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diff --git a/40002-0.txt b/40002-0.txt new file mode 100644 index 0000000..171d60e --- /dev/null +++ b/40002-0.txt @@ -0,0 +1,5368 @@ +*** START OF THE PROJECT GUTENBERG EBOOK 40002 *** + +The Die Varieties + +of the + +NESBITT SERIES + +of + +United States Envelopes + + +By + +VICTOR M. BERTHOLD. + + +NEW YORK + +SCOTT STAMP & COIN CO. + +1906. + + +Copyrighted, 1906 + +All rights reserved. + + + + +CONTENTS. + +INTRODUCTION, 3 + +THE 1853-55 SERIES, 6 + Reference List, 33 + +SECOND ISSUE: 1860, 40 + One cent: Blue, 40 + Three cents: Red, 45 + Four cents, 47 + Six cents: Red, 48 + Ten cents: Green, 48 + Reference List, 48 + +THIRD ISSUE: 1861, 53 + Three cents: Rose, 53 + Six cents: Rose, 59 + Reference List, 60 + +FOURTH ISSUE: 1863 AND 1864, 63 + Dies Inscribed "U. S. Postage", 64 + Dies Inscribed "U. S. Post", 68 + Reference List, 83 + +FIFTH ISSUE: 1864-1865, 90 + Reference List, 97 + +APPENDIX, 103 + +ADDENDA, 105 + +ERRATA, 106 + + + + +INTRODUCTION + + +"Variety is the spice of Life". This aphorism, if applied to collectors +of the dies of the early United States envelopes, changes with +kaleidoscopic rapidity into: "Varieties are the bane of collectors". +The truth of this statement is borne out by the fact that, though the +die varieties of the Nesbitt issues are one of the most interesting +phases of American philately, the amount of our knowledge concerning +them is surprisingly small. + +If we recall that many of these dies have been in existence for half a +century, embracing all issues prior to 1870, and thus, in comparison +with modern issues, are hoary with age, that they have been collected +for decades by ardent lovers of United States envelopes, our surprise +is heightened. + +The honor of the first attempt at describing the various Nesbitt die +varieties and making this knowledge public property belongs to an +English philatelist of rare ability, the late Gilbert Harrison. While +this confers great credit upon the latter, it is an humiliation to +American philatelists that this page of our own history was left to be +written by an English student. Even so, this work[A] did not appear +until fully forty years after the Nesbitt dies were first issued. + +It is, likewise, true that Messrs. Tiffany, Bogert and Rechert in their +"Historical Notes"[B] undertook to rescue the Nesbitt die varieties +from an ignominious oblivion, and for this they are also entitled to +praise, but up to the most recent time, the great body of collectors +did not possess a guide-book, a "Philatelic Baedeker," which would +enable the timorous traveler to proceed into the unknown country with a +feeling of perfect safety. + +Naturally the question arises: What is the reason for this state of +affairs? Why have the Nesbitt die varieties been relegated to an +entirely unmerited obscurity? + +Unless I am greatly mistaken the answer is that the large majority of +collectors believed the subject to be fraught with difficulties. Add to +this both the lack of a catalogue and of any systematic exposition of +the early die varieties, and it is easy to comprehend why the bugbear +has continued to the detriment of United States philately. + +However, thanks to the good services of the Scott Stamp & Coin Co., and +the J. M. Bartels Co., this wrong impression has been largely removed +and the future collector of the Nesbitt dies has a rich and inviting +field now open for his favorite pursuit. Moreover, henceforth no +collection lacking these important die varieties can lay a claim to a +full degree of completeness, and this remark refers equally to those +who collect entire envelopes or cut square specimens. Indeed, of the +two the latter is by far the larger gainer, because these varieties +appear on comparatively few "knives" or shapes of envelopes. + +Assuming that not many collectors, either young or old, have busied +themselves with die varieties a few remarks about the method or way of +studying them, gained from practical experience, may not be out of +place. + +Of course, I do not intend to give specific rules here. These will be +in order as soon as we take up a special issue. + +It is true that die varieties may be found in half a dozen different +ways, but it is equally plain that if we can use a uniform method, +applicable to all, we shall be far better off. Although this fact is +self evident, such a method was unknown when the writer commenced the +study of the Nesbitt die varieties. Recognizing, however, the value of +some simple means, various methods were pursued until, after numerous +disappointing failures, the solution of the problem was found by means +of line prolongation and the use of a unit distance measurement. + +As in redrawing a die the engravers of the Nesbitt envelopes have +endeavored merely to reproduce the stamp in its general features, the +result is that the spacings between the letters, the form of the +letters, their size, and the size of the entire stamp may all be +subject to many changes. Owing to this nonchalant procedure, and +referring now to the very first issue, the engravers have left to +posterity not less than ten different heads of the "Father of our +Country" which can readily be seen on fine specimens. For the same +reason there are ten dies of the 3 cent red, commonly known as Die 5 or +E, which are further characterized by the "T" of "THREE" having a long +cross stroke. This die was redrawn and the long cross stroke of "T" +changed into a short line. The alteration added twenty varieties, among +which are some highly interesting and valuable specimens. + +Suppose we select the "T" of "THREE" for our starting point and, noting +that that letter is found in various positions, slanting to the right +or left, or standing nearly vertically, we lay the edge of a fine piece +of paper along the outside of the downstroke and thus virtually prolong +the "T" line downward. Next we carefully note where that prolongation +touches a letter in the lower label. If we find that in a number of +dies the line touches the "N" of "CENTS", we have probably established +a general class. Continuing our inquiry we may note that the "T" line +falls outside of the "N", perhaps touches the "T" or may even cut the +"S" of "CENTS"; a clear indication that we have other die varieties. + +The above, I believe, illustrates sufficiently what is meant by a +system of line prolongation. + +Another great help is furnished by the use of a uniform distance +measurement. For convenience take ten millimetres and, setting a +divider at that distance, commence with the "T" of "THREE", selecting +as our starting point the left end of the horizontal cross stroke of +"T". Assume that, in our first specimen, the end of the ten millimetre +line touches the end of the first "E", in the second it may fall +between the two "E"s, while in a third the same distance reaches +outside the final "E". In this simple and comparatively easy manner, we +have ascertained three important classes. + +Knowing our main classes, the next step is to study a number of dies of +the same general class for sub-varieties, using again one or both of +the methods with which we are now well acquainted. + +In this manner order is brought out of apparent confusion, and if we +work carefully, and are willing to have a little patience, the final +success will pay well for all our trouble. Indeed the mental training +gained by this work is very valuable and will assist us greatly in the +knowledge of other stamps or dies. + +So far I have not spoken of the various forms of watermarks employed by +Nesbitt, nor of the tresses, or seals, found on the flaps. These are of +importance to the collector of entire envelopes, but are a negligible +quantity for those who prefer to get the die varieties as cut square +specimens. + +As it is evident that the purpose of the present work is to enable the +great body of collectors of United States stamps to become well +acquainted with the early Nesbitt varieties, hitherto considered the +exclusive property of the specialist, I suggest to the powers that +supply our need in the way of stamp albums to prepare a couple of extra +pages, showing the die and its main varieties. A friend of the writer, +an enthusiastic collector of cut square specimens, has adopted this +plan and it is certain that if any of our readers had an opportunity to +see how attractive and interesting these pages appear, they would not +hesitate to do likewise. + +Perhaps this suggestion will be heeded by the album publishers. If so, +there will soon spring up special groups of collectors of the early +Nesbitt Die Varieties. + +In conclusion I desire to express to Messrs. J. M. Bartels, Edward H. +Mason and Geo. Rauh, all of Boston, my sincere thanks for the valuable +aid which they have rendered me in preparing this work. + +Mr. Bartels has worked with me continuously in my investigations into +the intricacies of these dies; Mr. Mason has placed his grand +collection of United States envelopes unreservedly at my disposal, +besides aiding me in many other ways, and it is to Mr. Rauh that I am +indebted for the very fine and conscientiously executed drawings of the +various, heads of this series. + + VICTOR M. BERTHOLD. + +Boston, Mass. + Feb. 1905. + + +FOOTNOTES: + +[Footnote A: The--Nesbitt Stamped Envelopes--and Wrappers--of +the--United States of America,--with descriptions of the varieties of +the dies,--and fifteen full-page illustrations--by--the late Gilbert +Harrison.--Edited and completed--by--E. D. Bacon.--Published as a +supplement to the "London Philatelist",--by M. P. +Castle,--Vice-President of the Philatelic Society, London,--1895.] + +[Footnote B: The--Stamped Envelopes.--Wrappers and Sheets--of the +United States--by John K. Tiffany, R. R. Bogert,--and Joseph +Rechert.--A Committee of the National Philatelical Society,--New +York--1892.--Published by--The Scott Stamp & Coin Co. Limited.--12 East +23rd St.] + + + + +THE 1853-55 SERIES. + + +It is strange that the Yankee, who is generally so quick witted in all +matters pertaining to trade and commerce, has been comparatively slow +in recognizing the value of the stamped envelope for business purposes. +As a matter of fact, the famous Mulready and its numerous caricatures +had been used in Great Britain for nearly a dozen years when the +Thirty-second Congress, on Aug. 31, 1852, authorized the issue of +stamped envelopes in the United States. + +The next we hear of the matter is a short line in the Report of the +Postmaster-General, dated December 4, 1852, which reads: "Such +envelopes as are authorized are now in preparation and will soon be +issued." And, in February of the following year, the _Scientific +American_ mentions the interesting news that "G. F. Nesbitt has shown +to the Postmaster-General an embossed stamp for prepaid envelopes which +has been accepted, and the manufacture will at once proceed. Such, +however, is the labor and care required for their production, that none +will be ready for delivery before the middle of next April." + +The much heralded novelty of the Post Office finally appeared July 7, +1853. At least, this date is certified to by the National Intelligencer +of the _Washington Journal_, which, in describing the envelopes just +sent out for distribution, states: "they are as yet but of a single +size and of the three cent value." It also adds that the addition of +the Nesbitt seal is an outrage. + +Without entering into further details, it is of general interest to +note that, up to 1869, Geo. F. Nesbitt & Co., of New York, continued to +furnish the United States Post Office Department with envelopes. + +Recalling the fact that Nesbitt originated the dies; that the machinery +for embossing was very crude compared with our modern apparatus, +collectors must concede that his work deserves great credit. + +The question, however, of superlative interest to philatelists is: why +has Nesbitt produced such a large number of dies or die varieties? The +answer is simple: Pressed hard by the Department to manufacture several +millions of envelopes, a gigantic task in the early days of stamp +making, and lacking our present means of reproducing working dies from +the matrix, he undoubtedly used his best effort; i.e. he probably +ordered a number of engravers to reproduce the original die, and, in +the hurry of the work, little attention was paid to exactness. This +would seem a very plausible explanation, and in the absence of any +official data let us permit the above assumption to stand. + +Whatever may be the facts in the case, one thing is certain; the +varieties exist and have been a source of trouble to many collectors of +United States envelopes. With wider knowledge and on better +acquaintance, it is certain that in future they will prove a most +interesting branch of United States philately. + + +DIE I. + +[Illustration] + +Short labels with curved ends close to the letters. 10 loops in left +side ornament and 9 in right. + + +TEN HEADS--TWELVE VARIETIES. + +In accordance with the instructions of the United States Postal +Department, the first issue of United States envelopes was to represent +a profile of General Washington after Houdon's famous bust. No doubt +the spirit of the engraver was willing, but the "flesh was woefully +weak." Indeed, it is no exaggeration to affirm that the head, or heads, +of Die I (or A) are as far from Houdon's masterpiece as the sun is from +our planet. Moreover, on a close inspection we find a lot of curious +and noteworthy details which seem to indicate that the artist, or +artists, had peculiar ideas of the manly beauty of the "Father of our +Country." + +Certainly, various national types are represented and the expression +runs the gamut of meekness, aggressiveness, stolidity, stupidity and +boozy hilarity. As a rule an artist would be satisfied to ornament the +eye of his subject with one eyebrow, but several of the profiles of Die +1 have two, and in a position which would bewilder the student of +anatomy. Another startling feature is the sidelock, which sometimes +grows upon the eyebrow. And finally we are forced to conclude that the +tonsorial artist who attended Washington performed queer tricks. In one +die one-half of the head appears void of hirsutic covering. Well, +perhaps this was the summer season! I must not forget to mention that +on one side of the nostrils appears a Phrygian cap, probably an +indication of the republican spirit of the United States. In conclusion +the writer recalls a good joke by a gentleman prominent in philatelic +circles. After a perusal of the above paragraphs he expressed himself +that the bust of Washington of Die 1, instead of being "after Houdon" +was a "Hoodoo", and there is a great deal of truth in the witticism. + +Owing to the antiquity of the first issue of Nesbitt dies, collectors +must not expect to find an abundance of mint specimens. Of course they +are the exception, but in many used envelopes the head is impressed +with sufficient clearness to permit identification, and the cuts +accompanying the dies, being photographic reproductions of pen +drawings by an artist, will be found a valuable aid. Indeed, as far as +the varieties of Die 1 are concerned, a thorough knowledge of, or +acquaintance with, the various heads is necessary to avoid confusion, +especially as the inscription in several labels is similar and not +unfrequently the lettering is quite indistinct. + +If the question is asked why a unit distance measurement is not applied +to differentiate these varieties, the answer is that the spacing of the +letters of the inscription is nearly alike. Of course the slant of the +letters differs. Such differences as are helpful and noticeable will be +mentioned. The system of line prolongation, for example, the downward +prolongation of the "T" of "THREE", discloses certain groups in the +writer's opinion, but the differences obtained thereby are not of +sufficient practical value for establishing groups. For a quick and +reliable identification of these varieties an intimate knowledge of the +heads is required. + +It having been decided to reproduce the heads, the question arose: +Shall we