown at the point indicated by M, 
 where there is a line on each side showing that we are now ready 
 to cut the second line. While some are of the opinion that this 
 is the proper way to cut them, otheis are of the opinion that it 
 is better to start on one side and cut the lines over to the other 
 continuously. As to which method is better the student must 
 decide for himself. The cipher can be engraved very nicely either 
 way. Experience has led us to believe that in cutting a monogram 
 on a large scale the first method is the best. In cutting on a small 
 scale the latter would be preferred. The little crescent cuts between 
 the leaves showm at IE are cut with a square graver. In fact, the 
 entire cipher is cut with a square graver. The shading of the plain 
 leaf illustrated at E is made by starting the lines at the pointed end 
 and cutting into the original outside line, allowing them to uniformly 
 taper down to the outer line, the curve of which is to conform to 
 the oval of the bar. It is needless to say that extreme accuracy 
 of the lines must be observed in order to produce this effect, and 
 no student in the art, without considerable skill in the use of the 
 graver, should attempt to cut the cipher in this style. 
 
 One skilled in cutting the regular fine-line ciphers would 
 experience little difficulty in executing these ciphers. It will be 
 seen here as in other cases, and in almost all cases of ornamental 
 
i 82 
 
 The Aj't of Engraving. 
 
 ciphers, that it is often convenient and advisable to place half of a 
 regular size ornament inside of some loop or bar of a letter. This 
 cipher is shaded where one bar comes over or under another. 
 This shading is effected by making very fine lines, the width of 
 which is increased, and the size of which is diminished, as they are 
 cut outward from the bar that is on top. The cipher here shown 
 is after the form necessary for a round cipher. It will be seen here 
 that the middle letter is a trifle higher and lower than the other two 
 letters. Care should be taken that the outside letters are the same 
 height. 
 
 A cipher of the form of the one here shown can be cut in a 
 great many different styles. The top portion of each loop, which 
 is indicated here by the leaf from the left top of the center of the 
 curve above the cipher, should always be cut the same as previously 
 shown. Under the left, at the point indicated by the line U, the 
 style of the letter can be changed. It could be outlined and filled 
 in with all the various styles of borders that we have mentioned, 
 and such fillings we will have occasion to mention later on in 
 reference to block monograms. It could always be cut by the 
 regular fine-line method, which is probably one of the most ordinary 
 ways of cutting it. It is much easier to cut it in this way, and 
 possibly it could be done with greater rapidity. If the cipher were 
 engraved on a satin-finished surface it may be cut bright cut below 
 the leaf, in which case the bright-cut lines, or whatever else this 
 portion of the letter may consist of, would be made the same style 
 around to the next leaf, or half leaf, at which point the style would 
 again change to parallel lines, and continue in parallel lines around 
 to the middle of the next curve or the next leaf. It is needless to 
 enumerate the various styles of cutting this portion of a cipher. 
 It suffices to say that it can be cut in almost any way possible to 
 cut a script cipher, allowing the top of the same from the leaf E or 
 lU around to the center of the curve above, to always be made of 
 parallel lines as here shown and producing an oval effect. If this 
 portion of the letter is made to produce an oval effect, and the 
 under portion at G to produce a flat surface, the contrast will 
 increase the prominence of the cipher and add to its artistic effect. 
 
 A cipher after the general outline of the one here shown can 
 be made complete of fine lines, including the upper portion of the 
 lines, but such a monogram is very difficult to cut, and the resultant 
 effect is not sufficient to warrant the amount of work. A cipher 
 
Parallel Line Ciphers. 183 
 
 can also be cut in this form on satin-finished surfaces, or any dead- 
 ened surfaces, by cutting half of the bar and ornaments on one side 
 with a flat-faced graver ; then on the other side up to the middle 
 with a shade stroke of equal width, thereby making a cross section 
 of the incisions pyramid-shaped. 
 
 There are a great many little original ideas in cutting ciphers 
 that it would not be practical to enumerate in a work of this char- 
 acter. Our aim is to give to the student the most practical styles, 
 which will form a basis for such additional ideas as he may originate 
 himself, but we must caution him against thinking that some new 
 ideas of his own may be far superior to those of some of the most 
 skilled engravers. His supposed new ideas may be very old to 
 the experienced workman. 
 
CHAPTER XXIX. 
 
 FLOWER LEAF CIPHERS. 
 
 Of all the various styles of ciphers the style known as the 
 “flower leaf” is probably the most elaborate. It is difflcult to 
 decide what style of leaf to advise a student to practice, as there 
 are various styles of flower leaves, or leaves of other kinds, applied 
 to letters. We often find ciphers engraved with a leaf curving 
 around on the main stroke of the letter, and again we find ciphers 
 that are completely covered in and around them with leaves. Such 
 elaborate designs are, however, mostly engraved to show the ability 
 of the artist ; in other words, made as samples of the artist’s work. 
 While it is advisable to make ciphers ornamental, they will be more 
 artistic if the ornamental features are not carried too far. If a 
 cipher is ornamented too elaborately it detracts from its legibility. 
 It is surprising how many people are unable to read even a plain 
 cipher. Consequently, a cipher should be made as readable as 
 possible, which necessitates its being rather plain in general outline. 
 Then the ornaments should be so added as not to detract too much 
 from the general appearance of the foundation of the cipher. 
 Students are not infrequently partial to the so-called flower leaf 
 ciphers. This is due, no doubt, to the fact that in these ciphers 
 they find possibly more opportunity to display their artistic talent 
 than in any other. 
 
 In presenting the cipher shown at Fig. i88 we have selected a 
 style of leaf much used by skilled engravers, and yet one of such 
 
 ornaments such as can be used to fill in and around a cipher. The 
 
 however, for the benefit of the 
 
 Fig. 188 
 
 simplicity that it will be easy to 
 master. This leaf should be placed 
 on the widest part of all shade 
 strokes where it will not conflict 
 with any other loops or bars. The 
 cipher can be made perfectly plain 
 with the exception of the leaf on 
 the shade strokes. We have here, 
 student added smaller leaves and 
 
 184 
 
Flower Leaf Ciphers. 
 