draw every feature and every detail, or is it preferable to +indicate merely such portions of the face as are different in the +various dies? Evidently, many minor points could be omitted without in +any way detracting from the usefulness of the drawings. Indeed, the +adoption of this plan permitted the artist to emphasize and to bring +out more strikingly such features as constitute the real differences. + +There are three prominent features in each of the ten heads. The first +is the side-lock, which may be either single or double, straight or +hooked, short or long. Second in importance is the distance between the +end of the side-lock and the ear-lobe. Even a casual observation shows +that the distance between the ear-lobe and the end of the side-lock +varies greatly; very wide, near and close. The third feature is the +lowest front-lock, which, by the taste or art of the die cutters has +been, like man, "wonderfully and fearfully made", short or long, thin +or full, single or double. In good specimens the eyebrow constitutes a +valuable adjunct, and in all dies where this feature plays a prominent +part it will be noted. Finally the attention of the collector is +directed to the fact that only Head 1 shows Washington with circularly +cropped hair, or, as the barber would express it, a "Dutch clip". This +head was used for varieties 1, 2 and 3, the first being a rather scarce +article. If the student fixes his attention on the above three main +features, and does not attempt to get the entire ten heads fixed in his +mind at a glance, it will be found that the task of differentiation is +not at all a burden even to the youngest collector of cut square +specimens. A certain amount of patience is, however, required; likewise +a certain amount of willingness to be taught, but the collector +possessing these two virtues--and it is one of the crowning glories of +stamp collectors to be both studious and patient--will soon have the +various Nesbitt heads of Washington engraved upon his memory. + +Taking the distance between the end of the side-lock and the ear-lobe +as our main feature, the various heads may be grouped into three +distinct classes: + + CLASS I. Distance between side-lock and ear-lobe very wide. + Heads 1a, 3, 4, 6, 7. + + CLASS II. Distance between side-lock and ear-lobe near. + Heads 1, 2, 8. + + CLASS III. Side-lock close to ear-lobe. Heads 5, 9, 10. + + * * * * * + +HEAD I. + +[Illustration: I.] + +A long side-lock commences a short distance above the corner of the +eye, but stops quite a distance from it. Together with the side-lock +commences a heavy lower lock which slants across the ear-lobe, leaving +the lower half exposed. There is a considerable space between the end +of the side-lock and the ear-lobe. The entire hair ends in a nearly +horizontal line. Two folds in the garment on the right side of the +neck. + +[HW: See Appendix page 103] + +[Illustration] + +Variety I:--"CENTS" close to outer oval line. "CE" on level and far +apart. "C" quite a distance from curve. "N" and "T" wide apart at base. +"S" close to curve. The final "E" of "THREE" is somewhat lower than the +first "E", dips to the right, and is close to the curve. "T" of "Three" +is also close to curve. Many of the white envelopes are on horizontally +laid paper. + +Variety 2:--"THREE" near outer oval line. "T" further from curve. "RE" +wider apart at top than in Var. 1, and "HR" slightly nearer than in +Var. 1. The distance between "EN" and "NT" of "CENTS" is very wide. "S" +far from curve. "CE" wide apart. + + +HEAD Ia. + +[Illustration: Ia.] + +Same as Head I, but the side-lock is shorter and is further from the +ear-lobe. + +[Illustration] + +Variety 3:--"C" is above level of "E", near inner oval line and close +to curve. "CE" wide apart. Note that "ENT" is near and "NT" much nearer +at base than in Var. 1 or 2. "NTS" is also nearer inner oval line. "TH" +of "THREE" is close. The "R" of "THREE" slants to right. + +This variety is often seen on white paper horizontally laid. + + +HEAD II. + +[Illustration: II.] + +An heavy eyebrow. Two side-locks, of which the first is merely a fine +line, commence far from and high above the corner of the eye. The +first side-lock is only half as long as the second; the latter is +curved sharply at its end, and near the ear-lobe. Near the end of the +side-lock commences the lowest front-lock, which slants only a little +distance across the lobe. Front-lock and ear-lobe resemble the letter +"T". Hair is divided into two parts. The lowest lock of the back row is +in line with the queue. + +[Illustration] + +Variety 4.--"CENTS" is close to outer frame line and "C" is far from +curve. "EN" near; "CE" wide. "NT" wide at base, "THR" near. + + +HEAD III. + +[Illustration: III.] + +Side-lock starts some distance from the eye-brow and a little above it. +The eyebrow is heavy. The side-lock is long, rather heavy and curved +and ends far from the ear-lobe. The main feature is the heavy lowest +front-lock, which slants across the lobe but ends in line with it. +Side-lock, lobe and lowest front-lock somewhat resemble a figure 1. + +[Illustration] + +Variety 5:--"C" above level of "E": The entire word is high in label, +especially "NT". "CE" wide. Note the top of "S" which almost touches +the lower right curve. "TH" wide at top. "R" is nearly vertically +placed and in centre of the label. The top of the "T" of "CENTS" is a +little above final stroke of "N". + + +HEAD IV. + +[Illustration: IV.] + +A heavy eyebrow ends near the middle of the side-lock. The latter is +short and stops (as in Head III) far from the ear-lobe. The main +feature is that the queue forms a direct continuation of the lowest +front-lock. + +[Illustration] + +Variety 6:--"CE" of "CENTS" near. "EN" wide. "NT" wide at base. Note +that the upper end of the lower right curve reaches well over the top +of "S" and "C" is far from curve. "TH" close. Distance at top of "HR" +and "RE" about the same. + + +HEAD V. + +[Illustration: V.] + +A very heavy eye-brow. The side-lock starts in line with the corner of +the eye and near the eyebrow; it curls slightly outward and, following +closely the outline of the ear-lobe, ends almost above it. A heavy lock +starts near the end of the side-lock, slants across the ear-lobe and +ends in nearly a point. This feature distinguishes Head V from Head II, +in which the lowest lock ends full and rounded. The queue is continued +from the second heavy lock. Note also that the lock immediately behind +the side-lock consists of two fine hairs and a heavy third strand. + +[Illustration] + +Variety 7:--"T" of "THREE" below level of "HREE". "CENTS" near outer +oval line. "C" and "S" quite a distance from curves. "ENT" spaced +nearer than "C" to "E" and "T" to "S". + + +HEAD VI. + +[Illustration: VI.] + +An heavy eyebrow. Near its end starts a small side-lock together with a +long, narrow lock which slants across ear-lobe. Note that half of this +lock is below the lobe. There is some distance between the side-lock +and the lobe. A second heavy strand of hair extends the entire length +of the [HW: narrow] lock and continues into the queue. + +[Illustration] + +Variety 8:--"C" above level of "E" and far from it. "N" stands +vertically and almost in centre of label. "NT" close at top and near at +base. "C" and "S" are close to curves. Note that "HR" and "RE" are wide +at top. + + +HEAD VII. + +[Illustration: VII.] + +An heavy eyebrow extends beyond the corner of the eye. A long side-lock +starts from the eyebrow and ends far from the ear-lobe. The lowest lock +commences near the middle of the side-lock. Along the latter is another +strand of hair of the same thickness but it is longer than the first +and in line with the queue. The hair consists of two distinct rows, +each of which has five locks. + +[Illustration] + +Variety 9:--"CENTS" near inner oval line. "CE" near; "ENT" near; "NT" +close at top. "C" and "S" far from curves. "RE" wider at top than "HR". + + +HEAD VIII. + +[Illustration: VIII.] + +An heavy eyebrow near the corner of the eye. It extends to the +beginning of the side-lock, which is long, slim, almost straight, and +ends a little distance from the ear-lobe. Note that the point of the +side-lock is not turned up to the left. Together with the side-lock +starts the lowest front-lock. It is rather thin, slants across the +lobe, and is divided at the end, which is the main feature. Note that +it extends but a little distance beyond the lobe. Immediately above the +lowest strand is a second one, much longer than the first, forming the +commencement of the queue. + +[Illustration] + +Variety 10:--"THREE" high in label. "HR" very close. "CENTS" near outer +oval line. Base of "E" a little below that of "C". "EN" wide. "TS" near +at base. + + +HEAD IX. + +[Illustration: IX.] + +The side-lock starts above and far from the corner of the eye. It is +short, curves outward towards its end, and terminates a little distance +above the ear-lobe. Note that the ear-lobe is larger than usual and +extends quite a distance beyond the end of the side-lock. Together with +the side-lock commences the lowest bunch of hair, which resembles +somewhat a pear, i.e. slim at the start and bulging towards the base. +The hair is divided into two rows. The queue is in line with the back +row. + +[Illustration] + +Variety 11:--"CENTS" near inner oval line; "C" high, and a little +above level of "E". "CE" wide; "ENT" near at top. "S" close to curve. +"THREE" close to inner oval line. "HR" and "RE" wide at top. + + +HEAD X. + +[Illustration: X.] + +An heavy eyebrow starting upward from the bridge of the nose. A second +eyebrow is close to the corner of the eye. A long side-lock starts near +it and touches the ends in line with the ear-lobe. The hair is divided +into two parts, four locks in front and three in the back row. The +lowest lock in the front row is by far the heaviest. The hair is cut +round similar to Head 1. Note that the queue is in line with the second +row of hair. + +[Illustration] + +Variety 12:--"CENTS" close to inner frame line, especially "C". "THREE" +close to inner oval line. "ENT" near at base. The die resembles closely +Var. 9 with the exception of "C," which is high in the label. + + * * * * * + +Before leaving this issue some remarks about the paper and its various +tints may be useful. The writer well remembers that when he first took +up the study of these envelopes he was often sorely puzzled how to +classify a specimen. The general catalogue knows but two shades of +paper, white and buff, and is mute on the question of quality. + +As a matter of fact the quality of the paper used for the first issue +varies from soft to a hard, brittle texture, from thin to thick, with a +dull or even highly glazed surface. A decided rarity is a kind of wove +paper, unwatermarked. We find fine laid lines, the cross lines near or +far, and two very distinct varieties of watermarks. + +The white paper has sometimes a creamy and at other times a bluish +tint, and the buff may be collected in various light and dark shades. +The most pronounced shade varieties of buff appear, however, later, and +will be mentioned when we study Die 5. + +For the benefit of collectors of entire envelopes we will conclude this +chapter by adding that: + +Knife I appears only in five varieties, i.e. Nos. 4, 6, 7, 8, and 10, +while Knife 2, both white and buff, exists in all varieties. + + +THREE CENTS, RED. DIE 2. + +[Illustration] + +THE "STRAIGHT END" DIE. + +Short labels with straight ends. 8-1/2 loops on the left; 9 loops on +the right. + + * * * * * + +It is generally conceded that this die is one of the earliest made, +because many of the envelopes bear the Nesbitt tress or seal on the +flap. + +In addition to Head 1, used for Die I, there now appear two new ones. +This issue is also noticeable because in each of the three varieties +the lettering is about the same. For this reason a knowledge of the +heads is imperative for identification of the varieties. It may also +assist the collector to note that Head I exists only with the seal on +the flap of the envelope, and that in Heads XI and XII the garment at +the back of the neck has four folds in contradistinction to Head I, in +which the garment has but two folds. + +As far as we know, letter size envelopes, bearing Die 2, were issued in +July, 1853, and note size in September of the same year. Excepting note +size (Knife 1 of the present list), all other envelopes exist on both +white and buff paper. + +[Illustration] + +Variety 1, Head I:--As this head has been fully described and +illustrated under Die 1, it needs no additional remarks. + + +HEAD XI. + +[Illustration: XI.] + +Variety 2, Head XI.--A small but heavy eyebrow near the corner of the +eye. The side-lock commences close to the eye-brow and is rather short +and shaped like a comma. Near the end of the side-lock begins the +lowest front-lock, which is very short, heavy, and extends some +distance beyond the ear-lobe. Note that the end of the side-lock +reaches to the middle of the ear-lobe. The queue is continued from the +second front-lock. There are five locks in the front row and two heavy +upper locks in the back row: + +[HW: there is usually a flaw in the outer colored line opposite the +lower left straight line near "C."] + + +HEAD XII. + +[Illustration: XII.] + +Variety 3, Head XII:--A long, heavy-side-lock starts near a heavy +eyebrow, which extends far beyond the corner of the eye. At its end the +side-lock bends sharply to the left and is quite a distance from the +ear-lobe. Together with the side-lock starts the lowest front-lock. It +slants across the ear-lobe, broadens towards its middle and is pointed +at the end. The side-lock, front-lock and ear-lobe somewhat resemble +the figure 1. The queue is continued from the lowest lock immediately +behind the second front-lock. There are five locks in the front row and +three heavy locks in the back row. + + * * * * * + +THREE CENTS, RED. DIE 3. + +"THREE" in square label with a diagonal line across each corner _called +"K Ends_." + +8-1/2 loops on left; 9 loops on right. + +[Illustration] + +This die appeared in July, 1853, and exists on note and letter size +envelopes. The former is extremely rare. Mr. Harrison, who has +carefully studied this die, found two heads of Washington (XIII and +XIV). He states, however, that: "in the heads in relief there is only a +slight difference in the arrangement of the hair, which is of no +practical use, as in most specimens of this series the head is so +lightly impressed that it is impossible to detect any differences." +Realizing how difficult it is to get a fine specimen of this die, the +writer tried his best to obtain a clear impression, and the drawing +shows that the search has not been in vain. + + +HEAD XIII. + +Two small side-locks. (For further description see Head XIV). + +[Illustration] + +Variety 1.:--"C" of "Cents" low. + + +HEAD XIV. + +[Illustration: XIV.] + +One short side-lock: A heavy eyebrow. A fine, short side-lock starts +quite a distance from the latter and ends far from the ear-lobe. +Together with the side-lock commences the short, lowest front-lock. +Immediately above the latter commences the third front-lock, which is +bifurcated to the middle. This is the main feature of the die. It is by +far the heaviest strand and continues, uninterruptedly, into the queue. +All other front or rear locks are short. Between the last-mentioned +long front-lock and the short, lowest one lies a small rear lock, +pointed at its start and broad at its end. Including the lowest +front-lock, there are five locks in front and but three in the rear +row, i.e., two above the long, bifurcated front-lock and a small one +immediately below the latter. + +Variety 2:--"C" of "CENTS" high in the frame. + + +THREE CENTS, RED. DIE 4. + +[Illustration] + +Wide label, measuring 20 mm. horizontally, with square ends; lower +label short (17 mm.) but also with straight ends. 7 loops on each side. + +Issued July, 1853. + +Luckily the engraver has seen fit to use but one head for this issue +and it is our old favorite, HEAD I, and needs no further description. +There is but one variety, and none of the envelopes have the Nesbitt +seal. + +[Illustration] + +Variety 1:--Letters of "THREE" very widely spaced, especially the last +two letters. "T" nearer to left label than "E" to the right. "ENT" of +"CENTS" nearer to each other than "C" to "E" and "T" to "S". + +The die has been used for note and letter size, i.e., Knives 1 and 2, +on white, and for the latter on both white and buff paper. + + +THREE CENTS, RED. DIE 5. + +[Illustration] + +The common die of the first series. + +Short labels (measuring 15 mm. horizontally) with curved ends. + +9 loops on the left; 8-1/2 loops on the right. + + * * * * * + +This die appeared in March, 1854, and remained in existence until +October, 1860. On account of its six years of constant use, it was not +strange that the die should need repairing and retouching. +Nevertheless, while admitting the necessity of repairs, this does not +account in any way for the fact that we have thirty distinctly +different dies in this series, many of which cannot be explained by the +above theory. Of course, the various curves of the labels may be +accounted for by repeated retouching, but no one who compares many of +these dies would attempt to give the same reason for the totally +different lettering and the great variety in the spacing. As a matter +of fact, most of the so-called varieties are far more distinct dies +than some of the well-known Reays and Plimptons of equal denominations. +In spite of the great number of varieties of this issue, the engraver +has seen fit to use but one head of Washington, which is totally +different from any of those preceding. + + +HEAD XV. + +[Illustration: XV.] + +Two fine, very short side-locks, reaching to the middle of the +ear-lobe, which is rather large. There are seven very thin locks of +hair, almost hair lines, in the upper part of the head, extending to +the back of the head, each with a curve in the centre. Below these +there is a short, thick bunch, or lock, bent upwards into the space +left by the curve of the seventh thin lock. There is one short, thick +front-lock and three in the back row, side by side, nearly at right +angles to the bunch of hair which is bent upwards. The lowest +front-lock slants a considerable distance across the ear, while the +lock immediately above it is much longer and reaches into the queue. +The latter is very thin and shows no subdivisions. + +Doubtless the thirty varieties of this die would have been highly +prized by collectors and would have been well known many years ago if +American philatelists had taken the trouble to study them with a view +to systematic classification. Certainly, without a system the +collector's task is troublesome, but, with a proper classification, the +difficulty vanishes and what has hitherto been considered an annoyance +becomes a pleasurable pursuit. This issue greatly favors the collector +of cut square specimens, for a good many dies can easily be found. On +the contrary, the collector of entires, especially the advanced +collector who desires mint copies, will find it difficult to get unused +specimens of many dies. + +The paper used is white and buff, and, as mentioned before, both the +quality and color differ widely. For instance: "Buff" covers shades +which would be called at the present time light chocolate, brown, +oriental buff, light yellow, etc. A great many envelopes are of soft +paper, nearly unsurfaced, while there are numerous others having a +hard, brittle texture, highly surfaced or glazed. Often six shades may +be obtained, and they are certainly worthy of being collected with +care. + +It has already been stated that the thirty varieties can be classified, +and that such classification is a great help to the philatelist. +Fortunately, the first ten dies are quickly recognized by the long, +horizontal cross stroke of "T" of "THREE," and "T" of "CENTS," while +the remaining twenty dies have a short top stroke, and this +differentiation, in the writer's humble opinion, should have been +introduced long ago in the general catalogues. + +Before commencing the study of the first ten varieties, it is only +proper to state that even Mr. Harrison has put himself on record that: +"the ten earlier varieties are by no means easy to separate." Indeed, +they are decidedly more troublesome and require far closer work than +any of the other Nesbitt die varieties. The student is sure to find +many specimens in which the upper curves are entirely worn away, and in +judging the spacing of the letters errors are likely to occur, due to +heavy impressions, which are not infrequent. + +Being well aware of these annoyances, the writer has tried, to the best +of his ability, to make the description of these ten varieties as lucid +as possible, and as they now stand they represent the labor of many +hours. Expressions like "far", "near" or "close" are, of course, +subject to individual interpretation, but by comparing the +illustrations accompanying the text, what is meant by "close", etc., +will be easily understood. Wherever greater accuracy seemed needful, +the distance between two letters, either at the top or the base has +been added. If a letter is stated to be below the level of another, the +student, as a rule, should have no difficulty in recognizing this fact. +This is true of varieties 4 and 5, but a certain amount of training of +the eye is required to recognize quickly the lower position of "T" and +"E" of "THREE" in varieties 1, 2 and 10. + +Together with the new die two new sizes of envelopes appear, known as +Knives 4 and 5, respectively; both are termed "Full Letter" and have +three black lines on the inside of the left side flap. + + * * * * * + + +"T" WITH LONG CROSS STROKE. + +Dies 1 to 10. + +The ten die varieties are divided into three groups by drawing a +straight line along the outside of the downward stroke of "T" of +"THREE". + + 1) Line cuts through "S" of "CENTS" (Var. 1, 2, 3, 4). + + 2) Line goes to right of "S" (Var. 5, 6, 7). + + 3) Line goes through right lower curve (Var. 8, 9, 10). + +It should be understood, however, that the above line prolongation is +only tentative, not absolute, and can only be relied upon in a general +way as certain specimens will be found which will vary from it to a +greater or less extent. + +Description of Dies. + +[Illustration] + +Variety 1:--"T" a considerable distance from upper left + curve. "TH" widely spaced, but "HR" near and "R" the + highest letter. "RE" wide at top. "EE" wide. "CE" wide at + base. "EN" wide. "NT" wide at base. Lower curves deep and + far from "C" and "S". + +Variety 2:--"T" near curve, and "T" and final "E" below + level of "HRE". "TH" near, "HR" near, but "RE" and "EE" wide + at top. Upper curves are frequently much deteriorated. Lower + left curve far from "C". "CE" and "NT" wide at base. "TS" + near. Lower right curve near "S". + +[Illustration] + +Variety 3:--Upper left curve very far from "T". "RE" wide + and "R" slants sharply to the right. "EE" near at top. "C" + far from lower left curve. "CE" wide at base. "E" slants + sharply to the left and "EN" wide at base. "S" close to + curve. + +Variety 4:--"T" near curve but below level of "H". "HR" wide + but "RE" wider, and "EE" widest at top. The main feature of + this die is that the lower left curve slants sharply + downward and is far from base of "C". "CE" wide at base. + "NT" very wide at base. "S" far from curve. + +Variety 5:--Upper right curve flattened and top of "T" near + curve. "T" low and far from "H". "HR" widely spaced at top, + but "RE" still wider. "EE" near. Upper right curve far from + "E" both at top and base. Frequently the curves are nearly + obliterated. + +[Illustration] + +Variety 6:--Upper right curve near "T". Top of "T" some + distance from "H". "RE" wide at top. "EE" wide. The curve is + far from top of "E", but slants so that, at the point where + it meets the inner oval line, it is near base of "E". Lower + left curve near "C" and reaches over the top of the letter. + "CEN" near; "NT" near at base. "S" far from curve. + +[Illustration] + +Variety 7:--The FLAW VARIETY. Upper right curve very deep. + Top of "T" considerably nearer curve than base. "TH" near. + "HR" and "RE" near at top. "EE" very wide at top. Curve is + very far from "E" both at top and base. Lower left curve + flattened and near "C". "EX" near. "NT" well spaced. In the + outer red frame line, near base of "T", a small portion of + the die is broken away. + +Variety 8:--Upper left curve deep and top of "T" near curve. + "TH" near. "HRE" near, and "RE" the closest spacing of all + the varieties. "EE" near. Right curve is a good distance + from top of "E". Lower left curve small and near "C". "CE" + wide. "ENT" near and upper horizontal stroke of "N" often + joined to "T". "TS" near and "S" close to curve. + +[Illustration] + +Variety 9:--Upper left curve much flattened and close to + "T"; "T" and final "E" somewhat below level of "HRE". "TH" + close and "H" sharply slanting to left. "HREE" near at top. + Right curve far from "E". Lower left curve short and near + "C". "CE" close. "EN" near. "NT" near at base. Right curve + near "S". + +Variety 10:--Upper left curve near "T". "TH" near at top. + "HRE" spaced as in Var. 9 but "EE" nearer, and top of "E" + nearer the curve. Lower left curve near "C". "C" above level + of "E" and near at base. "ENTS" near. "S" far from curve. + + +LETTERS "T" WITH SHORT CROSS STROKES. + +Dies 11 to 30. + +These twenty die varieties are grouped into two classes by the use of a +unit distance measurement of 14 and 12 mm. respectively. + + +Class I. + +[Illustration] + +A line 14mm. long will extend from the point where the upper left curve +meets the inner white frame-line to the end of the final "E" of +"THREE". + +[Illustration] + +Group A:--A line 12mm. long, starting from the junction of + the upper left curve and the inner, white, frame-line will + extend to the end of the horizontal stroke of the first "E" + of "THREE". (Var. 11 to 18.) + +Group B:--A line 12mm. long, starting from the junction of + the upper left curve and the inner, white, frame-line will + extend to a point just beyond the end of the horizontal + stroke of the first "E" of "THREE". (Var. 19 to 27.) + + +Class II. + +[Illustration] + +A line 14mm. long, starting from the junction of the upper left curve +and the inner, white, frame-line, will extend to a point just outside +of the final "E" of "THREE". (Var. 28 to 30.) + +[Illustration] + +Variety 11:--THE TOP STROKE OF "N," IF EXTENDED, WOULD + BISECT THE VERTICAL STROKE OF "T". "RE" very wide at top. + "T" and "E" about an equal distance from curves. Lower left + curve well rounded. "EN" near at top. "N" broad. + +Variety 12:--THE SMALL HORIZONTAL LINE OF "N," IF EXTENDED, + WOULD CUT THE VERTICAL DOWNSTROKE OF "T." All the centre + crossbars of "Es" touch the horizontal upper stroke. "N" of + "CENTS" is narrow; is the lowest letter, and has a heavy + middle line. "T" and "E" are close to the curves, which are + short. "TS" close and on level. + + There are often two dots in the central oval, one near the + throat and the other opposite the third loop above "C". + Compare variety 11 for "NT," also variety 21. + +Variety 13:--A FLAW IN THE DESIGN, caused by the addition of + a short line immediately above the right lower curve and at + the beginning of the first loop. "TH" wide. "RE" wide at + top. "CE" near. The entire word "CENTS" is well in the + centre of the label. "S" above level of "T". Note the wide + distance of "C" from the lower left corner. + +[Illustration] + +Variety 14:--THIS DIE SHOWS THE WIDEST SPACING OF "THREE". + Lower left curve is deep; slants back and is far from "C". + Lower right curve near "S". "T" and "E" about equally far + from curves. Upper right curve much flattened. Note "T" + short and top of "C" considerably below inner oval line. + Note also that centre of first loop below upper right curve + is unfinished. "TH" wide at base; "CE" near: "EN" wide. "N" + _tall and narrow_. + +Variety 15:--"RE" VERY WIDE. THERE IS A SMALL TRIANGLE IN + THE DESIGN IMMEDIATELY ABOVE THE CENTRE OF LOWER RIGHT + CURVE. Upper left curve very deep and "T" far from it. "HRE" + wide at base. Final "E" below level of first "E" and nearer + curve than "T". Lower left curve is flat and "C" is far from + it, both at top and base. "CE" wide. _Tall, narrow "N"._ + Note that the entire word is high in the label. + +[Illustration] + +Variety 16:--"S" OF "CENTS" HIGH IN LABEL. Lower left curve + very slightly curved and very far from "C," which is + elongated. "CE" wide, likewise "EN". "N" large and broad. + Lower right curve flattened and "S" far from curve. "T" and + "E" about equally distant from upper curves, which are, + likewise, flattened. "TH" nearer at top than "HR". "RE" + wider at top than "HR". "EE" wide at top. Compare varieties + 26 and 27 for upper right curve. + +Variety 17:--LOWER LEFT CURVE COMMENCES NEAR TOP OF "C" OF + "CENTS", SLANTS SHARPLY DOWNWARD, AND IS, AT THE POINT WHERE + THE CURVE MEETS THE OUTER OVAL LINE, FAR FROM BASE OF "C". + Upper right curve is much flattened and close to "E" at + base. Upper left curve is deep and a good distance from "T". + The latter is short, thick and near "H". "RE" much wider at + top than "HR". There are two small dots immediately below + the upper right curve. In the lower label "C" and "S" are + slightly above the level of "ENT"; "EN" near; "N" broad. + Compare variety 18 for lower left curve and note position of + "T" of "THREE" with regard to upper left curve. + +[Illustration] + +Variety 18:--LOWER LEFT CURVE SLANTS BACK AND IS FAR FROM + "C" AT THE JUNCTION OF THE CURVE WITH THE OUTER FRAME LINE. + "T" close to upper left curve. Upper left curve flat and "T" + is much nearer to it than "E" to the right curve. "THR" near + at top. "RE" very wide at top. "EE" near. The entire word + "CENTS" is close to the inner oval line. "N" is broad, and + top of "T" is slightly above "X". "TS" close. Note that + there are three dots immediately above lower right curve. + Compare Variety 17 for lower left curve. + +Variety 19:--"T" AND "E" CLOSE TO CURVES. Upper curves + short. "HRE" wide at top. "EE" near. Lower left curve near + "C". "CE" close. "EN" wide. "N" in upright position. "NT" + wide at base. Compare variety 12 for arrangement of letters + in upper label and note "NT". Note that the top of "E" is + very near curve. + +[Illustration] + +Variety 20:--"C" HIGH; NEAR INNER OVAL LINE AND CLOSE TO + "E". "C" and "S" above level of "ENT". "C" heavy and near + lower left curve. "EN" wide. "NT" close. Upper curves are + short. "T" near upper left curve. "TH" close and "T" has + short top stroke. Upper right curve starts far from top of + "E" and slants inward. "EE" near. Lower right curve deep. + Compare varieties 12, 19 and 21 for lower label. + +Variety 21:--"T" SHORT, THICK AND NEAR CURVE. "TH" near. "R" + in the centre of label and in a vertical position. Upper + right curve slants inward and is much nearer to base than to + top of "E". "C" and "S" in lower label are above level of + "ENT". "S" of "CENTS" far from curve. Lower left curve short + and close to "C". "N" is broad. Lower right curve deeper + than lower left curve. "CEN" near. Compare variety 30 for + lower right curve and 20 for upper right curve. + +[Illustration] + +Variety 22:--"EN" JOINED AT TOP. "HR" very wide at top and + forming a sharp angle. "TH" close. Upper left curve flat. + Upper right curve is deep; far from top of "E" and + terminates at its base. Lower left curve far from "C". "C" + and "S" above level of "ENT". Upper cross stroke of "T" + short. "S" far from lower right curve. First loop above + lower right curve has a very large centre. Compare variety + 21. + +Variety 23:--"R" HIGHEST LETTER AND CLOSE TO OUTER FRAME + LINE. "TH" close. "RE" very wide at top. "T" and "E" about + the same distance from curves. There are two small, colored + dots immediately below the upper right curve. Lower left + curve slants. "C" and "S" equally far from curves. "CENT" on + level and "CEN" close at base. Compare variety 17 for lower + left curve. + +[Illustration] + +Variety 24:--TOP STROKE OF "E" IS ABOVE TOP OF "C". "CE" + close. "EN" near at top. "N" short