 185 
 
 background or foundation of the cipher shown at Fig. 188 is com- 
 posed of parallel lines made to produce an oval effect in the bars of 
 the letters. While we show the cipher here in this style, we wish 
 to advise the student that the most common style of cutting flower 
 leaf ciphers is to cut a fine line foundation for letters. They are 
 sometimes engraved by outlining the bars of the letters and then 
 cross-lining them and filling them in with the various styles of 
 fillings for block ciphers and old English letters. This is, however, 
 not as practical as the fine line and the style here shown. 
 
 At B, Fig. 188, we illustrate the flower leaf on a large scale, 
 showing the student its general outline. In cutting this leaf the 
 outlines should be engraved first, care being taken to shade the leaf 
 at the points where they are shown shaded here. It will be observed 
 that there are only three lines in the main part of the leaf composing 
 the shading, that is, apart from the cross lines — the number of 
 which does not matter. This is the portion of the leaf that gives 
 the student most trouble, as he does not make these lines all radiate 
 from the same point, or run through to the same destination, as he 
 ought to. It will be observed here that the lines all radiate from 
 and taper down to the left side of the leaf. This, from an art 
 standpoint, is necessary in order to produce the effect of the leaf 
 being curved at that portion. The object of curving the line of the 
 leaf near the extreme right point is to give it the effect of being 
 sunken in at that point. This leaf will give the student some 
 difficulty until he has mastered the idea of its construction, and has 
 become familiar with the number of lines necessary in forming it. 
 No attempt should be made to shade the leaf until after it has been 
 cut in outline complete. 
 
 A cipher of this description can be made in what is known as 
 a double flower leaf cipher. The difference between such style and 
 the one here shown is, that on the main shade strokes of the letters 
 there are two leaves, one protruding downward and the other 
 upward. Between the two leaves there can be a different filling 
 from that in the remaining portion of the cipher. Such work as 
 vermicelli, beadwork, etc., can be engraved in between these two 
 prominent leaves, while the remaining portion of the letter could be 
 engraved in the style here shown. The main leaves of the cipher 
 should be the same, not necessarily the same size but as nearly so 
 as space would permit, and as nearly the same shape as possible in 
 the space ; but the small fancy cuts or portions of leaves protruding 
 
i86 
 
 The Art of Eyigraving. 
 
 from the various loops and bars of the letters are not necessarily 
 engraved the same. In fact, these are usually an innovation of the 
 artist as he proceeds with the work ; he making them in such 
 shape and size as is deemed necessary to fill the space artistically. 
 We have previously mentioned the fact that it is advisable to design 
 all ciphers perfectly plain first, then add the leaves or other 
 ornamentation. 
 
 It would seem to the student in looking at the cipher at 
 Fig. 1 88 as if he should make the ornaments as he was sketching 
 the cipher. This is entirely wrong. The cipher here shown was 
 designed perfectly plain first in outline, then the main leaves were 
 added. Some of the little ornaments, or portions of leaves, were 
 not designed at all, but cut as they were needed when cutting the 
 cipher. Of course, for the student it would be advisable to design 
 the cipher in outline complete, and then to add all the little orna- 
 ments complete ; not depending upon his eye to cut any of the 
 ornaments. Skilled artists, however, can make such little cuts with 
 as much accuracy without the aid of a previous sketch as with it, 
 and time is saved in this way. The same general style of leaf as 
 here shown can be, and often is, twisted and formed in somewhat 
 different shapes. Some engravers will make them more blunt 
 on the end and some more pointed. The one we have selected, 
 however, will probably be found the best for general use. 
 
 A flower leaf cipher well engraved necessitates a large amount 
 of work and much skill. In fact, in the flower leaf ciphers we find 
 the artistic abilities of the engraver brought out to their fullest 
 extent. This being true, the student is advised to engrave this 
 style until he has mastered it thoroughly, as the work of cutting it 
 is very effective in developing his ability both from an artistic and 
 mechanical point of view. 
 
CHAPTER XXX. 
 
 BLOCK CIPHERS. 
 
 At Vig. 189 we illustrate the complete alphabet in block mono- 
 gram. There are many different styles of block monograms and many 
 different styles and ideas of entwining them. It would not be prac- 
 tical for us to give time and space to the various styles of fillings, etc. 
 The student will, however, from the illustrations here given, gain 
 
 sufficient information to develop into 
 a good monogram engraver. The 
 first thing to do in engraving a block 
 monogram on a watch case, or any 
 other round surface, is to first make 
 the circle and lines, as shown at 
 Fig. 173, which gives the student all 
 of the necessary lines for drawing 
 the monogram with great accuracy. 
 
 In engraving a block mono- 
 gram it is necessary to make three 
 different shaped letters, one oblong, 
 one medium and another full or 
 grotesque. By making the letters 
 in this way we find it very easy to entwine any three letters in the 
 alphabet, and if the student will observe any three-letter monogram 
 that may come to his attention he will find 
 that there is one long letter and one very 
 broad letter and one medium shaped. 
 
 There is one very common error in 
 monogram engraving, which we must 
 criticise at this point, and advise the 
 student in reference to before we give any 
 ideas of entwining. We show at Fig. 190 
 a monogram beautifully engraved from a 
 standpoint of accuracy, and yet crowded 
 at the top and through the center and at 
 
 the base. This is one of the common errors in block monograms 
 and in cipher also. This monogram could be made very artistic 
 
 Fif;^. 189 
 
 187 
 
The Art of Engraving. 
 