and thick. Top stroke of + "N" nearly touches "T". "NT" high in label. Lower curves + well rounded and short, but lower left curve deeper than + lower right. "C" somewhat further from curve than "S". Upper + right curve deep and far from "E". "TH" near and about + parallel. "HR" near, but "RE" wider at top. "EE" near; + centre strokes touch upper horizontal line. Compare, for + distance of "THR", variety 29. + +Variety 25:--A FLAW, i.e., a white line running out from the + middle of the third loop on the right, towards the inner + oval line. Lower left curve a good distance away from "C". + "C" round and full, but shorter than the rest of the + letters. "S" far from lower right curve. "EE" widely spaced + and upper right curve flat. "C" and "S" above level of + "ENT". + +[Illustration] + +Variety 26:--"C" OF "CENTS" ELONGATED, VERY SLANTING AND + FAR FROM "E". Lower left curve is very flat and far from + "C". "ENT" near at top. Lower right curve slants back and is + far from base of "S". Upper left curve is very flat. "HRE" + very wide at top and "EE" widely spaced. "N" is broad. There + are, also, two dots immediately below upper right curve. + Compare varieties 16 and 29. + +Variety 27:--THE HORIZONTAL BAR OF THE FINAL STROKE OF "N" + EXTENDS OVER THE TOP OF "T". Lower left curve fat and very + far from "C". "CE" wide. Upper left curve much deeper than + upper right curve, which is almost a straight line. "T" very + short. "TH" wide at top, "HR" wider. Note that "R" stands to + right of the centre of stamp and, also, the wide, colored + space above the top of "THRE". "N" of "CENTS" is broad. + Compare varieties 16 and 26. + +Variety 28:--"T" OF "THREE" IS LOW, SMALL AND HEAVY. "RE" + nearest. "T" is near the inner oval line and much nearer to + upper left curve than "E" to upper right curve. "TH" near, + "H" and "E" at top about the same distance apart from "E", + which is upright and close to outer frame line. "EE" near. + Lower left curve short; lower right curve deep. "CE" on + level and close. "EN" far. "N" short and thick and, at base, + nearer "E" than "T". Compare variety 29. + +[Illustration] + +Variety 29:--"THR" SPACED CLOSEST. "T" of "THREE" slightly + nearer the curve than "E" is to upper right curve. Upper + curves are deep and well rounded. "TH" close. "C" of "CENTS" + is heavy and close to the short, round curve. "NT" near and + sometimes touching at top. "TS" wide and "S" far from curve. + Lower right curve deep and well rounded. Note that the word + "CENTS" is near the outer frame line. Compare variety 30 for + "S" distance. + +Variety 30:--"C" NEAR OUTER FRAME LINE AND ON LEVEL WITH + "E". "TH" very near and top of "T" close to curve. "RE" much + wider at top than "HR". "EE" wide at top. Upper right curve + much larger than upper left curve and much further from top + than from base of "E". Lower curves short and round. "NT" + wide at base. "TS" close at top and top of "S" close to + curve. There is a colored dot, or circle, immediately above + centre of the lower right curve. Note wide colored space + above top of "R" and "E". Compare varieties 21 and 28. + + +SIX CENTS, RED AND SIX CENTS, GREEN. + +Short labels with straight ends. +8-1/2 loops on the left; 9 loops on the right. + +The date of issue of the SIX CENTS red is generally placed about July +31st. 1853; that of its congener--but with color changed--sometime +before Sept. 30th of the same year. As there has never been much demand +for a six cent envelope, it is strange that this issue has four +distinct heads of Washington, two forms of "SIX", small and large, and +different spacings of the word "CENTS". Unlike the last issue, the die +is exceedingly well printed, and it is not difficult to get fine +copies. + +In Varieties 1 and 2 "SIX" is widely spaced: + +In Varieties 3 and 4 the spacing is closer. + + +VARIETY 1. + +[Illustration] + +No description of the head is needed; it is HEAD I of Die 1 of 1853. +"CE" very wide; "EN" wide; "NT" near at top and "S" is far from "T". + + +VARIETY 2. + +[Illustration: XVI.] + +HEAD XVI. Side-lock is long, straight, curved at its point, and ends +near the ear-lobe. There are five locks in the front row and four in +the back row. The highest front-lock is split into two parts. Between +the side-lock and the lowest front-lock and well towards the middle of +the former, commences a thin lock which extends far beyond the ear-lobe +and ends in the queue. "CE" wide; "EN" wide; "NT" further at base than +in Var. 1. "TS" near. This head is found on the reprints on white and +buff vertically laid paper. + + +VARIETY 3. + +[Illustration: XVII.] + +HEAD XVII. A very heavy eyebrow which comes close to the side-lock. The +latter is very fine and near the ear-lobe. The hair consists of five +long and nearly parallel locks. The second longest and heaviest lock +touches the queue. "CE" very wide; "EN" wide. "NT" wide at top. "TS" +very widely spaced. + + +VARIETY 4. + +[Illustration: XVIII.] + +HEAD XVIII. A heavy eyebrow. A short side-lock with a sharp point, +starting near the eye-brow, ends [HW: some] distance from the ear-lobe. +There are five locks in the front row and the same number in the back +row. Of the five front locks four are heavy. There is also a long and +thin strand between the second and third front-lock. Together with the +side-lock starts the lowest front-lock which broadens out towards its +middle and ends in a point a short distance behind the ear-lobe. The +second front-lock is in line with the queue. "CENTS" close to outer +frame line. "CE" nearer than in Var. 3. "T" has a short cross-stroke; +"TS" is wide and "NT" is near at top. + +All varieties of the SIX CENTS red exist only on Knife 3, and all those +of the SIX CENTS green only on Knife 2. The former is a newcomer and +was styled "Official, Size 7". On account of its size (221 × 98 mm.) +the envelope did not meet with much favor, and to-day it is difficult +to find a cancelled specimen in fine condition. In accordance with the +instructions of the Post Office the envelope should have been folded so +that the right side flap overlapped the left, but this rule was not +strictly adhered to, so that many collectors possess specimens with the +opposite folding. + + +TEN CENTS, GREEN. + +Narrow labels with straight ends. 8-1/2 loops on the left; 9 loops on +the right. + +This die appeared in April, 1855. Its issuance is due to an Act of +Congress of March 3, 1855, which fixed the letter rate for +transportation over 3000 miles at 10 cents. + +[Illustration] + +HEAD XV: VAR. I:--Letters of "TEN" about equally spaced. "T" slants +back and is somewhat nearer the left label than "N" to the right. "CE" +close: "NT" near, and the top of the latter above "N". "S" closer to +curve than "C". Frequently a little white line runs out from the left +ornamental scrollwork a short distance above "C". + + +TEN CENTS, GREEN. + +Very wide upper label (measuring horizontally 24-1/2 mm.) with straight +ends. + +7 loops on each side. + + * * * * * + +[Illustration: XIX.] + +[Illustration] + +HEAD XIX: VAR I:--A short fine eyebrow extends upward from the end of +the nose. Another short, but much heavier one, is attached to the +corner of the eye. Two fine, short side-locks commence a little +distance from the heavy eyebrow and finish just above the ear-lobe. +There is a double row of five short and heavy locks, while the queue is +continued from the lowest lock in the back row. The garment at the back +has three folds. + +"TEN" near, but "N" nearer to right label than "T" to the left. Letters +of "CENT" closely spaced, but "S" some distance from "T". + + * * * * * + + +A REFERENCE LIST OF ENTIRE ENVELOPES OF THE SERIES OF 1853 TO 1855. + + +THREE CENTS, RED. + +DIE I. "THREE" IN NARROW CURVED LABEL. + +VAR. 1: HEAD I. + +No.[C] Paper. Knife. Size. Dimensions. Remarks. + 1 W 2 3 139 × 83 Seal. + 2 B 2 3 " " " + +VAR. 2: HEAD I. + +No. Paper. Knife. Size. Dimensions. Remarks. + 3 W 2 3 139 × 83 Plain and seal. + 4 B 2 3 " " " " " + +VAR. 3: HEAD Ia. + +No. Paper. Knife. Size. Dimensions. Remarks. + 5 W 2 3 139 × 83 Plain and seal. + 6 B 2 3 " " " " " + +VAR. 4: HEAD II. + +No. Paper. Knife. Size. Dimensions. Remarks. + 7 W 1 1 120 × 73 Plain. + 8 W 2 3 139 × 83 Plain and seal. + 9 B 2 3 " " " " " + +VAR. 5: HEAD III. + +No. Paper. Knife. Size. Dimensions. Remarks. +10 W 2 3 139 × 83 Plain and seal. +11 B 2 3 " " " " " + +VAR. 6: HEAD IV. + +No. Paper. Knife. Size. Dimensions. Remarks. +12 W 1 1 120 × 73 Plain. +13 W 2 3 139 × 83 Plain and seal. +14 B 2 3 " " " " " + +VAR. 7: HEAD V. + +No. Paper. Knife. Size. Dimensions. Remarks. + 15 W 1 1 120 × 73 Plain. + 16 W 2 3 139 × 83 Plain and seal. + 17 B 2 3 " " " " " + +VAR. 8: HEAD VI. + +No. Paper. Knife. Size. Dimensions. Remarks. + 18 W 1 1 120 × 73 Plain. + 19 W 2 3 139 × 83 Plain and seal. + 20 B 2 3 " " " " " + +VAR. 9: HEAD VII. + +No. Paper. Knife. Size. Dimensions. Remarks. + 21 W 2 3 139 × 83 Plain and seal. + 22 W 2 3 " " No watermark, plain. + 23 B 2 3 " " Plain and seal. + +VAR. 10: HEAD VIII. + +No. Paper. Knife. Size. Dimensions. Remarks. + 24 W 1 1 120 × 73 Plain. + 25 W 2 3 139 × 83 Plain and seal. + 26 B 2 3 " " " " " + +VAR. 11: HEAD IX. + +No. Paper. Knife. Size. Dimensions. Remarks. + 27 W 2 3 139 × 83 Plain and seal; also hor. laid. + 28 B 2 3 " " Plain and seal. + +VAR. 12: HEAD X. + +No. Paper. Knife. Size. Dimensions. Remarks. + 29 W 2 3 139 × 83 Plain and seal. + 30 B 2 3 " " " " " + +DIE II. "THREE" IN NARROW, STRAIGHT LABEL. + +VAR. 1: HEAD I. + +No. Paper. Knife. Size. Dimensions. Remarks. + 31 W 2 3 139 × 83 Seal. + 32 B 2 3 " " " + +VAR. 2: HEAD XI. + +No. Paper. Knife. Size. Dimensions. Remarks. + 33 W 2 3 139 × 83 Plain and seal. + 34 B 2 3 " " " " " + +VAR. 3: HEAD XII. + +No. Paper. Knife. Size. Dimensions. Remarks. + 35 W 1 1 120 × 73 Plain. + 36 W 2 3 139 × 83 Plain and seal. + 37 B 2 3 " " " " " + + +DIE III. "THREE" IN SQUARE LABEL WITH A DIAGONAL LINE ACROSS EACH +CORNER, CALLED "K ENDS". + +VAR. 1: HEAD XIII. + +No. Paper. Knife. Size. Dimensions. Remarks. +38 W 1 1 120 × 73 +39 W 2 3 139 × 83 +40 B 2 3 " " + +VAR. 1: HEAD XIV. + +No. Paper. Knife. Size. Dimensions. Remarks. +41 W 2 3 139 × 83 +42 B 2 3 " " + +DIE IV. "THREE" IN WIDE LABEL WITH SQUARE ENDS. + +HEAD I. + +No. Paper. Knife. Size. Dimensions. Remarks. +43 W 1 1 120 × 73 +44 W 2 3 139 × 83 +45 B 2 3 " " + +DIE V. "THREE" IN MEDIUM CURVED LABEL. + +"T" WITH LONG CROSS STROKE. + +VAR. 1: HEAD XV. + +No. Paper. Knife. Size. Dimensions. Remarks. +46 W 2 3 139 × 82 +47 B 2 3 " " +48 W 4 3 139 × 82 +49 B 4 3 " " + +VAR. 2. + +No. Paper. Knife. Size. Dimensions. Remarks. +50 W 1 1 120 × 73 +51 W 2 3 139 × 83 +52 W 2 3 " " No watermark. +53 B 2 3 " " + +VAR. 3. + +No. Paper. Knife. Size. Dimensions. Remarks. +54 W 2 3 139 × 83 +55 B 2 3 " " + +VAR. 4. + +No. Paper. Knife. Size. Dimensions. Remarks. +56 W 1 1 120 × 73 +57 W 2 3 139 × 83 +58 B 2 3 " " + + +VAR. 5. + +No. Paper. Knife. Size. Dimensions. Remarks. +59 W 1 1 120 × 73 +60 W 2 3 139 × 83 +61 B 2 3 " " + +VAR. 6. + +No. Paper. Knife. Size. Dimensions. Remarks. +62 W 2 3 139 × 83 +63 B 2 3 " " + +VAR. 7. + +No. Paper. Knife. Size. Dimensions. Remarks. +64 W 2 3 139 × 83 +65 B 2 3 " " + +VAR. 8. + +No. Paper. Knife. Size. Dimensions. Remarks. +66 W 2 3 139 × 83 +67 B 2 3 " " + +VAR. 9. + +No. Paper. Knife. Size. Dimensions. Remarks. +68 W 2 3 139 × 83 +69 B 2 3 " " + +VAR. 10. + +No. Paper. Knife. Size. Dimensions. Remarks. +70 W 2 3 139 × 83 +71 B 2 3 " " + + +"T" WITH SHORT CROSS STROKE. + +VAR. 11. + +No. Paper. Knife. Size. Dimensions. Remarks. +72 W 2 3 139 × 83 +73 B 2 3 " " + +VAR. 12. + +No. Paper. Knife. Size. Dimensions. Remarks. +74 W 2 3 139 × 83 +75 B 2 3 " " +76 W 4 3 139 × 82 +77 B 4 3 " " + +VAR. 13. + +No. Paper. Knife. Size. Dimensions. Remarks. +78 W 2 3 139 × 83 +79 B 2 3 " " + +VAR. 14. + +No. Paper. Knife. Size. Dimensions. Remarks. +80 W 2 3 139 × 83 +81 B 2 3 " " + +VAR. 15. + +No. Paper. Knife. Size. Dimensions. Remarks. +82 W 2 3 139 × 83 +83 B 2 3 " " + +VAR. 16. + +No. Paper. Knife. Size. Dimensions. Remarks. +84 W 1 1 120 × 73 +85 W 2 3 139 × 83 +86 B 2 3 " " + +VAR. 17. + +No. Paper. Knife. Size. Dimensions. Remarks. +87 W 2 3 139 × 82 +88 B 2 3 " " + +VAR. 18. + +No. Paper. Knife. Size. Dimensions. Remarks. +89 W 2 3 139 × 83 [HW: Reprints on white and buff +90 B 2 3 " " vertically laid paper.] + +VAR. 19. + +No. Paper. Knife. Size. Dimensions. Remarks. +91 W 2 3 139 × 83 +92 B 2 3 " " + +VAR. 20. + +No. Paper. Knife. Size. Dimensions. Remarks. +93 W 2 3 139 × 83 +94 B 2 3 " " +95 W 4 3 139 × 82 +96 B 4 3 " " + +VAR. 21. + +No. Paper. Knife. Size. Dimensions. Remarks. + 97 W 2 3 139 × 83 + 98 B 2 3 " " + 99 W 5 3 139 × 82 +100 B 5 3 " " + +VAR. 22. + +No. Paper. Knife. Size. Dimensions. Remarks. +101 W 2 3 139 × 83 +102 B 2 3 " " +103 W 5 3 139 × 82 +104 B 5 3 " " + +VAR. 23. + +No. Paper. Knife. Size. Dimensions. Remarks. +105 W 2 3 139 × 83 +106 B 2 3 " " +107 W 4 3 139 × 82 +108 B 4 3 " " +109 W 5 3 " " +110 B 5 3 " " + +VAR. 24. + +No. Paper. Knife. Size. Dimensions. Remarks. +111 W 2 3 139 × 83 +112 B 2 3 " " +113 W 4 3 139 × 82 +114 B 4 3 " " +115 W 5 3 " " +116 B 5 3 " " + +VAR. 25. + +No. Paper. Knife. Size. Dimensions. Remarks. +117 W 2 3 139 × 83 +118 B 2 3 " " + +VAR. 26. + +No. Paper. Knife. Size. Dimensions. Remarks. +119 W 2 3 139 × 83 +120 B 2 3 " " + +VAR. 27. + +No. Paper. Knife. Size. Dimensions. Remarks. +121 W 2 3 139 × 83 [HW: removed remarks] +122 B 2 3 " " + +VAR. 28. + +No. Paper. Knife. Size. Dimensions. Remarks. +123 W 2 3 139 × 83 +124 B 2 3 " " +125 W 4 3 139 × 82 +126 B 4 3 " " + +VAR. 29. + +No. Paper. Knife. Size. Dimensions. Remarks. +127 W 1 1 120 × 73 +128 W 2 3 139 × 83 +129 B 2 3 " " +130 W 4 3 139 × 82 +131 B 4 3 " " +132 W 6 1 118 × 6 Ladies Note. + +VAR. 30. + +No. Paper. Knife. Size. Dimensions. Remarks. +133 W 2 3 139 × 83 +134 B 2 3 " " +135 W 4 3 139 × 82 +136 B 4 3 " " + + +SIX CENTS, RED. + +VAR. 1. HEAD I. + +No. Paper. Knife. Size. Dimensions. Remarks. +137 W 3 7 221 × 98 +138 B 3 7 " " + +VAR. 2. HEAD XVI. + +No. Paper. Knife. Size. Dimensions. Remarks. +139 W 3 7 221 × 98 Reprints on vertically laid +140 B 3 7 " " paper. + +VAR. 3. HEAD XVII. + +No. Paper. Knife. Size. Dimensions. Remarks. +141 W 3 7 221 × 98 +142 B 3 7 " " + +VAR. 4. HEAD XVIII. + +No. Paper. Knife. Size. Dimensions. Remarks. +143 W 3 7 221 × 98 +144 B 3 7 " " + + +SIX CENTS, GREEN. + +VAR. 1. HEAD I. + +No. Paper. Knife. Size. Dimensions. Remarks. +145 W 2 3 139 × 83 +146 B 2 3 " " + +VAR. 2. HEAD XVI. + +No. Paper. Knife. Size. Dimensions. Remarks. +147 W 2 3 139 × 83 Reprints on vertically laid +148 B 2 3 " " paper. + +VAR. 3. HEAD XVII. + +No. Paper. Knife. Size. Dimensions. Remarks. +149 W 2 3 139 × 83 +150 B 2 3 " " + +VAR. 4. HEAD XVIII. + +No. Paper. Knife. Size. Dimensions. Remarks. +151 W 2 3 139 × 83 +152 B 2 3 " " + + +TEN CENTS. + +DIE I. SHORT LABEL WITH SQUARE ENDS. + +HEAD XV. + +No. Paper. Knife. Size. Dimensions. Remarks. +153 W 2 3 139 × 83 Various shades. +154 B 2 3 " " " " + + +DIE II. LONG LABEL WITH SQUARE ENDS. + +HEAD XIX. + +No. Paper. Knife. Size. Dimensions. Remarks. +155 W 2 3 139 × 83 Various shades. Reprints on +156 B 2 3 " " vertically laid paper. + + +FOOTNOTES: + +[Footnote C: NOTE:--The numbers used in this list are arbitrary, +consecutive, and have no relation to the numbers used in any other work +of a similar nature. Under the heading "Paper," "W." means white and +"B." buff paper. The numbers under the headings "Knife" and "Size" are +those of the knives illustrated and described in the _Catalogue for +Advanced Collectors_ and in _Bartel's Catalogue of United States +Envelopes_, 1904 edition. Those under "Dimensions" give the size of the +envelope in millimetres.] + + + + +SECOND ISSUE: 1860. + +The 36th Congress, by an Act approved April 30, 1860, reduced postage +on drop letters, also the charge for the delivery of a letter by +carriers, to one cent. We further learn from the Report of the +Postmaster-General, dated December 1st, 1860, that "the new one cent +envelope is designed mainly for circulars and will also be used largely +for city correspondence". In our days of cheap postage it strikes us as +rather curious to be informed that the Post Office, to cover the +expense of collecting letters, dropped into letter boxes attached to +lamp posts, which letters were delivered by the mail carriers to the +next post office, evolved the scheme of printing two entirely different +stamps on the same envelope, i.e. a ONE CENT (BLUE), and a new THREE +CENTS (RED). The one cent paying the carrier's fee, and the other stamp +paying the postage. + +In addition to the one and three cent, the Post Office issued also a +new SIX and TEN CENTS. In reality the latter two appeared in October, +1860, while the ONE and FOUR CENTS were added in December of the same +year. + +For the collector the most interesting novelty is, however, the +invention of the wrapper now-a-days so commonly used that we can +scarcely think of the time when this commodity did not exist. The sizes +of the envelopes were also increased by the addition of a new one known +as knife 9, bearing on the inside of the left flap the "patent lines." + + +ONE CENT: BLUE. + +HEAD OF FRANKLIN TO THE RIGHT, OVAL 20-1/2 × 24-1/2 MM. "ONE CENT" +ABOVE; "U. S. POSTAGE" BELOW. + + +TWELVE VARIETIES. + +The easiest way of classifying the various dies is to extend the base +line of the bust and note its position with regard to the letters "A" +and "G" of "POSTAGE". By this simple method we obtain the following +groups:-- + + 1) Bust points at G; + 2) " " between A and G; + 3) " " at A. + +Next in importance is to note the position of the back of the bust with +reference to the strokes of letter "U". Calling the stroke next to the +star ornament the first stroke, and that next to "S" the _second_, we +have two additional distinctive features. Finally, the distance from +the back of the bust to inner oval line furnishes a third valuable +clue. + +To the above we may add three 10 mm. unit distance measurements, taken +from the upper end of the first stroke of "U" towards "ONE"; from the +right end of the horizontal stroke of "T" of "CENT" towards the "E" of +"POSTAGE"; and from the upper end of the final stroke of "N" of "CENT" +towards the "E" of "ONE", noting each time the end of the 10 mm. line. +The result is shown in the subjoined table:-- + + Measured from upper extremity of "U" the end of the 10 mm. + line touches right side of "O"; strikes base of "N"; or + falls between the strokes of "N"; + + Measured from "T" the end of the 10 mm. line touches end of + "E" reaches to about the middle of the lower horizontal + stroke; or falls behind "E". + + Measured from "N" end of 10 mm. line touches upper end of + "E"; reaches to the middle of the upper horizontal stroke; + or falls outside "E". + +We are now well prepared to take up the several varieties. + + +PERIOD AFTER "POSTAGE". + +BUST POINTS AT "G". + +Base line of bust touches "G" to the left. + +Back of bust opposite 2nd bar of "U" in Varieties 1, 2, 3, 4, 5, 6, 7, +8, 10, 11 and 12. + +Unless otherwise stated the stamp measures 20-1/2 × 24-1/2 mm. + +[Illustration] + +Variety 1:--"O" and "N" of "ONE" widely spaced. "SP" near at + top. "CENT": "CEN" widely spaced at top. "NT" close. + "POSTAGE": "GE" near to inner frame line. Back of bust far + from inner oval. 10 mm. from "U" strikes first bar of "N". + 10 mm. from "N" touches "E". 10 mm. from "T" strikes a + little into the lower bar of "E" of "POSTAGE". + +Variety 2:--Widely spaced between "U. S." and inner frame + line. "ONE": "ONE" near. Wide space between "U" of "U.S." + and "O" of "ONE". "CENT": "EN" close. Distance between "ONE" + and "CENT" only 3 mm. Back of bust far from inner oval line. + 10 mm. from "U" touches right side of "O". " " " "N" touches + middle of upper bar of "E" of "ONE". " " " "T" strikes a + little into the lower bar of "E" of "POSTAGE". + +[Illustration] + +Variety 3:--"S" of "U. S." nearly touches inner frame line. + "CENT": "C" of "CENT" near inner frame line. + "NT" wide. Back of Bust far from inner oval line. + 10 mm. from "U" reaches to centre of "N". + " " " "N" touches "E" of "ONE". + " " " "T" strikes a little into the lower bar of + "E" of "POSTAGE". + [HW: Distance from "E" to "C" is 3-1/2 mm.] + +BUST POINTS BETWEEN A AND G. + +[Illustration] + +[Illustration] + +BASE LINE OF BUST PASSES THROUGH RIGHT BAR OF A. + +Varieties 4, 5, 6, 7, 8. + +Variety 4:--"O" of "POSTAGE" considerably above outer frame + line; "TAGE" close, especially "GE", which are close to + inner frame line and above level of the other letters. STAMP + measures 20 × 24-1/2 mm. "ONE": "NE" far apart. Letters of + "ONE" especially the "E" close to outer frame line. "CENT": + "C" far from "E." "POSTAGE": "PO" close. "O" to "U": 7-1/2 + mm. From end of upper right point of "C" to top of left + stroke of "O" of "ONE" is 5 mm. + +Variety 5:--"PO" of "POSTAGE" wide; "OS" and "AGE" near + lower frame line: "GE" near. "ONE": "NE" wide. Distance + between "ONE" and "CENT" widest. Sometimes a spot under left + star and also in central oval at back of head. A rare die. + "O" to "U": 8 mm. "C" to "E": 5 mm. _falls considerably + outside_ "E". + +Variety 6:--DISTANCE BETWEEN "S" of "U. S." and "P" of + "POSTAGE" wide. "ONE": "NE" wide, and the latter tipped to + right. "POSTAGE": "PO" wide: "TE" wide at foot: "GE" close. + There is often a comma after the "S" of "POSTAGE", and a dot + above the head in the central oval under the "N" of "ONE". + "O" to "U": 7-1/4 mm. + "C" to "E": 5 mm. is barely outside "E". + 10 mm. from "U" falls at centre of "N". + " " " "T" touches middle of lower bar of "E". + This die is found greatly worn, especially in the wrappers. + +Variety 7:--"U" AND "S" close. This is the only die in which + back of bust nearly touches inner frame line. "E" of "ONE" + equidistant from oval lines. "ONE": "NE" far apart. + "POSTAGE": "PO" wide; "ST" wide at foot: "AGE" close. + "O" to "U": 8 mm. + "C" to "E": 5 mm. + 10 mm, from "T" touches "E" to the left; + " " " "U" touches "N" + " " " "N" touches middle of top stroke of "E" of "ONE". + +[Illustration] + +Variety 8:--Similar to the last, but _back of bust is some + distance from inner oval line_. "POSTAGE": "TAGE" closely + spaced and near outer frame line. + 10 mm, from "T" strikes one-half mm. into the lower bar of "E". + " " " "U" falls between "O" and "N". + " " " "N" touches "E". + 5-1/2 mm. strikes "E". + "O" to "U": 8-1/2 mm. + There is a dot under the left star, and sometimes, also, one + above it. + + +BUST POINTS AT A. + +BASE LINE OF BUST CUTS LEFT BAR OF A. + +Variety 9:--Back of bust opposite first bar of "U". "S" of + "U. S." and "P" of "POSTAGE" very close. "U. S." widely + spaced. "POSTAGE": "OS" close to lower frame line. + 10 mm. from "U" touches "N". + +POINT OF BUST BETWEEN A AND G. Oval 20 × 24 mm. + +Variety 10:--Back and front of bust cut into inner frame line. + +NO PERIOD AFTER POSTAGE. Oval 21 × 25 mm. + +BUST POINTS BETWEEN A AND G. + +[Illustration] + +Variety 11:--Back of bust opposite second bar of "U". Base + of bust nearly touches inner frame line, and entire bust low + in frame. "CENT": "C" much nearer "E". "POSTAGE" close to + outer frame line. + + BUST POINTS AT G. + +Variety 12:--Same as last, but back of bust far from inner + frame line, and entire bust lower in frame. "CENT": "C" much + nearer "E". "POSTAGE": "POST" close to inner frame line. + + +NEWSPAPER WRAPPERS. + +By the Act of Feb. 27th, 1861, Chap. LVII, Sec. 2, the +Postmaster-General was authorized "to adopt such improvements as may be +deemed advisable from time to time in connection with postage stamps or +stamped envelopes for letters or newspapers." Under authority of this +Act the Postmaster decided to introduce one cent wrappers and they were +first issued in October, 1861. By the Act of March 3, 1863, the rate +for transient newspapers was changed to two cents, and accordingly, the +Post Office issued what is known as the "two cent, Jackson", newspaper +wrapper. + + * * * * * + +Collectors have often complained that the wrappers of this issue are +troublesome. This is largely due to the fact that no one has undertaken +the task of compiling a complete list of the fairly numerous varieties +in existence. Again, the various tints of paper used in this issue have +justly caused a good deal of confusion. The catalogues distinguished +between coarse and yellow buff, salmon, pale buff and amber buff, pale +and dark manila, but it is safe to assume that no two collectors would +agree in regard to color. It seems reasonable to distinguish between +buff, salmon buff (a pinkish yellow) and yellow buff, while the manila +paper used for the one cent wrappers may properly be called coarse +manila. + +To give the philatelist a broader hold on this issue and a better +insight, Mr. J. M. Bartels, together with the writer, has made a +thorough study of the one cent wrapper, and the result of their united +labor is embodied in the list which will follow this series of +articles. + +For the identification of a wrapper of this issue it is well to observe +the following method: + + Note whether the paper is horizontally or vertically laid; + Whether or not the wrapper has a watermark; + + + Measure the distance between the top of the stamp and the + horizontal edge of the wrapper; it will be found that this + distance varies from 35 to 120 mm. and constitutes a + valuable help for differentiation and identification of a + wrapper; + + + Note the dimensions of the wrapper which may be: + + 148 × 225 to 227 mm. + 151 × 227 mm. + 148 × 257 mm. + 151 × 257 mm. + +In the absence of a watermark the paper may be either wove or laid. A +noteworthy innovation in this issue is the introduction of orange paper +used both for envelopes and wrappers. + +The one cent wrapper has also been found on a somewhat coarse, white +paper, of which the writer has seen a single copy, contained in the +magnificent collection of Mr. G. H. Worthington, of Cleveland, Ohio, +but, as far as known, the white paper was not issued with the sanction +of the Post Office authorities. + +An envelope on white paper, of a somewhat similar texture to the +wrapper spoken of above, was in the collection of Mr. Van Derlip, of +Boston, but, it is impossible to trace its present whereabouts, and, +therefore, I have no means of ascertaining the die. + + +THREE CENTS: RED. + +HEAD OF WASHINGTON TO LEFT. A SMALL UPRIGHT OVAL MEASURING 20 × 24 MM. +"THREE CENTS" ABOVE; "U. S. POSTAGE" BELOW. + +At each side is a six-rayed star between the inscriptions. + + +NINE VARIETIES. + +It has already been mentioned that the new die was issued in accordance +with the action of the 36th Congress, and that this stamp is also used +to form a compound value with the one cent die. + +The collector of entire envelopes finds in this issue two new shapes, +knives 6 and 7, of which the former was supposed to supply the needs of +the gentler portion of humanity, and is officially known as "Ladies' +Note Size," while knife 7 is styled "Medium Letter" and is for +commercial correspondence. These envelopes have "patent lines." + +With the exception of variety 8, which measures 24-1/2 mm., the +vertical dimension of the die is 24 mm. The several varieties may be +grouped by observing the position of the back of the bust with relation +to the letters "G" and "E" of "POSTAGE." + +GROUP I.--Back of bust points at "G." (Vars. 1 to 7.) +GROUP II.--Back of bust points between "G" and E." (Var. 8.) +GROUP III.--Back of bust points almost at "E." (Var. 9.) + +For the specialist the writer recommends the use of a 10 mm. unit +distance measurement to be applied as follows: + +Measure 10 mm. from the top of the highest ray of the left star towards +the top of "P" of "POSTAGE." This measurement assists in the +identification of varieties 1 and 3. Another measurement may be taken +from the left end of the horizontal cross stroke of "N" of "CENTS" +towards the "E" of "THREE," and reveals the different spacings between +the latter and "CENTS." + +BACK OF BUST POINTS AT "G." + +[Illustration] + +Variety 1:--"PO" close. "AGE" widely spaced. Note that the + distance between "T" and the left star is further in Var. 1 + than in Var. 2 or 3. "C" of "CENTS" near "E." Width of "U. + S." at top 4-1/2 mm. + +Variety 2:--An additional period close to the upper end of + "S." "O" further from "P." "S" nearer "T" than in Var. 1. + "U. S." wider than in Var. 1, measuring 5 mm. across the + top. "CE" of "CENTS" wide. + +Variety 3:--"PO" spaced as in Var. 2, and "U. S." as in Var. + 1; but "PO" and "TA" are spaced wider than in Var. 1. + +[Illustration] + +Variety 4:--"O" far from "P." "S" of "POSTAGE" almost + touches inner frame line. "AGE" near. + +Variety 5:--"PO" close, but "OS" very wide. "AGE" wide. + +[Illustration] + +Variety 6:--"ST" very widely spaced; "OS" wide; "AGE" near. + +Variety 7:--"A" of "POSTAGE" has no bar; "PO" near; "OS" wide. + + +BACK OF BUST BETWEEN "G" AND "E." + +[Illustration] + +Variety 8:--This is the largest die of the series. Its + vertical measurement is 24-1/2 mm. "PO" close; "ST" close; + "AGE" widely spaced. + + +BACK OF BUST POINTS ALMOST AT "E." + +Variety 9:--"POSTAGE" short and lettering very close. 10 mm. + measured from the top of "P," reaches "E." + + +PROOF SET. + +It may be of interest to collectors of entire envelopes to mention that +a set of envelopes has been catalogued under the supposition that they +were regularly issued, but they are now generally believed to be +proofs. They are all buff paper and are Var. 8. The following knives +and sizes exist:[D] + + S. 3, Knife 3, 221 × 97 mm. Official. + S. 7, " 13, 224 × 96 mm. " + S. 8, " 14, 241 × 100 mm. Extra Official. + S. 8, " 15, 249 × 104 mm. " " + S. 8, " 16, 260 × 110 mm. " " + S. 8, " 17. 271 × 118 mm. " " + +Letter sheets on blue and white paper with this die are essays or trial +printings. + + +FOUR CENTS. + +ONE CENT BLUE (FRANKLIN) AND THREE CENTS RED (WASHINGTON). + +The reason for the issue of this, the only compound stamp of the U. S. +Post Office, has already been stated in the introduction to the one +cent. The two stamps were impressed side by side, the one cent to the +left and the three cents to the right. The Department issued two sizes +of these rather scarce compounds, officially called size 2 and 3. Of +the first there exists but one knife, i.e. knife 8 (137 × 77 mm), and +of the second two knives, i.e. knives 2 and 9, both measuring 139 × 83 +mm. All envelopes exist on white and buff paper, except perhaps variety +5. There are five different combinations of these compounds, which are +as follows: + + ONE CENT. THREE CENTS. + Variety 1. 3 × 8 + Variety 2. 4 × 4 + Variety 3. 6 × 8 + Variety 4. 8 × 1 + Variety 5. 