 1 88 
 
 and devoid of such crowding, as the samples to follow will show. 
 Another fault of the monogram here given is that the styles of 
 filling are so similar that there is not a sufficient distinction be- 
 tween the letters. A block monogram, in order to be readable, 
 should have different kinds of filling. Most block monograms are 
 so made that each of the three letters will touch the circle in which 
 they are engraved. Some, however, are made on different lines. 
 Usually block monograms are filled on the inside of the general 
 outline. 
 
 Students in the art of engraving appreciate the value of samples 
 of monograms or monogram designs, and often make inquiries as 
 
 Fig. 191 
 
 Fig. 193 
 
 to where such samples may be procured. The best collection of 
 monograms known to the author is ‘ ‘ The Keystone Portfolio 
 of Monograms,” containing I2i different designs and quite a 
 variety of combinations. This useful portfolio can be procured 
 from The Keystone for 50 cents. By way of an object lesson in 
 block-monogram engraving we here reproduce a few specimens 
 taken from the portfolio, each illustrating some point that merits 
 the special attention of the student. 
 
 At Fig. 191 we show a monogram which is without the fault 
 of crowding and shading, to which we called attention in Fig. 190. 
 Attention is also directed to the style of entwining and to the 
 protrusion of portions of leaves from the principal letter. 
 
 Most block monograms are engraved perfectly round. Some- 
 times, however, the engraver has occasion to engrave them oblong. 
 
Block Ciphers. 
 
 189 
 
 We illustrate at Fig. 192 a monogram engraved oblong. In this 
 case the instruction given in reference to making a circle would 
 apply, excepting that it would be necessary to make an ellipse and 
 then draw the necessary guide lines, as shown at Fig. 173. The S 
 in this monogram has the artistic features of a flower leaf cipher 
 letter, the bars of the letters being parallel and composed of orna- 
 ments representing to some extent the outline of a leaf. It will be 
 seen that the line work to make this style of letter is something 
 after the style used in making an oval parallel line monogram, and 
 the shading of the ornaments is the same or somewhat similar to 
 the shading of leaves in flower leaf ciphers. Great accuracy is de- 
 
 Fig. 193 
 
 AR. 
 
 Fig. 194 
 
 manded in cutting these shade strokes. The cross lining of the C 
 in this combination can be done with a flat-face graver, round-face 
 graver or a square graver. If the strokes are to be heavy a round- 
 face graver can be used to advantage. All the fine-line cross lines 
 are done with a flat-face graver. 
 
 At Fig. 193 we illustrate a very beautiful monogram, the design 
 of which is something beyond the ordinary from an artistic stand- 
 point, as in such a combination it is difficult to obviate crowding 
 the bottom of the A and H at the base. The artist, however, in 
 this case has thrown the bars of the A around in such a way as to 
 fill in the vacant space on the right and left of the H, and at the 
 same time has so utilized the material of the A as to make it com- 
 plete and oval. A monogram of this style can be engraved 
 complete with a square graver. The vermicelli filling in the A is 
 
190 The Art of Engraving. 
 
 made by making little crescent cuts with the square graver, as close 
 together as possible. The H is made by parallel lines as previously 
 described. 
 
 At Fig. 194 we illustrate a monogram of two letters A A, it 
 being, of course, pointed at the top, yet this monogram is made in 
 such a way that the combination would fill a circle to advantage. 
 The artist, in designing this monogram, evidences much ability 
 as a monogram artist. 
 
 In cutting a block monogram the style of shading in cutting 
 on a watch case is usually fine lines, the same as in cutting fine- 
 line old English, as previously described. The most common 
 
 fillings for block monograms are cross lines and dots, or cross lines 
 and plain filling and bead work. 
 
 We illustrate a monogram at Fig. 195, the principal letter of 
 which is engraved with a bead-work style. In making these beads 
 after the line has been engraved on the inside of the delineation or 
 outline of the letter, a circle is engraved for the bead and then the 
 little lines around on the lower right side of the circle, producing 
 the shade effect which gives the appearance of a bead. The black 
 background of the H, here illustrated, is made by fine lines or by 
 chopping the surface out between the beads with a flat-face graver, 
 as described for making the diamond border. It will be noticed, 
 however, that on the L in this monogram, a leaf similar to the style 
 of leaf mentioned and illustrated at Fig. 188 is used. 
 
 We often have monograms of combinations that are very 
 difficult to entwine, and a monogram containing an M and W often 
 gives the engraver trouble. We illustrate a combination of L, M, W, 
 
Block Ciphers. 
 
 91 
 
 at Fig. 196, where a style of a W, somewhat different in form from 
 the ordinary letter with which the student may be familiar is used, 
 in which case the objectionable features of this combination are 
 
 188 ?: 
 Fig. 197 
 
 entirely overcome. It will also be seen that the style of work 
 around the W is such that the leaf similar to the flower leaf 
 previously described can be used to advantage. The filling on the 
 M is made by making a heavy and a light line alternately. 
 
 Fig. 199 
 
 V/.s-ix 
 
 Fig. 200 
 
 At Fig. 197 we illustrate a monogram of four figures. The little 
 dots on the center in this case are made with a round-face graver. 
 The little ornaments around this monogram are, of course, done 
 with a square graver, and show the student how such little artistic 
 cuts can be placed around a monogram sparingly and produce a 
 very artistic effect. 
 
192 
 
 The Art of Engraving . 
 
 Two W’s in a monogram are very difficult to entwine. We 
 show at Fig. 198 a monogram, composed of S W W, showing the 
 student how the two letters can be entwined to advantage. It is 
 sometimes desired to make several little ornaments protruding 
 from a letter or make a letter in outline rather fancy or ornamental. 
 A monogram after this design is shown at Fig. 199. The filling in 
 this monogram is rather plain. The style of the fillings can be 
 arranged to suit the artist. 
 
 One of the most common fillings in use in high-class mono- 
 gram work is that known as vermicelli filling. The vermicelli en- 
 graved watch cases are very well known to most of our engravers, 
 
 especially those who are jewelers. This class of work requires 
 considerable skill, and yet is made by simply making a continuation 
 of little curves and circles, several little curves within a larger 
 curve. The initial R in the monogram shown at Fig. 200 is filled 
 with this style of vermicelli. 
 
 At Fig. 201 we illustrate a monogram of the first three letters 
 of the alphabet, showing a very neat combination and some little 
 fancy ornaments added thereon that can be applied to many other 
 styles of letters. The beads on the B are also made very delicately, 
 which shows another way to use the beads to advantage. 
 
 A block monogram can be engraved to advantage on a very 
 elaborate scale if the engraver has a perfectly plain case to engrave 
 on, by engraving the letters rather plain in outline, something 
 similar to the combination shown at Fig. 202. No filling is 
 
 Fig. 201 
 
 Fig, 202 
 
Block Ciphers. 
 
 193 
 
 engraved in the letters, which are left perfectly plain, the vermicelli 
 style of engraving previously mentioned being then cut in and 
 around the letters. This style is som.etimes engraved by cutting 
 around the letters, making little cuts nearly triangle shape with a 
 square graver, and so close together that there would be none of 
 the original surface left. This would leave the letters perfectly 
 plain, and the case all around and in between the letters fully 
 engraved, the effect of which is very beautiful. Of course, it would 
 be necessary in a case of this kind to engrave the case all over the 
 same style or make a circle of the same on the front case. 
 
 We often have monograms of more than three letters. We 
 
 Fig. 203 
 
 fA.l.O. 
 
 Fig. 204 
 
 show a monogram of five letters at Fig. 203, showing the student 
 that if the letters are changed in form by making some of the letters 
 very full and the others very slim, even a five-letter combination is 
 not a difficult task. 
 
 The monogram shown at Fig. 204 gives the student many 
 points in reference to the ways of ending of letters. 
 
 We sometimes have a request for what is known as rustic 
 monograms. In other words, a cipher made to produce the appear- 
 ance of a branch of a tree. We illustrate a monogram at Fig. 205, 
 two letters of which are made after this style. It will be seen that 
 the filling is very easily done, and the student who has followed our 
 lines of instruction thus far is familiar with the cutting. It is simply 
 a matter of cutting shade strokes with a square graver, producing 
 the effect of irregular outline. 
 
194 
 
 The Art of Engraving. 
 
 We illustrate a three-letter rustic monogram at Fig. 206, 
 showing a very odd combination. 
 
 At Fig. 207 we illustrate a combination showing how the lower 
 
 portion of a P can be thrown around to the right to fill in a space in 
 order to make a monogram round. 
 
 We have previously mentioned the fact that the most common 
 
 4D.E AWK- 
 
 Fig. 207 Fig. 208 
 
 fillings for block monograms are the parallel line, beads and dots. 
 We show a monogram made after this style of filling at Fig. 208. 
 
 At Fig. 209 we illustrate a combination showing a style of 
 fancy filling in the B which is worthy of the consideration of the 
 student. In designing a block monogram the student should usually 
 
Block Ciphers. 
 
 195 
 
 •H.F.'B. 
 
 Fig. «oy 
 
 first make the full or broad letter ; then the medium letter, and 
 then fill in the oblong letter. Of course, there are combinations 
 where this rule would not apply. Block monograms are first 
 designed by making the outline plain but 
 very accurate, after which it is advisable to 
 scratch the designs on with the steel point 
 of the stylus ; the designing material, be 
 it what it may, either wax or Chinese white 
 being then rubbed off. Then we have the 
 clean, smooth surface of the metal to work 
 on. In cutting a block monogram it does 
 not matter whether the first, middle or last 
 letter is cut first. Usually, however, it is the 
 custom of most engravers to cut the last 
 initial first. In engraving a block monogram 
 
 the student should make the last letter of the initial the heavier or 
 most prominent. This can be done by either increasing the width 
 of the bars of the letter or by making the filling more prominent 
 than any of the others. By observing the designs we have shown 
 it will be seen that this is the rule carried out. 
 
 One of the most elaborate styles of shading a block monogram 
 is by making little cross lines, all of which should be made on the 
 same angle — starting from the inside of the shade stroke and 
 protruding to the outside. This method of shading is illustrated at 
 Fig. 210, where we show a bar of a letter, 
 the line B being the inside of the stroke 
 and the line A the outside of the lower 
 portion of this bar which we have shaded, 
 showing the student how the lines are made. 
 These lines should be so close together that 
 there is no visible surface between them. 
 Some surface is shown in the illustration 
 
 here given in order to show the student how 
 the lines are made, but in actual work the lines start on the 
 line B and are very close together. In fact, one line reaches up 
 
 to the edge of the other. Then, as the graver is pushed for- 
 ward, it is pushed in deeper, thereby increasing the width of 
 the incision. By cutting the shade stroke in this style it gives 
 the monogram the appearance of being raised much above the sur- 
 face of the metal upon which it is cut. 
 
196 
 
 The Art of Engraving . 
 
 The common error of students in cutting this style of shade is 
 that they do not cut the lines all in the same angle. As previously 
 mentioned they should all be cut on the same angle, it matters not 
 whether they are on top, at the extreme right, or end a bar of a 
 letter. In cutting this style of shade strokes it is the practice of the 
 best engravers not to cut the line B until after the shade cuts have 
 all been made, in which case we must gage the distance between 
 the line B and the outside of the stroke A by the eye ; it being 
 necessary, of course, to increase and decrease the length of these 
 lines according to the width of the shade stroke. Then after the 
 shade strokes have all been cut, the line B can be engraved around 
 and the edges of the same trimmed off with great accuracy. There 
 is no objection to cutting the line B first if the engraver so desires. 
 