10 × 8 + +It will be noted that the same variety of the three cents is used with +three different combinations of the one cent. By far the rarest of the +entire series is variety 5 which represents the Franklin die, in which +the back and front of the bust cut into the inner frame line. The +writer has seen a few copies of this variety on white paper but none on +buff. + +From the reports of the Postmaster-General it has been ascertained that +the compound stamp was issued only during fifteen months, ending June +30, 1863. On account of the short time that these envelopes remained on +sale but 127,250 were issued. This explains their rarity. + + +SIX CENTS: RED. + +HEAD OF WASHINGTON: SIX RAYED STARS FOR SIDE ORNAMENTS. + +OVAL 20 × 24 MM. + +This die, which was in use from October, 1860, to August 15, 1861, +presents us with a new head, which was retained for the next higher +denomination, the ten cents, green. Why the head used for the three +cents was abandoned by the die maker we do not know. The principal new +feature is a very short heavy front-lock which ends far from the +ear-lobe. In addition to the front-lock there are three long clusters +of hair in the front and four in the rear, of which the two lowest +reach into the queue. From the middle of the side-lock extends the +wedge-shaped lowest front-lock. It slants but a little distance across +the ear-lobe. A long straight lock, made up of three strands, runs from +the ear-lobe into the queue. The size of this envelope is "Official" or +No. 7, measuring 221 × 98 mm. It is found both on white and buff paper +and is very rare. + + +TEN CENTS: GREEN. + +HEAD OF WASHINGTON; SIX RAYED STARS FOR SIDE ORNAMENTS. + +OVAL 20 × 24 MM. + +Envelopes bearing the ten cent die were issued from October, 1860, to +August 15, 1861. As has already been stated the head is the same as +that of the preceding die, but the envelope is different. It is the +common knife 2, or "Full Letter," measuring 139 × 83 mm. The paper is +white or buff. Of the two, the former is the rarer. + +Before taking up the next issue it may be well to remind the collector +that the three cents, six cents and ten cents have been reprinted, not +on entire envelopes, but on pieces of paper vertically laid, while the +originals are on diagonally laid paper. + + +A REFERENCE LIST OF ENTIRE ENVELOPES AND WRAPPERS OF THE SERIES OF +1860. + + +ENVELOPES. + +ONE CENT, BLUE. + +No. Paper. Knife. Size. Dimensions. Gum. Remarks. + +VAR. 1. + +157 B 2 3 139 × 83 U +158 B 2 3 " " G + +VAR. 2. + +159 B 2 3 139 × 83 U +160 B 2 3 " " G + +VAR. 3. + +161 B 2 3 139 × 83 U +162 B 2 3 " " G +163 B 5 3 " " G + +VAR. 4. + +164 B 2 3 139 × 83 U +165 B 5 3 " " U +166 B 5 3 " " G + +VAR. 5. + +167 B 2 3 139 × 83 U +168 B 2 3 " " G +169 B 5 3 " " G + +VAR. 6. + +170 B 2 3 139 × 83 U +171 B 2 3 " " G +172 B 5 3 " " U +173 B 5 3 " " G +174 B 9 3 " " U +175 B 9 3 " " G + +VAR. 7. + +175a B 2 3 139 × 83 U +176 B 5 3 " " U +177 B 5 3 " " G + +VAR. 8. + +178 B 2 3 139 × 83 U + +VAR. 9. + +179 B 2 3 139 × 83 U +180 B 5 3 " " U +181 Y.B. 5 3 " " U +182 Or 2 3 " " U Wove paper, no wmk. +183 L.Or 5 3 " " U " " " + +VAR. 10. + +184 Or 11 3 139 × 83 G + +VAR. 11. + +185 B 11 3 139 × 83 G + +VAR. 12. + +186 B 11 3 139 × 83 G + + +THREE CENTS, RED. + +VAR. 1. + +187 W 7 2 137 × 77 G +188 W 8 2 " " G +189 B 8 2 " " G +190 W 2 3 139 × 83 G +191 B 2 3 " " G + +VAR. 2. + +192 W 7 2 137 × 77 G +193 B 7 2 " " G +194 W 8 2 " " G +195 B 8 2 " " G +196 W 2 3 139 × 83 G +197 B 2 3 " " G + +VAR. 3. + +198 W 6 1 118 × 65 G +199 W 1 1 120 × 73 G +200 W 2 3 139 × 83 G +201 B 2 3 " " G + +VAR. 4. + +202 B 7 2 137 × 77 G +203 W 8 2 " " G +204 B 8 2 " " G +205 W 2 3 139 × 83 G +206 B 2 3 " " G + +VAR. 5. + +207 W 2 3 139 × 83 G +208 B 2 3 " " G + +VAR. 6. + +209 W 2 3 139 × 83 G +210 B 2 3 " " G + +VAR. 7. + +211 W 6 1 118 × 65 G +212 W 1 1 120 × 73 G +213 W 7 2 137 × 77 G +214 B 7 2 " " G +215 W 2 3 139 × 83 G +216 B 2 3 " " G + +VAR. 8. + +217 W 7 2 137 × 77 G +218 B 7 2 " " G +219 W 8 2 " " G +220 B 8 2 " " G +221 W 2 3 139 × 83 G +222 B 2 3 " " G + +VAR. 9. + +223 W 7 2 137 × 77 G +224 B 7 2 " " G +225 W 8 2 " " G +226 B 8 2 " " G +227 W 2 3 139 × 83 G +228 B 2 3 " " G + + +FOUR CENTS, RED AND BLUE. + +VAR. 1. + +229 W 9 3 139 × 83 G Var. 3 of 1c. and 8 of 3c. +230 B 9 3 " " G " " " + +VAR. 2. + +231 W 2 3 139 × 83 G Var. 4 of 1c. and 4 of 3c. +232 B 2 3 " " G " " " + +VAR. 3. + +233 W 2 3 139 × 83 G Var. 6 of 1c. and 8 of 3c. +234 B 2 3 " " G " " " + +VAR. 4. + +235 W 8 2 137 × 77 G Var. 8 of 1c. and 1 of 3c +236 B 8 2 " " G " " " + +VAR. 5. + +237 W 8 2 137 × 77 G Var. 10 of 1c. and 8 of 3c. +238 B 2 3 139 × 83 G " " " + + +SIX CENTS, RED. + +239 W 3 7 221 × 98 G +240 B 3 7 " " G + + +TEN CENTS, GREEN. + +241 W 2 3 139 × 83 G +242 B 2 3 " " G + + +WRAPPERS. + +ONE CENT, BLUE. + + Horizon'ly Dist'ce of + or Vertic'ly st'p from +No. Paper.[E] Dimensions. Laid. Edge. Remarks. + +VAR. 3. + +243 S.B. 148 × 225 H 35 +244 S.B. " " V 35 +245 S.B. " " H 35 Unwatermarked. +246 A.B. 151 × 257 H 35 " +247 Y.B. 148 × 225 H 35 +248 Y.B. " " V 35 +249 Or 151 × 257 H 36 Unwatermarked. +250 Or " " V 36 " +251 Or " " Wove 36 " + +VAR. 4. + +252 B 148 × 232 V 38 +253 Y.B. 152 × 257 V 120 +253a C.M. " " V 120 + +VAR. 5. + +254 B 148 × 227 H 39 + +VAR. 6. + +255 B 148 × 227 H 39 +256 B " " V 39 +257 C.M. " " H 68-71 +258 Y.B. " " H 33-37 +259 Y.B. " " V 33 +260 W " " V 38 Very rare. But + one copy known. + +VAR. 7. + +261 Y.B. 151 × 227 H 35 +262 Y.B. " " V 35 +263 C.M. " " H 71 + +VAR. 8. + +264 B 148 × 227 H 39 + +VAR. 9. + +265 C.M. 148 × 225 H 68-71 +266 C.M. " " Wove 71 Unwatermarked. +267 B " " H 39 +268 B " " V 39 +269 B " " V 70 +270 Or 180 × 260 44 Unwatermarked. +270a Or 180 × 260 H 48 " + +VAR. 10. + +271 C.M. 148 × 225 + +VAR. 12. + +272 B 148 × 225 + + +FOOTNOTES: + +[Footnote D: The Knives, Nos. 13, 14, 15, 16 and 17 are those of the +list in the CATALOGUE FOR ADVANCED COLLECTORS and are not referred to +in the National Society's list.] + +[Footnote E: The abbreviations used to designate the papers are: +W--white; B--buff; A.B--Amber-buff; S.B--salmon-buff; Y.B--yellow-buff; +Or.--orange and C.M--coarse manila.] + + + + +THIRD ISSUE: 1861. + +In the report of the Postmaster-General for the fiscal year 1861, it is +stated that the three, six and ten cent dies would be changed, and the +new ones were issued August 15th, 1861. They remained in use till +September, 1864. Another important change was the abolishing of the +former ten cents, or California, rate which took place shortly after +July 1st, 1863. + +In addition to these new dies, the Post Office introduced the following +new denominations: i.e. 12, 20, 24 and 40 cents. These latter appear on +large sized envelopes, known to the cataloguers as Knives 14--Size 7, +"Official," 19--Size 8, "Extra Official," and 20--Size 8, "Extra +Official." The 1861 report says that the large envelopes were intended +for the purpose of mailing large packages and for foreign +correspondence. The total issue amounted to 20,000. + + +THREE CENTS, ROSE. + +Head of Washington facing to left. Inscriptions in outline, block +letters. "United States" above: "Three Cents" below, separated on each +side by a small circle containing a colorless numeral of value. + +The die is an oval measuring in + + Die A:--23 mm. or less in width. + Die B:--23 1/2 mm. or more in width. + Die A includes varieties 1 to 7. + Die B includes varieties 8 to 17. + +As in former issues, the engraver has presented the collector with +various heads which differ in the arrangement of the hair but, as in +addition to these minor details the lettering of the various dies is a +far more essential feature, it has not been thought necessary to +reproduce the heads. + +To find the main varieties the following system, based on line +prolongation, has been adopted: + +Draw a straight line along the outer vertical stroke of the final "E" +of "THREE" and note its position with regard to letters "D," "S" and +"T" of " UNITED STATES." This establishes four main groups or classes. + + Class I.--The line runs to the left of "S" of STATES. + Class II.--The line passes through "S." + Class III.--The line touches the upper bar of "T" to left. + Class IV.--The line runs through centre of "T" or beyond it. + +[Illustration: I, II, III, IV] + +The varieties of this die are, furthermore, plainly differentiated by +the size of the letters used for the inscription. There are three +sizes:--very tall letters, medium size, and decidedly small letters. + +Even a cursory observation reveals various shapes of the letter "C" of +"CENTS," and "D" of "UNITED." Likewise, the spacing between the words +and the distance from the words to the circles containing the numerals +of value vary considerably. + +Formerly the existence of a broken circle at the side was chronicled as +one of the most noteworthy varieties, but this feature is of little +value. The philatelist may, however, be interested to hear the opinion +of Messrs. Tiffany, Bogert and Rechert: "We have concluded that only +two varieties are worthy of a place in our list. The others, though +existing, are too minute to interest the average collector." + +The above statement only proves that Horace is right when he assures us +"_Quandoque bonus dormitat Homerus_." Now and then the best experts are +asleep! In the writer's opinion all the varieties of the three cents +rose cannot fail to interest the collector, and no two can be singled +out as being of more or less importance. + +By using a 10 mm. unit distance measurement, we detect numerous other +varieties, of which some are shown in the subjoined diagram. + +[Illustration] + +We are now prepared to study the several varieties of Dies A and B. + + +DIE A. + +CLASS II. + +[Illustration] + +Variety 1:--Elongated "C" without dot in centre. The + lettering is large. Wide, open "U." "NITE" widely spaced, + especially "TE." "ED" near. "U" far from "3." "DS" near. "S" + of "STATES" near "3." "T" of "THREE" far from "3." "HR" + wide. "RE" wide at top. "NT" wide at base. "S" large and far + from "3." Uncommon on white, very rare on buff. + +Variety 2:--Open, short "U." Large, wide open "C." Small + lettering. Wide, open "U," and far from "3." "NITE" widely + spaced. "TAT" well spaced at top. "S" near "3." "T" of + "THREE" near "3." "EC" wide. "C" of "CENTS" is tall, well + rounded, and its ends are far apart. "S" of "CENTS" far from + "3." Found on white and buff paper, quite rare. + + +CLASS III. + +Variety 3:--Smallest letters; "S" of "CENTS" not so near as + in Var. 4. "U" very small, contracted at top, and far from + "3." "UNITE" evenly spaced; "ED" wide at top and "D" in an + almost vertical position. "DS" wide. "TA" of "STATES" wide + at top. "T" of "THREE" near "3." "EC" wide. "C" small and + wide open. "C" far from "E." "TS" close at top. Common on + both papers. + +[Illustration] + +Variety 4:--Similar to variety 3. "S" of "STATES" nearer + circle. The lettering of this variety is like that of + Variety 3, but "U" of "UNITED" is nearer "3" and "S" of + "CENTS" close to "3." Note also that the top stroke of the + "T" of "THREE" is shorter on the left than on the right. + Found only on buff, but quite common. + + +CLASS IV. + +Variety 5:--"U" very near circle. Rather small letters. + Space between bars of "U" narrow. "NI" wide at top. "DS" + near. Final "S" of "STATES" near "3." "T" of "THREE" very + far from "3." "C" small, open and end poorly rounded. "EC" + wide. "S" of "CENTS" far from "3." Perhaps the rarest of all + the varieties. + +Variety 6:--"C" large, well formed, and far from "E." + Similar to Variety 5. "U" further from "3," more open, and + larger than in Variety 5. "C" well rounded and large. "S" of + "STATES" large. + +[Illustration] + +Variety 7:--Elongated "C" with dot in centre. Large + lettering. "U" nearly horizontal and near "3." This variety + has several characteristic features. 1st:--"TS" of "CENTS" + is very widely spaced at base; 2nd:--"C" of "CENTS" is tall, + straight and oval shaped. 3rd:--The left cross stroke of "T" + of "THREE" is very short, and the letter is out of + proportion to those of the rest of the inscription. "EE" of + "THREE" widely spaced. "D" is large and slants decidedly to + the left. "DS" close. Final "S" of "STATES" near "3." "EC" + wide. "S" of "CENTS" far from "3." + + +DIE B. + +Excepting perhaps numbers 9 and 14, the lettering of the varieties of +this class is generally large. + + +CLASS I. + +[Illustration] + +Variety 8:--Widest space between "S" of "CENTS" and circle. + "U" narrow and tall, and in a nearly horizontal position; + first bar much thicker than the second. "D" of "UNITED" well + rounded at top. "DS" near. "S" in vertical position. Wide + distance at base of letters "TE" of "STATES." "ES" close, + and "S" near "3." "T" of "THREE" has a long crossbar and is + far from "3." "HR" widely spaced, but "R" and "E," as well + as "T" and "S" almost touch at top. "EC" near. "C" of + "CENTS" is large, oval and open. + + +CLASS II. + +[Illustration] + +Variety 9:--Circular "C." Smallest lettering in Die B, "U" + near circle. "U" small, short and near "3." "TE" almost + joined at top. "DS" close. "STATES" spaced closely, and + final "S" far from "3." "T" of "THREE" slender and far from + "3." "HR" wide. "EC" near. "C" of "CENTS" small, almost + circular, and its end-curves close together. "S" far from + "3." There is often a white dot over the centre of "R" of + "THREE." + +Variety 10:--"U" nearly touches circle. Medium large + lettering. "U" very close to "3;" it is long and wide open. + "NT" widely spaced. "DS" wide at top. "T" of "THREE" far + from "3." "RE" widely spaced. "EC" near. "C" of "CENTS" + round with a wide space between the end-curves. Wide space + between "C" and "E." "S" far from "3." "ENTS" appear smaller + than the other letters. + +[Illustration] + +Variety 11:--"EC" very wide; "U" rather small. Large + lettering. "U" narrow and far from "3." "D" of "UNITED" + large and rounded, and "ED" close. "DS" close. Note in + "STATES" wide space between "T" and "E." "ES" close at base. + "S" far from "3." "T" of "THREE" near "3." "HRE" well + spaced. "C" of "CENTS" round; top curve, short. "S" near + "3." + +Variety 12:--"U" far from circle. Large, round "C" close to + "E." Large lettering. Second bar of "U" thinner than first. + "UNIT" closely spaced; "ED" wide at top. "DS" near. "ST" of + "STATES" close. The entire word "STATES" is very closely + spaced. "S" far from "3." "T" of "THREE" near "3." Note that + "RE" are close at top. "EE" close. "N" is unusually broad. + "TS" almost touch. "S" far from "3." + +[Illustration] + +Variety 13:--There is generally a dot under right circle. + Large lettering. "U" near "3" "UNITED" closely spaced. "DS" + near. "STATES" is also closely spaced. "S" near "3." "T" of + "THREE" short and near "3," and "TH" wide at base. "REE" + well spaced. "EC" near. "C" of "CENTS" elongated, tipped to + the left, and its end curves wide apart. "CE" well spaced, + but "ENTS" close. "S" near "3." There is frequently a dot + after "S" of "CENTS." Found on white and buff. + + +CLASS III. + +[Illustration] + +Variety 14:--"U" very far from circle. Small letters. "U" of + "UNITED" small and contracted. "UNITED" is closely spaced, + but "ED" is wide at top. "DS" near. Excepting "ST" the rest + of "STATES" is also closely spaced. "S" near "3." "T" of + "THREE" close to "3." "TH" near. "HREE" well spaced. "C" of + "CENTS" is small and its curves short. "S" far from "3." + + +CLASS IV. + +[Illustration] + +Variety 15:--"S" of "STATES" very far from circle. "U" near + circle. "UNI" close. "T" has a long top stroke and "TED" + wide at top. "DS" near. "S" large; "AT" spaced, and base of + "E" short. "T" of "THREE" small and near "3." "TH" wide. + "RE" close at top, "EC" near. "C" of "CENTS" is tall and its + end-curves wide apart. "CE" wide. "S" near "3." + +[Illustration] + +Variety 16:--Largest "C." "RE" and "TS" joined. Large + lettering. This variety has a wide color margin both above + the upper inscription and below the lower one. "UNITED" + close. "DS" near. "STATES" close. "S" close to "3." "T" near + "3." "RE" nearly joined at top. "EC" near. "C" large, broad + and the lower curve considerably longer than the upper one. + "CE" close. "TS" touch at top. "S" far from "3." + +Variety 17:--Large square "D." "C" far from "E." "U" is + close to "3," "U" contracted. "UNITED" close and "TE" touch + at top. Note that "D" is nearly square. "DS" near. "STATES" + close. "T" near "3." "HR" well spaced. "C" rather small and + far from "E." "NTS" close; "TS" touch. "S" near. + +The subjoined tables are added merely to aid the collector in +recognizing the different varieties: + + + LETTERING. + + Very small:--Varieties 3, 4. + Medium:--Varieties 5, 6, 9, 14. + Large:--Varieties 2, 7, 8, 10, 11, 13, 15, 17. + Very large:--Varieties 1, 12, 16. + + DISTANCE FROM "U" TO LEFT CIRCLE. + + 1) Close:--Varieties 5, 10. + 2) Medium:--Varieties 4, 6, 7, 8, 9, 11, 13, 15, 16, 17. + 3) Far:-- Varieties 1, 2, 3, 12, 14. + Varieties 2, 3, 4, 5, 6, 7 and 17 are found on Knife 2 only. + + +SIX CENTS, Rose. + +The design of the SIX CENTS is very similar to the last one, but the +numerals at sides are in ovals. The lettering is also in outline block +capitals. No varieties of this die exist. + +In the beginning of the year 1861, Nesbitt produced new dies of the 12, +20, 24 and 40 cents values, and later, in August, the 10 cents. No +varieties of these dies exist. The design consists of an horizontal +oval, 27-1/2 × 25 mm. showing the bust of Washington in an upright, +colored oval, surrounded by a broad, colorless band 3-1/2 mm. wide, +inscribed in colored block capitals, with the value above and "U. S. +POSTAGE" below. At each side is a circle with colored numerals. The +ornaments above and below the circles