 We bring this treatise to a close by advising the student to 
 continually avail himself of the opportunity to closely examine 
 specimens of fine engraving and to practice the ideas and methods 
 herein given until he is master of the various styles which we have 
 illustrated and which are necessary in his particular case. One of 
 the important points for a beginner to remember is, that he will be 
 expected to do his work with great rapidity and accuracy. An 
 engraver should be able to engrave a monogram in a very few 
 minutes in order to accomplish the work with the speed required 
 by most large stores. Consequently, the student should practice 
 doing the work with rapidity after he has attained the all-important 
 feature of accuracy. Engraving, as before said, is one of the most 
 beautiful arts in existence, and the student should appreciate the 
 fact that in his work he is classified as an artist, and should endeavor 
 to make himself worthy of the name. To aid him in this effort is 
 the object of this treatise. 
 
INDEX 
 
 B 
 
 Bangles 127 
 
 Borders and Bars for .... . . 12‘J 
 
 Fan Border 130 
 
 Wriggling 120 
 
 Bead Work 100 
 
 Block, Diamontine and Boxwood . . .28 
 
 Block, Engraver’s 24 
 
 Block Alphabet 187 
 
 Block Ciphers 187 
 
 Block Letters 35 
 
 Bars in 35, 40 
 
 Cap 122 
 
 Cutting 40 
 
 Drawing . . 39 
 
 Fancy 123 
 
 Shading 43, 125 
 
 Wriggling 42 
 
 Block Monograms 194 
 
 Shading 195 
 
 Block-shaded Line 125 
 
 Bon-Bon Dish, Engraving a 25 
 
 c 
 
 Capital Stems 50 
 
 Celluloid Rule 81 
 
 Cement, Engraver’s 23 
 
 Chinese White 23 
 
 Ciphers . . 165 
 
 Block 187 
 
 Block Alphabet 137 
 
 Bright Cut 166 
 
 Bright Cut on Polished Surface . . 167 
 
 Britannia Metal, on .175 
 
 Chop Cut Ornament in 177 
 
 Curved Strokes in 177 
 
 Designing and Engraving 165 
 
 Designing in a Circle 168 
 
 Entwined 174 
 
 Fine Line 166 
 
 Flower Leaf 185 
 
 Flower Leaf, Doable 185 
 
 Lily Ornament on 175 
 
 Loops in 174 
 
 On Oblong Dishes or Trays .... 171 
 
 On Polished Silver 166 
 
 On Teaspoons 166 
 
 Ciphers 
 
 Ornamentation of 172, 174 
 
 Ornament for Fine Line 178 
 
 Parallel Line 180 
 
 Parallelism in 168 
 
 Ribbon Work in 178 
 
 Sketching 168 
 
 Twisting 179 
 
 Circle, Finding the Center of a 17 
 
 Circle Passing Through Three Points . 18 
 Circles, Describing and Engraving ... 19 
 Coffin Plates, Engraving 80 
 
 D 
 
 DcTni-IIunter, A 11 
 
 Designing Wax 80 
 
 Diamontine and Boxwood Block .... 28 
 Diminishing the Size of Objects .... 16 
 Drawing Board 14 
 
 E 
 
 Ellipse, Drawing an 21, 22 
 
 Emery Paper, French 0000 23 
 
 Engraving, First Exercises in ... 30 
 
 On Zinced Copper 30 
 
 Enlarging the Size of Objects . ... 16 
 
 Equilateral Triangle 17 
 
 E 
 
 Fine Lines, Cutting 
 
 Flower-Leaf Cipher 
 Flower-Leaf Cipher, Double 
 Fork Handles, Engraving on 
 Finding Space Center . . 
 Placing Initials on . . . 
 
 G 
 
 German Text 141 
 
 Gothic Letters 37, 45 
 
 Graver, Bright Cutting 28 
 
 Condition of for Engraving Watch 
 
 Cap 149 
 
 Exact Length for the 24 
 
 For Novice’s Use 24 
 
 Grinding a 25 
 
 Grinding Under Side of 25 
 
 Heeling Up a 26 
 
 Holding the 24 
 
 In Cipher Cutting 167, 172 
 
 Keeping Graver Cool 25 
 
 167 
 
 185 
 
 185 
 
 156 
 
 157 
 157 
 
 197 
 
198 
 
 The Art of Eiigraving . 
 