consist of branches with seven +leaves each. + +With the exception of the Ten Cents, the new stamps are bi-colored: +i.e. + + 12 cents: brown and red. + 20 " blue and red. + 24 " green and red. + 40 " black and red. + + +A REFERENCE LIST OF THE ENTIRE ENVELOPES AND LETTER SHEETS OF THE +SERIES OF 1861. + +ENVELOPES. + +THREE CENTS, ROSE. + +No. Class. Die. Paper. Knife. Size. Dimensions. Remarks. + +VAR. 1. + +273 2 A B 7 2 137 × 77 +274 " " W 2 3 139 × 83 +275 " " " 11 3 " +276 " " B 11 3 " + +VAR. 2. + +277 2 A W 2 3 139 × 83 +277a 2 A B 2 3 " + +VAR. 3. + +278 3 A W 1 1 120 × 73 +279 " " W 2 3 139 × 83 +280 " " B 2 3 " + +VAR. 4. + +281 3 A B 2 3 139 × 83 + +VAR. 5. + +282 4 A W 2 3 139 × 83 +283 " " B 2 3 " + +VAR. 6. + +284 4 A W 2 3 139 × 83 +285 " " B 2 3 " + +VAR. 7. + +286 4 A W 2 3 139 × 83 +287 " " B 2 3 " + +VAR. 8. + +288 1 B W 1 1 120 × 73 +289 " " W 1 1 " Wove paper, no wmk. +290 " " W 10 1 122 × 76 +291 " " B 7 2 137 × 77 +292 " " W 2 3 139 × 83 +293 " " W 2 3 " No wmk. +294 " " B 2 3 " +295 " " Or. 2 3 " +296 " " W 5 3 " +297 " " B 5 3 " +298 " " W 9 3 " +299 " " B 9 3 " +300 " " W 12 5 160 × 90 +301 " " W 12 5 " No wmk. +302 " " B 12 5 " +303 " " B 12 5 " No wmk. +304 " " Or. 12 5 " " " + +VAR. 9. + +305 2 B W 2 3 139 × 83 +306 " " B 2 3 " +307 " " W 9 3 " + +VAR. 10. + +308 2 B W 6 1 118 × 65 +309 " " W 1 1 120 × 73 +310 " " W 7 2 137 × 77 +311 " " B 7 2 " +312 " " W 2 3 139 × 83 +313 " " B 2 3 " +314 " " W 5 3 " +315 " " B 5 3 " +316 " " B 12 5 160 × 90 + +VAR. 11. + +317 2 B W 2 3 139 × 83 +318 " " B 2 3 " +319 " " B 9 3 " +320 " " W 12 5 160 × 90 +321 " " B 12 5 " + +VAR. 12. + +322 2 B W 6 1 118 × 65 +323 " " W 1 1 120 × 73 +324 " " W 10 1 122 × 76 +325 " " W 2 3 139 × 83 +326 " " B 2 3 " +326a " " W 5 3 " + +VAR. 13. + +327 2 B B 3 [HW: 3] 137 × 77 +327a " " W 2 [HW: 3] 139 × 83 +328 " " B 2 3 " +329 " " B 9 3 " + +VAR. 14. + +330 3 B W 6 1 118 × 65 +331 " " W 1 1 120 × 73 +332 " " W 7 2 137 × 77 +333 " " W 2 3 139 × 83 +334 " " B 2 3 " + +VAR. 15. + +335 4 B B 2 3 139 × 83 +336 " " W 9 3 " +337 " " B 9 3 " + +VAR. 16. + +338 4 B W 7 2 137 × 77 +339 " " W 2 3 139 × 83 +340 " " B 2 3 " +341 " " W 9 3 " +342 " " B 9 3 " + +VAR. 17. + +343 4 B W 2 3 139 × 83 +344 " " B 2 3 " + + +SIX CENTS, ROSE. + +No. Paper. Knife. Size. Dimensions. Remarks. + +345 W 3 7 221 × 98 +346 W 3 7 " No wmk. +347 B 3 7 " Also left over right flap. +348 B 3 7 " No wmk. +349 W 21 7 225 × 98 +350 B 21 7 " Also horizontally laid. + +TEN CENTS, GREEN.[F] + +351 W 2 3 139 × 83 +352 B 2 3 " +353 W 11 3 " +354 B 11 3 " +355 A 11 3 " +356 W 5 3 " +357 B 5 3 " +358 W 9 3 " +359 B 9 3 " + +TWELVE CENTS, BROWN AND RED. + +360 A 19 7 226 × 97 + +TWENTY CENTS, BLUE AND RED. + +361 A 14 8 241 × 100 + +TWENTY-FOUR CENTS, GREEN AND RED. + +362 A 20 8 249 × 104 +363 S.B. 20 8 " + +FORTY CENTS, BLACK AND RED. + +364 A 20 8 249 × 104 +365 S.B. 20 8 " + + * * * * * + +LETTER SHEETS. + +THREE CENTS, ROSE. + +No. Class. Die. Paper. Dimensions. Remarks. + +VAR. 8. + +366 1 B Blue 256 × 205 Letter size. +367 " " " 205 × 171 Note " + +VAR. 10. + +368 2 B Blue 256 × 205 Letter size. +369 " " " 205 × 171 Note " + + +FOOTNOTES: + +[Footnote F: The shade of green varies greatly in these envelopes.] + + + + +FOURTH ISSUE: 1863 AND 1864. + +The Act of March 3rd, 1863, establishing a two cent rate for drop +letters and abolishing the carrier's fee, made the issue of a two cent +stamped envelope and wrapper imperative. The new die appeared about the +middle of 1863, and is a miserable caricature of Jackson, facing the +left. The inscriptions are "U. S. POSTAGE" above, and "TWO CENTS" +below, in colorless, block letters. We may as well state at once that +in the next year (1864), the design, though retaining Jackson's bust, +was altered, and the upper inscription changed to read "U. S. POST." + +Both of these issues have a number of varieties, but of the two the +design inscribed "U. S. POST" is by far the most interesting, and any +philatelist who devotes some study to this, the "spoiled child" of the +Post Office, will quickly be fascinated with it. Indeed, a fine +collection of these die varieties must be a revelation to those +philatelists who have, so far, kept aloof from collecting them under +the specious plea that such collection required too much study and +labor, and the differences were mere gossamer threads woven by the +overwrought imagination of some wild enthusiast. It is undeniable that +until recently the multitude of Jackson varieties--unclassified and +jumbled together as they were--did not present an inviting field for +the general collector. But that difficulty has now been overcome, and +we have the various designs grouped into distinct classes, which even +an untrained person can recognize at a glance. + +Those who possess a number of Jackson dies cannot have failed to +observe that in various specimens the forward end of the bust points to +different letters of the word "TWO" in the lower label. It required no +great amount of ingenuity to examine all known varieties of this die, +and to reach the conclusion that this important feature should be +selected as one point of a line measurement which would subdivide the +varieties into distinct classes. In carrying out this idea it was +equally apparent that in order to draw a straight line we need two +definite points, but the problem was: which point would serve our +purpose best? Luckily the design lent itself admirably to the +construction of such a line and the second, or starting point, was +found in the point of contact of the right hand oval with the inner +frame line of the upper label. The line is, then, drawn from this point +to the left extremity of the bust and prolonged until it strikes the +letter "W" or "O" of "TWO." In this manner five definite and +unmistakable classes are established, each of which may contain a +number of varieties. While this system is indispensible for +classification, the collector, after a very little training, may omit +the actual line measurement, as the eye is sufficient to note the class +to which any variety belongs. The five classes are: + + Class I.--Line cuts first stroke of "W" of "TWO." + Class II.--Line cuts second stroke of "W" of "TWO." + Class III.--Line cuts third stroke of "W" of "TWO." + Class IV.--Line cuts last stroke of "W" of "TWO." + Class V.--Line falls outside of "W" and sometimes cuts "O." + +[Illustration: I. II. III. IV. V.] + +It may be well to state here that the die reading "U. S. POSTAGE" +exists only in classes I., II., IV., and V., and the reading "U. S. +POST" in classes II., III., IV. and V. + + +DIES INSCRIBED "U. S. POSTAGE." + +The design consists of two concave and convex curves, of which the +first two form the upper, and the second two the lower label. Each of +these two curves meet in a point. The sides of the design are a pointed +oval consisting of the sections of a large circle. The inscription in +the upper label is "U. S. POSTAGE"; in the lower "TWO CENTS" with the +figure "2" in the ovals at the sides. + +The 1863 design was issued with two shapes of the figure "2", which is +probably due to an oversight of the engraver; but, as every collector +knows, the design in which the lowest stroke of the figure "2" starts +sharply from the downstroke, and does _not_ curve back with it is a +rarity possessed only by a few lucky mortals. + +In the general catalogues the common form is known as "Die A," the +latter as "Die B." + +DIE A. (Seven Varieties). + +They are subdivided as follows: + + Class I.--Var. 1 Wrapper only. + Class II.--Var. 2 Wrapper only. + Class IV.--Var. 3 to 6 Envelope and Wrapper. + Class V.--Var. 7 Wrapper only. + +DIE A. + +CLASS I. + +[Illustration] + +VARIETY 1 (22-1/4 × 25-3/4 mm.). + +Bust points to centre of "W," which touches line above. + +"O" of "POSTAGE" to left, but near the junction point of the inner +frame line; "OS" nearly on level. "W" of "TWO" near inner frame line, +and touching the latter in deteriorated dies. "OC" near. A line drawn +through the junction point of the upper and lower inner frame lines +cuts the end curves of the "C" of "CENTS." "CE" well spaced, but "C" +lower than "E." "S" far from the right oval line. Figure "2" in right +oval nearly touches at left. In deteriorated dies both figures touch at +left. The tip of nose is near the left oval. + + +CLASS II. + +[Illustration] + +VARIETY 2 (22-3/4 × 25-1/2 mm.). + +"POS" very near. "E" of "POSTAGE" touches frame. + +Top of "TWO" far from left oval line, and distance between "O" of "TWO" +and "C" of "CENTS" nearer than in Var. 1. Nose near left oval. + + +CLASS IV. + +[Illustration] + +VARIETY 3 (22 × 26 mm.). + +"O" in the centre of label and highest letter. + +Centre line passes through "O" and "C" of "CENTS." The downstroke of +"2" in the left oval touches inner frame. "C" of "CENTS" is the lowest +letter, and "ENT" is widely spaced. Distance between "OC" wider than in +Var. 2. Nose near left oval. + +VARIETY 4 (22-1/2 × 25 mm.). + +"OS" on a level. "OC" very wide. + +"POS" wide and "O" to the left of the point. Centre line touches "O" to +the right, and passes through the centre of "C" of "CENTS." Left +numeral does not touch outer frame line. "S" of "CENTS" very far from +right oval. Nose far from left oval. + +VARIETY 5 (22-1/2 × 25-3/4 mm.). + +"S" is the highest letter, far from line below. + +A considerable margin between top of letters "S. POS" and the outer +frame line. "PO" close. "GE" wide at top. Centre line touches "O" to +right and passes through the curves of "C" of "CENTS." Numerals in +ovals do not touch. Distance between "O" of "TWO" "and "C" of "CENTS" +wide. "C" low. Nose near left oval. + +VARIETY 6 (22 × 25-3/4 mm.). + +Back of head close to right oval. + +The entire inscription in the upper label is close to the inner frame +line and the letters are spaced closely. "U. S." is spaced closer than +in any other variety. Point of bust almost touches the frame line. +Distance between "O" of "TWO" and "C" of "CENTS" near. "CE" very close. +"S" near right oval. Nose near left oval. + + +CLASS V. + +[Illustration] + +VARIETY 7 (22-1/2 × 25 mm.). + +Bust points between "W" and "O." + +"U. S." widely spaced. "OS" on level. "GE" close. "T" of "TWO" far from +left oval. "OC" wide. "C" well under the point, and far from "E." +"CENTS" well spaced, and "S" far from right oval. + + +DIE B. + +CLASS IV. + +[Illustration] + +VARIETY 8 (21-1/2 × 25 mm.). + +In the numerals of value the end stroke does not curve back, but slants +sharply from the downstroke. + +"S" of "U. S." and "P" of "POSTAGE" are spaced closely. "O" to left of +point. Top of "S" is a little above "O" and "T." Distance between "O" +of "TWO" and "C" of "CENTS" very wide. "C" by far the lowest letter. +The hair projects beyond the forehead, and the nose is near left oval. + +This issue adds no new shapes of envelopes, only two knives are used, +and they are No. 2 and 11, both known as "Full Letter," Size 3, +measuring 139 × 83 mm. It has already been stated that the wrappers +bearing the design of Dies A. and B. were issued in accordance with the +Act of March 3, 1863, which changed the rate of postage for "transient +newspaper" to two cents. Shortly after their issue the Post Office was +informed that the wrapper, as issued with a marginal coating, infringed +the patent issued to L. P. Mara, and that the inventor would assert his +rights. We do not know what step the Department took to allay the ire +of the famous patentee, but we do know that the issue of newspaper +wrappers was suspended for about six months, to commence anew in April +1865. + +Of more interest to the collector is the paper of these wrappers which, +generally speaking, is a rough manila, varying considerably in shade. +The width of the wrapper varies also from 148 to 152 mm., the length +from 227 to 230 mm., while the stamp is from 62 to 72 mm from the +gummed top of the wrapper. + + +DIES INSCRIBED "U. S. POST." + +Towards the end of 1864, Nesbitt (the contractor for furnishing the +Post Office Department with stamped envelopes and newspaper wrappers) +had considerable financial trouble in living up to his obligations and, +at his earnest request, Congress passed a bill for his relief. As the +then existing contract expired Sept. 11, 1864, the Post Office +Department entered into a new agreement with Nesbitt, paying an +advanced rate to the contractor and ordering a change of the dies of +the two, three and six cents values. + +At present we are interested only in the change of the two cent die. In +its new form the general features have been retained, but the +inscription is altered to read "U. S. POST" and the shape of the stamp +is either narrow or broad. + +The narrow die is called by the cataloguer "DIE C" and the broad one +"DIE D." + +Using the system of line prolongation which has been already fully +described, we are at once in a position to handle the large number of +varieties and to collect them systematically. + +C Dies. (24 to 25 mm. width) + +Class II Var. 1 and 2. Bust points to intersection of 2nd and 3d + stroke of "W." + " III " 3 to 9. " " to last stroke of "W." + " IV " 10 to 13. " " to left line of "O." + " V " 14 to 16. " " to middle of "O." + +D Dies. (25-1/2 to 26-1/4 mm. in width.) + +Class III Var. 17 to 21. + " IV " 22 to 27. + " V " 28 to 40. + +As these varieties have never been thoroughly described and classified +and as there are but few collectors who have recognized the great +philatelic value of the Jackson dies, the writer desires to place +himself on record with a prophecy; _i. e._ that as soon as the general +collector knows how to find and to easily recognize the different +varieties of "U. S. POST," these dies are going to be sought after +enthusiastically. + +To assist those who desire to become better acquainted with them it +will do no harm to give some additional information, showing how the +writer has studied the varieties and what means he has employed to +differentiate the several varieties belonging to one class. + +Although the description of the varieties accompanying the cuts, should +be sufficient for the identification of any die variety, the writer has +found that a system of line prolongation is very useful whenever, due +to die deteriorations, a stamp appears to possess features which are +not found in the descriptions. The system is based on the position of +five letters which differ greatly in many varieties. These letters +are:-- + + 1) "U" of "U. S." + 2) "P" of "POST." + 3) "T" of "POST" + 4) "W" of "TWO." + 5) "E" of "CENTS." + +and the measurements are made as follows: + +The left stroke of "U" is prolonged downward. Observe the line with +regard to letters "O, C, E" and "N." + +The upright stroke of "P" is prolonged downward. Observe line with +regard to letters "C" and "E." + +The central stroke of "T" is prolonged downward. Observe line with +regard to letters "W, O, C" and "E." + +The left stroke of "W" is prolonged upward. Observe line with regard to +letters "S" of "U. S." and "P" of "POST." + +The left stroke of "E" is prolonged upward. Observe line with regard to +letters "U." and "S." + +The student who employs these measurements will find that, taking the +various dies belonging to one class, _one_ of the above mentioned five +line prolongations is sufficient to clearly differentiate any variety +of that group from any other. For instance, Class one includes but two +varieties. In Var. 1, a line prolongation of the "T" of "POST" cuts +through the "O" of "TWO;" in Var. 2 it passes along the second stroke +of "W." In case of doubt that single measurement is decisive. + +As an additional safeguard to the collector the characteristic line +measurement is mentioned at the end of the description of each variety. + + +CLASS II. + +Bust points to intersection of second and third stroke of "W." + +[Illustration] + + +VARIETY 1 (24 × 26-3/4 mm.) + +Narrow "U" far from oval line. Buff and Orange. + +"POST" 7-1/2 mm. There is generally a dot near top of left bar of "U." +"U. S." close. "P" nearly vertical. "T" of "TWO" far from left oval; +"WO" close; "OC near; "S" of "CENTS" near right oval. Figures of value +are exactly in centre of the side ovals. Nose near left