 Graver 
 
 Line 45 
 
 Polishing a 28, 33 
 
 Polishing the Flat-Faced . . . 34 
 
 Eough Edge 27 
 
 Sharpening a 26, 33 
 
 Slipping of a 172 
 
 The Flat-Faced 33 
 
 Whetting on Oilstone 27 
 
 Gravers, Case for 89 
 
 Greek Letters 156 
 
 H 
 
 Hair Line, Cutting a 31 
 
 Hair Line of Beauty, Error in Shading 50 
 
 Hair Line, Vertical 165 
 
 Hardwood, Block of 23 
 
 Hebrew Letters 126 
 
 Hexagon, Inscribing a 19 
 
 1 
 
 Initials, Drooping 162 
 
 Inscriptions in Different Styles of 
 
 Letters 151 
 
 Inscriptions in Script, Roman and Old 
 
 English 152 
 
 Inscriptions, Making Curves in . . . 153 
 
 Iuscrii)tion Work, Difficulty of ... . 153 
 Italics 124 
 
 Knife Handles, Engraving on 156 
 
 Finding S])ace Center of 157 
 
 Placing Initials on 156 
 
 o 
 
 Octic Letter 37 
 
 Odd Letters 121 
 
 Italics 124 
 
 Japanese Letters 121 
 
 Picadilly Letters 121 
 
 Oilstone 23, 29 
 
 Old English 97 
 
 Bright Cut Letters 105 
 
 Cutting 101 
 
 Cutting Bars of 101 
 
 Cutting on Pearl or Ivory 116 
 
 Favorite Style of 140 
 
 Fine Line . 112 
 
 Fine Line and Bright Cut Com- 
 bined 116 
 
 Lapping of Bars in 102 
 
 Ornamental Capitals in 137 
 
 Ornamental Scrolls in 138 
 
 Ornamental Work for Inscriptions 
 
 in 139 
 
 Roll Cut in . . 104, 108 
 
 Shaded 134 
 
 Shade Strokes in 134 
 
 Styles of Filling in 135 
 
 Uses and Styles of . , • Ill 
 
 Wriggling 106, 111 
 
 Ovals .... 53 
 
 Pad, A Sand Bag 23 
 
 Parallel Lines 30 
 
 Perpendicular, Erecting a 18 
 
 Picadilly Letters 121 
 
 Protractor, A 13 
 
 
 Lamp, An Alcohol 23 
 
 Line of Beauty 166 
 
 Lines, Crescent 31 
 
 Straight 32 
 
 Lockets, Engraving 162 
 
 Proportions of Lettering for .... 163 
 Loops 53 
 
 M 
 
 Match Box, Engraving a 78 
 
 ^Materials for Beginner 23 
 
 Measuring, Means of ... 24 
 
 Mechanical Drawing 13 
 
 Exercises 17 
 
 Medals, Engraving 129 
 
 Monograms, Styles of 188 
 
 Block 194 
 
 Rustic 193 
 
 Script 174 
 
 Music, Bar of 125 
 
 R 
 
 Rings, Engraving Inside of 86 
 
 Roman Alphabet and Figures 120 
 
 Roman Letters, Cutting 117 
 
 Wriggling 120 
 
 Rouge, Washing off 150 
 
 Rule, A Parallel . . 14 
 
 Rule, Celluloid 81 
 
 Rustic Monograms 193 
 
 Three-Letter 194 
 
 3 
 
 Script 47 
 
 Alphabet of 48, 49, 61 
 
 Capitals in 61 
 
 Compared with Old English .... 152 
 
 Entwined 165 
 
 Essentials of 33 
 
 Fancy Letters in 68 
 
 Fancy Words in 73 
 
 French Script 124 
 
Index. 
 
 199 
 
 Script 
 
 Initials, Names and Figures ... 77 
 
 Inscriptions ... 91, 143 
 
 Line of Beauty 50 
 
 Looped Numerals 72 
 
 Looped Style of 68, 72 
 
 Looped Styles of Vertical 75 
 
 Lower-Case Letters in 54 
 
 Lower Loops in 57 
 
 Numerals . . 67 
 
 On Coffin Plates 80 
 
 On Fork Handles 78 
 
 On Ivory and Pearl 94 
 
 On Lockets 77 
 
 On Match Boxes 78 
 
 On Pin Trays 79 
 
 On Rings 88 
 
 On Seals 95 
 
 On Teaspoons 94, 77, 127 
 
 On Thimbles 88 
 
 Ovals and Loops in 53 
 
 Round-hand 74 
 
 Running or Entwined 159 
 
 Scroll 79, 83 
 
 Shade Strokes of Lower-Case liCtters 59 
 
 Sketching 48 
 
 Spacing 82,. 146 
 
 Scraper, A 173 
 
 Scroll Lines 31 
 
 Shading 32 
 
 Block Letters 43, 125 
 
 Sketching Letters 48 
 
 Size of Objects, Diminishing ...... 16 
 
 Of Objects, Enlarging 16 
 
 Spoon Handles 77, 155, 162 
 
 Engraving Ciphers on 159, 162 
 
 Entwining 159 
 
 Finding Space Center of 157 
 
 Initials for Ciphers on 158 
 
 Monogram Cutting on 160 
 
 Placing Initials on 156 
 
 Running or Entwined Script on . . 159 
 
 Square, A Carpenter’s 13 
 
 Drawing a 17 
 
 In a Circle, Inscribing a 21 
 
 The T 15 
 
 Stems, Capital . . 50 
 
 Straight-edge, A 23 
 
 Stylus 23 
 
 T 
 
 Table for Engravers 90 
 
 Tangent, Drawing a 20 
 
 Teaspoon Bowls 94 
 
 Etching 128 
 
 Teaspoon Handles 77, 155 
 
 Technical Training 11 
 
 Thimbles, Engraving on 86 
 
 Tools for Beginners 23 
 
 Transfer Wax 23 
 
 Formula for 23 
 
 Triangles 14, 17 
 
 Turntable, Engraver’s 84 
 
 V 
 
 Vermicelli Filling 189, 192 
 
 w 
 
 Watch-Case Engraving 93, 143 
 
 Block Monograms in 187 
 
 Condition of (jraver in 149 
 
 Cutting Letters in 148 
 
 Different Styles of Letters . . . 151 
 
 Engraving on Plain Case .... 192 
 
 Gold-Filled, Engraving on 150 
 
 Holding Case in ... . . . 149 
 
 Polishing in . 150 
 
 Prevention of Denting 144 
 
 Removing Cap 144 
 
 Removing Wax 149 
 
 Shade Strokes 147 
 
 Size of Letters 145 
 
 Size of jMonogram 150 
 
 Spacing 146 
 
 Washing off Rouge 150 
 
 Wax, Designing 80 
 
 Removing 149 
 
 Transfer 23 
 
THE KEYSTONE PORTFOLIO 
 OF MONOGRAMS 
 
 This portfolio contains 121 com- 
 bination designs. These designs 
 were selected from the best of those 
 submitted in a prize competition 
 held by The Keystone, and will be 
 found of value to every one doing 
 engraving. 
 
 The designs are conceded to be 
 the best in the market, excelling in 
 art and novelty of combination and 
 skill in execution. 
 
 They are printed from steel plates 
 on stiff, durable paper, and contain 
 sample monograms in a variety of 
 combinations. 
 
 The portfolio is a bench require- 
 ment that no jeweler can afford to be 
 without. It is a necessary supple- 
 ment to any text-book on letter 
 engraving. 
 
 Price, 
 
 50 Cents ( 2 s. 
 
 A, 0 u W 
 
 Published by I HE K.EVSTONE, 
 
 THE ORGAN OF THE JEWEERY AND OPTICAL TRADES, 
 
 19TH & Hrown .Sts., Philadelphia, U.S.A. 
 
THE 
 
 WATCH ADJUSTER’S MANUAL 
 
 ■ A Complete and Practical Guide for 
 Watchmakers in Adjustini: Watches 
 and Chronometers for Isochronism, 
 Position, Heat and Cold. 
 
 BY CHARLES Edgar Fritts (excelsior), 
 
 Author of “ Practical Hints on Watch Repairing,” ‘‘Practical Treatise on Balance 
 Spring,” ‘‘Electricity and Magnetism for Watchmakers,” etc., etc. 
 
 This well-known work is now recognized as the standard 
 authority on the adjustments and kindred subjects, both here 
 and in England. It contains an exhaustive consideration of the 
 various theories proposed, the mechanical principles on which 
 the adjustments are based, and the different methods followed 
 in actual practice, giving all that is publicly known in the trade, 
 with a large amount of entirely new practical matter not to be 
 found elsewhere, obtained from the best manufacturers and work- 
 men, as well as from the author’s own studies and experiences. 
 
 Sent postpaid to any part of the world on receipt of 
 $ 2.50 (lOs. 5d.) 
 
 The Keystone (Sole Agent), 
 
 19TH AND Brown Streets, Philadelphia, U.S.A. 
 
Watch and Clock Escapements 
 
 A masterly treatise on the lever, cylinder and chro- 
 nometer escapements, with an illustrated history 
 of the evolution and development of the 
 escapement idea in horology. 
 
 This book is noted for its practical character and for the 
 number and excellence of the illustrations. It is the work of two 
 of the most accomplished and experienced teachers of horology 
 in the United States, and their skill in imparting their knowledge 
 to students is shown on every page of the book both in text and 
 in illustration. 
 
 Though thoroughly scientific, it is lucid in statement and 
 surprisingly easy of comprehension, even to students of limited 
 mathematical or geometrical attainments. Any watchmaker, 
 student of horology or apprentice can easily master it without the 
 aid of an instructor or attendance at a school. 
 
 It is conceded to be the most complete and lucid work on 
 the three principal escapements available to students of horology. 
 
 An interesting appendix to the book is an illustrated history 
 of escapements from the first crude conceptions to their present 
 perfection ; also an illustrated article telling lucidly and step by 
 step how to put in a new cylinder — a most practical bit of in- 
 formation for the watch repairer. 
 
 Bound in silk cloth ; 198 pages and 216 illustrations. 
 
 Sent postpaid to any part of the world on receipt of price 
 $ 1.50 (6s. 3d.) 
 
 Published by The Keystone, 
 
 THE ORGAN OF THE JEWELRY AND OPTICAL TRADES, 
 
 T9T11 AND Brown Sts., Philadelphia, U.S.A. 
 
The Keystone 
 
 Record Book of Watch Repairs 
 
 This book is 9x11 inches, has 120 pages, and space for 
 recording sixteen hundred jobs in detail. It is made of linen 
 ledger paper, bound in cloth with leather back and corners. 
 
 Price, SI . 00 (4s. 2d.), prepaid. 
 
 No other record book on the market is so complete, and 
 all cost more. 
 
 Published by The Keystone, 
 
 THE ORGAN OF THE JEWEERY AND OPTICAR TRADES, 
 19TH & Brown Sts., Philadelphia, U. S. A. 
 
 The Keystone 
 
 Book op Guarantees opWatch Repairs 
 
 This book contains two hundred printed guarantees, and is 
 handsomely bound. Each guarantee is 3^ ^ 7^ inches, and 
 most carefully worded. Jewelers have discovered that the use 
 of these guarantees is a most effective way to secure and culti- 
 vate public confidence. We sell a book of two hundred for 
 
 $ 1,00 (4s. 2d.), prepaid, 
 
 which is one-third less than the price charged by others for a 
 similar book. 
 
 Published by The Keystone, 
 
 THE ORGAN OF THE JEWEERY AND OPTICAE TRADES, 
 19TH & Brown Sts., Philadelphia, U. S. A. 
 
THE OPTICIAN’S MANUAL 
 
 VOL. I. 
 
 By C. H. Brown, M. D. 
 
 Graduate University of Pennsylvania ; Professor of Optics and Refraction ; formerly 
 Physician in Philadelphia Hospital ; Member of Philadelphia County, 
 Pennsylvania State and American Medical Societies. 
 
 The Optician’s Manual, Vol. I., has 
 proved to be the most popular work on 
 practical refraction ever published. The 
 knowledge it contains has been more 
 effective in building up the optical profes- 
 sion than any other educational factor. 
 A study of it is essential to an intelligent 
 appreciation of Vol. II., for it lays the 
 foundation structure of all optical knowl- 
 edge, as the titles of its ten chapters show : 
 
 Chapter I. — Introductory Remarks. 
 
 Chapter II. — The Eye Anatomically. 
 
 Chapter HI.— The Eye Optically; or, The Physiology of Vision. 
 Chapter IV.— Optics. 
 
 Chapter V.— Lenses. 
 
 Chapter VI.— Numbering of Lenses. 
 
 Chapter VII. — The Use and Value of Glasses. 
 
 Chapter VIII.— Outfit Required. 
 
 Chapter IX.— Method of Examination. 
 
 Chapter X.— Presbyopia. 
 
 The Optician’s Manual, Vol. I., is complete in itself, and 
 has been the entire optical education of many successful opti- 
 cians. For student and teacher it is the best treatise of its kind, 
 being simple in style, accurate in statement and comprehensive 
 in its treatment of refractive procedure and problems. It merits 
 the place of honor beside Vol. II. in every optical library. 
 
 Bound in Cloth— 422 pages— colored plates and illustrations. 
 
 Sent postpaid on receipt of $1.50 (6s. 3d.) 
 
 Published by I HE IvEYSTONE, 
 
 THE ORGAN OP' THE JEWELRY AND OPTICAL TRADES, 
 19TH & Brown Sts., Philadelphia, U. S. A. 
 
THE OPTICIAN’S MANUAL 
 
 VOL. n. 
 
 By C. H. Brown, M. D. 
 
 Graduate University of Pennsylvania ; Professor of Optics and Refraction ; formerly 
 Physician in Philadelphia Hospital ; Alember of Philadelphia County, 
 Pennsylvania State and American Medical Societies. 
 
 The Optician's Manual, \"ol. II., is 
 a direct continuation of The Optician’s 
 Manual, \ol. I. , being a much more 
 ad\’anced and comprehensive treatise. 
 It covers in minutest detail the font 
 great subdivisions of practical eye refrac- 
 tion, viz ; 
 
 Myopia. 
 
 Hypermetropia. , 
 
 Astigmatism. 
 
 Muscular Anomalies. 
 
 It contains the most authoritative and complete researches 
 up to date on these subjects, treated by the master hand of 
 an eminent oculist and optical teacher. It is thoroughly prac- 
 tical, explicit in statement and accurate as to fact. All refrac- 
 tive errors and complications are clearly explained, and the 
 methods of correction thoroughly elucidated. 
 
 This book fills the last great want in higher refracti\e 
 
 o o 
 
 optics, and the knowledge contained in it marks the standard 
 of professionalism. 
 
 Bound in Cloth— 408 pages— with illustrations. 
 
 Sent postpaid on receipt of $ 1.50 (6s. 3d.) 
 
 Published by T HE IxEYSTOXE, 
 
 THE ORGAN OF THE JEWELRY AND OPTICAL TRADES, 
 19TH & Brown Sts., Philadelphia, U. S. A. 
 
SKIASCOPY 
 
 AND THE USE OF THE RETINOSCOPE 
 
 A Treatise on the Shadow Test in 
 its Practical Application to the 
 Work of Refraction, with an Ex- 
 planation in Detail of the Optical 
 Principles on which the Science 
 is Based. 
 
 This new work, the sale of which has already necessitated 
 a second edition, far excels all previous treatises on the subject 
 in comprehensiveness and practical value to the refraction ist. 
 It not only explains the test, but expounds fully and explicitly 
 the principles underlying it — not only the phenomena revealed 
 by the test, but the why and wherefore of such phenomena. 
 
 It contains a full description of skiascopic apparatus, 
 including the latest and most approved instruments. 
 
 In depth of research, wealth of illustration and scientific 
 completeness this work is unique. 
 
 Bound in cloth; contains 231 pages and 73 illustrations 
 and colored plates. 
 
 Sent postpaid to any part of the world on receipt of $1.00 (4s. 2d.) 
 
 Published by The Keystone, 
 
 THE ORGAN OF THE JEWEERY AND OPTICA.E TRADES, 
 19TH AND Brown Sts., Philadelphia, U.S.A. 
 
PHYSIOLOGIC OPTICS 
 
 Ocular Dioptrics — Functions of the Retina— Ocular 
 Movements and Binocular Vision 
 
 By Dr. M . Tsch erning 
 
 Director of the Laboratory of Ophthalmology at the Sorbonne, Paris 
 
 AUTHORIZED TRANSLATION 
 
 By Carl Weiland. M.D. 
 
 Former Chief of Clinic in the Eye Department of the Jefferson College Hospital, 
 Philadelphia, Pa. 
 
 This translation, now in its second edition, is the most masterful 
 treatise on physiologic optics. Its distinguished author is recognized in 
 the world of science as the greatest living authority on this subject, and 
 his hook embodies not only his own researches, but those of several 
 hundred investigators, who, in the past hundred years, made the eye their 
 specialty and life study. 
 
 Tscherning has sifted the gold of all optical research from the dross, 
 and his book, as revised and enlarged by himself for the purposes of this 
 translation, is the most valuable mine of reliable optical knowledge within 
 the reach of ophthalmologists. It contains 380 pages and 212 illustra- 
 tions, and its reference list comprises the entire galaxy of scientists who 
 devoted their researches to this subject. 
 
 The chapters on Ophthalmometry, Ophthalmoscopy, Accommodation, 
 Astigmatism, Aberration and Entopic Phenomena, etc. — in fact, the entire 
 book contains so much that is new, practical and necessary that no 
 refractionist can afford to be without it. 
 
 Bound in Cloth. 380 Pages, 212 Illustrations 
 
 Price, $ 2.50 (lOs. 5d.) 
 
 Published by The Keystone 
 
 THE ORGAN OF THE JEWELRY AND OPTICAL TRADES 
 19TH & Brown Sts., Philadelphia, U.S.A. 
 
Optometric Record Book 
 
 A record book, wherein to record optometric examinations, 
 is an indispensable adjunct of an optician’s outfit. 
 
 The Keystone Optometric Record Book was specially pre- 
 pared for this purpose. It excels all others in being not only a 
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 The book contains two hundred record forms with printed 
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 The Keystone Record Book diminishes the time and labor 
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 Sent postpaid on receipt of SI .OO (4s. 2d.) 
 
 Published by The Keystone, 
 
 THE ORGAN OF THE JEWEERY AND OPTICAE TRADES, 
 19TH & Brown Sts., Phieadeephia, U.S.A. 
 


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