oval. "E" line +through left stroke of "U." Envelopes only. + + +VARIETY 2. (24 × 25-1/2 mm.) + +Narrow "U" touching line below. Dark Manila. + +"POST" fully 8 mm. "P" vertical, much above level of "O." "O" turned to +the right. "ST" wide and "T" far from right oval; "WO" very close; "OC" +close; "CE" close; "NTS" near inner frame line. Nose near left oval. +"E" line to left of "S" of "U. S." Wrapper only. + + +CLASS III. + +Bust points to last stroke of "W." + +[Illustration] + + +VARIETY 3. (24-1/2 × 26-1/4 mm.) + +Narrow "U." "PO" on a level. "O" and "C" near. Buff and Orange. + +"POST" 7-1/2 mm. "P" slants to left. "POST" evenly spaced. "T" far from +right oval. "T" of "TWO" far from left oval; "WO" close; "C" +considerably to left of the junction of the inner frame line. "EN" +spaced a little wider than "NTS." "S" near right oval. Nose further +from oval line than in Variety 1 and 2. Downstroke of right figure "2" +is slim. "U" line through "C." Envelopes only. + +[Illustration] + + +VARIETY 4. (24-3/4 × 26-1/2 mm.) + +Narrow "U." "OC" and "EN" very wide. Dark Manila. + +"POST" 8 mm. Top of "P" near outer frame line. "PO" near, but "OS" +widely spaced. "T" far from right oval. "T" of "TWO" near left oval. +Nose far from left oval. End of downstroke of right figure "2" nearly +touches inner oval line. "W" line passes through head of "P." Wrapper +only. + + +VARIETY 5. (24-1/4 × 26 mm.) + +"U" tall, wide open, and near inner frame line. Buff and orange. + +"POST" 8 mm. "SP" near at base. "POST" closely spaced. "T" far from +right oval. "T" of "TWO" near left oval. "W" narrow and close to "O." +"OC" close. "CE" near at base. "S" near right oval. End of downstroke +of right figure "2" near inner oval line. Nose far from left oval. "P" +line passes through junction point of the two inner oval lines of lower +label. Envelopes only. + + +VARIETY 6. (24-3/4 × 25 mm.) + +"P" vertical and much above level of "O." Buff Orange and Dark Manila. + +Outer frame line of upper label near to "U. S." and "PS" of "POST" +"POST" 8 mm. "U" wide and far from left oval. "SP" wide at top. "POST" +well spaced. "O" considerably to right of point and slanting to right. +"T" far from right oval. "T" of "TWO" near left oval. "WO" near. "OC" +near, but top of "C" some distance below the point. "ENT" near. "S" +near right oval. The left figure "2" is well in the centre of the oval, +but the right one is near the inner frame line. Nose far from left +oval. "E" line passes through center of "S" of "U. S." + + +VARIETY 6a. (24-3/4 × 25 mm.) + +"P" slanting to left over point. "O" far from lower frame line and far +to right of point. Buff. + +"POST" 8 mm. "U" large, wide open, tipped to left, and far from left +oval. "O" slants to right. Letters of "POST" well spaced. "T" far from +right oval line. "T" of "TWO" near left oval line. "WO" close. "OC" +near. "CENTS" near; "S" close to right oval. Nose near left oval. "U" +line cuts "E" from left to right. + +Similar to Var. 6, except that "P" and "O" are nearly on a level and +the entire upper inscription is well in center of label. + +[Illustration] + + +VARIETY 7. (24 × 26 mm.) + +Nose generally touches line. Buff, Orange and Dark Manila. + +"POST" 8 mm. "U" large, wide open, close to inner frame line and far +from left oval. "P" well to left of junction of the two inner frame +lines. "O" near the latter. "OS" widely spaced and "T" far from right +oval. "T" of "TWO" far from left oval. "WO" close. "OC" near and base +of "C" touches outer frame line. "EN" far. "NT" wide at base. "S" close +to right oval. End of down stroke of both figures far from their +respective oval lines. "E" line passes through first stroke of "U." + + +VARIETY 8. (23-3/4 × 26-1/4 mm.) + +"O" above level of "P." "U. S." close. Buff, Orange and Dark Manila. + +"POST" 8 mm. "U" large, wide open equally far from outer and inner +frame line, and far from left oval. "P" to left of junction point of +the two inner frame lines. "PO" closer than "OS." "T" far from right +oval. "T" of "TWO" close to left oval and base of "T" touches outer +frame line. "WO" close. "OC" near. "C" low. "EN" wide. "S" far from +right oval. Nose quite near left oval. End of down stroke of right +figure "2" nearly touches inner oval line. "U" line passes along +downstroke of "E." + +[Illustration] + + +VARIETY 9. (23-3/4 × 26-1/4 mm.) + +"U" almost vertical. "PO" wide. Buff and Orange. + +"POST" 8-1/2 mm. "U" large, nearly touching outer frame line and far +from left oval. Wide space between "S" and "P." "O" well to the right +of junction point of the two inner frame lines. "T" far from right +oval. "T" of "TWO" close to left oval. "WO" close. "OC" near. "CE" +close, but "C" lower than "E." "EN" well spaced. "TS" close and "S" +close to right oval. Figure in left oval well centered, but end of +downstroke of right figure "2" near inner oval line. Nose near left +oval. "T" line touches "O" of "TWO" to the left. Envelopes only. + + +CLASS IV. + +Bust points to left line of "O." + +[Illustration] + + +VARIETY 10. (24-1/4 × 26 mm.) + +Narrow "U." Pointed bust, often touching line below. Buff and Dark +Manila. + +"POST" 7-1/2 mm. "U" far from "S," and far from right oval. "SP" very +widely spaced. "PO" close. "OST" near. Note that the outer frame line +commencing above "T" is incorrectly drawn so that the width at the +right end of the label is much smaller than it should be. "T" far from +right oval. "T" of "TWO" far from left oval. "WO" close. "OC" very +wide. "CENTS" close, far from inner frame line and letters in a +straight line. "S" far from right oval. Nose far from left oval. Top of +right figure "2" near inner oval line. "E" line passes just behind the +dot after "U" of "U. S." Wrappers only. + +[Illustration] + + +VARIETY 11. (25 × 26-1/2 mm.) + +Outer frame line strongly pointed at top. Buff and Orange. + +"POST" 7-1/2 mm. "U" large, far from left oval and top of "U" far from +outer frame line. Top of "S" close to outer frame line. "POST" closely +spaced. "T" far from right oval. "T" of "TWO" almost touches left oval. +"WO" close. "OC" close. "CENTS" close and "CE" on level. "S" far from +right oval. Nose near left oval. Both figures well in center of ovals. +"U" line passes along middle of "N." Envelopes only. + + +VARIETY 12. (24 × 25-1/2 mm.) + +"U" nearly touches line below, and "O" of "POST" line above. Buff, +Orange, Amber and Dark Manila. + +"POST" 8 mm. "U" large and far from left oval. "S" and "P" near. The +latter is in a nearly vertical position and stands well to the left of +the point. "POST" equally spaced. "T" far from right oval. "T" of "TWO" +near left oval; "WO" close. "OC" near. "C" vertical, and at top near +point of inner frame line. "EN" well spaced. "S" near right oval. Nose +near left oval. Top of left figure "2" near point of oval. "U" line +passes close to head of "E" and touches the latter at base. + + +VARIETY 13. (24-1/2 × 25-3/4 mm.) + +Hair projecting. "CE" on level and nearly touch at top. Buff, Orange +and Dark Manila. + +"POST" 8 mm. "U" large and nearer to left oval than in Var. 12. "U. S." +near. "SP." near. "P" a little inclined to left and to left of the +point. "POST" spaced near. "T" far from right oval. "T" of "TWO" close +to left oval. "WO" and "OC" close. "ENT" close. "S" far from right +oval. Nose near left oval. "E" line passes near right stroke of "U". + + +CLASS V. + +Point of Bust over middle of "O." + +[Illustration] + + +VARIETY 14. (23-1/2 × 26 mm.) + +"OS" far apart. "S" of "CENTS" near oval line. Buff, Orange, Dark +Manila. + +"POST" 8 mm. "U" large, far from left oval, and near inner frame line. +"SP" wide at top. "PO" near, but top of letters some distance from +outer frame line. "T" far from right oval. "T" of "TWO" close to left +oval. "OC" near and top of "C" under the point. "CE" wide at base. "EN" +widely spaced. "NT" wide at base. "TS" near. Nose near left oval. +Figures of value well centered in ovals. "W" line touches top of "P." A +deterioration of this variety in which the nose almost touches left +oval and "TW" touch upper and lower frame lines is called 14 a. + + +VARIETY 15. (25 × 16 mm.) + +Bust touches line over center of "O." Buff, Orange, Amber, Dark Manila. + +"POST" 8 mm. "U" large, near left oval and at top far from outer frame +line. "P" to left of point. "O" well to right of point and slanting to +right. "OST" near. "T" far from right oval. "T" of "TWO" close to left +oval. "WO" close. "OC" wide. "C" low and touching outer frame line. +"ENTS" spaced near, but "S" far from right oval. Nose near left oval. +Left figure "2" well centered, but right figure "2" much nearer to +inner frame line. "W" line falls between base of "S" and the period. A +deterioration of this die is Var. 15a. + + +VARIETY 16. (24-3/4 × 26-1/4 mm.) + +Bust nearly touches line to right of "O." Buff, Orange. + +"POST" 8 mm. "U" wide and far from left oval. "P" to left of point and +close to outer frame line. "PO" wide. "O" far to right of point. "OST" +near. "T" far from right oval. "T" of "TWO" far from left oval. Inner +frame line is some distance from top of letters "WO" of "TWO" and "N" +of "CENTS." "OC" wide. "CE" near but "EN" wide. "S" far from right +oval. Nose far from left oval. Left figure "2" well centered, but right +figure "2" much nearer to inner oval line. + + +D. DIES. + +25-1/2 to 26-1/4 mm. + +NOTE:--In Var. 17, 18, 23, 24, 31, and 34 the word "POST" is short and +spaced closely. Var. 22 has the narrow "U," and Var. 21, 27, 38, 39 and +40 show the widest spacing of "POST." + + +CLASS III. + +Point of Bust over last bar of "W." + +[Illustration] + + +VARIETY 17. (26-1/4 × 25-1/2 mm.) + +"O" of "POST" considerably above level of "P." Wide space, after "S" of +"CENTS." Buff, Orange and Amber. + +"POST" 7-1/2 mm. "U" near left oval and near inner frame line. "U.S." +close. "P" far to left of point; "O" near point. "OST" close. "T" very +far from right oval. "T" of "TWO," far from left oval. "WO" near. "OC" +near. "CE" close at top. "N" above level of "E." "NT" close to inner +frame line. Nose far from left oval. Figures well centered. "U" line +touches "O" at right. + + +VARIETY 18. (26 × 25-3/4 mm.) + +"OC" very near and "O" nearly touching line below. Buff, Orange and +Amber. + +"POST" 8 mm. "U" wide, slanting sharply to left and near left oval. "P" +is to left of point and slants to the left. "POS" near, but "ST" spaced +wider. "T" very far from right oval. "T" of "TWO" close to left oval. +"WO" close. "CE" close at top. "EN" well spaced at top. "NTS" near and +"S" close to right oval. Nose near left oval. "U" line touches base of +"N." Envelopes only. + + +VARIETY 19. (26 × 25-3/4 mm.) + +Letters evenly spaced, those in upper label almost in vertical +position. Amber and Light Manila. + +"POST" 8 mm. "U" wide, nearly vertical and far from left oval. "U.S." +wide. "P" vertical and to left of point. "POS" widely spaced. "ST" +near. "T" very far from right oval. "T" of "TWO" far from left oval and +top stroke of "T" nearly touches "W." "WO" near. "OC" near. "C" +vertical but a little below "E." "Top stroke of "T" of "CENTS" close to +inner frame line. "S" near right oval. Nose near left oval. Figures +well in center of ovals. "T" line touches top of "E." + +[Illustration] + + +VARIETY 20. (25-1/2 × 25-1/2 mm.) + +Sharp point at base of right "2." Amber and Light Manila. + +"POST" 8 mm. "U" wide and near left oval. "P" nearly vertical and to +left of point. Top of "O" almost touches outer frame line. Base of "S" +and "T" close to inner frame line. "T" of "TWO" far from left oval. +"WO" very close. "OC" close. "CENTS" close and "S" far from right oval. +Nose far from left oval. "T" line touches "O" to right. + + +VARIETY 21. (26 × 25-1/2 mm.) + +"ST" and "OC" extremely wide. Point of bust far from line. Sharply +pointed nose. Amber and Light Manila. + +"POST" 9 mm. "U" wide, near left oval, and sharply slanting to left. +"U.S." and "SP" very wide. "P" to left of point and slanting a little +to the right. "PO" very wide. "O" far to right of point and turned to +right. "OS" wide. "T" near right oval, "T" of "TWO" close to left oval. +"TW" very wide at base. "WO" close. "C" low and nearly under the point. +"ENTS" near and "S" close to right oval. Nose pointed and far from left +oval. Figures well centered. "U" line passes from tip of "E" to base of +"N." + + +CLASS IV. + +Bust points to left line of "O." + +[Illustration] + + +VARIETY 22. (25-1/2 × 26 mm.) + +Narrow "U," the only one in DIE D. Buff. + +Extremely rare. "POST" 7-1/2 mm. "U" nearly vertical and far from left +oval. "P" small near the point and at top far from outer frame line. +"O" far to right of point. "POST" equally spaced. "T" far from right +oval. "T" of "TWO" near left oval. "WO" close. "OC" wide, "C" slants +sharply to right and at base is within the angle, formed by the outer +curves. "CENTS" are on the same level. "S" near right oval. The inner +curves are far from top of letters "WO" and "CENTS." Nose near left +oval. In both side ovals the downstroke of figure "2" ends in a sharp +point. "U" line touches "O" to left. Buff envelope only. Knife 2. + + +VARIETY 23. (26 × 25 mm.) + +Extremely wide space before "U" and after "T" in upper label. Bust +pointed. Amber and Light Manila. + +"POST" 7-1/2 mm. "U" wide. The inner curves of the label are close to +the inscription. "P" nearly vertical. "POS" close. "ST" near. "T" of +"TWO" close to left oval. "WO" near. "OC" near but "C" slants from left +to right and its base touches the outer frame line. Top of vertical +stroke of "E" close to inner point. "EN" well spaced at top. "S" slants +to right and is close to right oval. Nose very far from right oval. +Figure 2 in left oval is lower than figure "2" in right oval. "W" line +passes through middle of "U." + + +VARIETY 24. (26 × 26 mm.) + +"O" above level of "P," "C" sharply turned to left. Buff Orange and +Light Manila. + +"POST" 7-1/2 mm. "U" wide, inclined to left and near left oval. "U.S." +near. "SP" near. "P" slanting to left and near the point. "POST" about +equally spaced but "OST" high nearly touching outer frame line at top. +"T" far from right oval. "T" of "TWO" far from left oval. "WO" near. +"OC" near. "EC" close at top. "ENT" well spaced. "S" near right oval. +Nose close to left oval. Figures in oval well centered. "C" line passes +between "O" of "TWO" and "C" of "CENTS." + +[Illustration] + + +VARIETY 25. (25-1/2 × 26 mm.) + +"P" tipped sharply to left and "O" to right. Buff and Orange. + +"POST" 8 mm. "U" wide and far from left oval. Base of "U", close to +inner frame line, but top of "S" close to outer frame line. "U S P" +near. "P" far to left and "O" in line with point. "POS" near. "T" far +from "S" and far from right oval. "T" of "TWO" near left oval. "WO" +close. "OC" close. "CE" on level but "E" slanting to right. "TS" close. +"S" near right oval. Nose some distance from left oval. Figures in +ovals well centered. Envelopes only. + +[Illustration] + + +VARIETY 26. (26 × 26 mm.) + +"P" nearly on a level with "O." "POST" close. "OC" near. Amber and +Light Manila. + +"POST" 8 mm. "U" wide slanting to left, and far from left oval. "US." +wide. "SP" wide. "P" to left of point and nearly vertical. "T" very far +from right oval. "T" of "TWO" near left oval. "WO" close. "OC" near. +"C" vertical. "CE" close. "EN" near. "NTS" close. "S" far from right +oval. Nose near oval. Figures well centered in ovals. "T" line passes +close to junction point of inner frame lines, and touches "C" to left. + + +VARIETY 27. (26-1/2 × 25-1/2 mm.) + +Sharp point of bust high above left of "O." Amber and Light Manila. + +"POST" 9-3/4 mm. "U" wide slanting considerably to left and near left +oval. The entire inscription in upper label is widely spaced, but "OS" +widest. "T" slants sharply to right, nearly touches outer frame line +and is far from right oval. "T" of "TWO" close to left oval. "WO" near. +"OC" wide. The junction point of the inner frame lines is over the +center of "C", which is low. "EN" well spaced and close to inner frame +line. "S" nearly horizontal and close to right oval. Nose near left +oval. Downstroke of right figure "2" near inner oval line. "T" line +passes through first stroke of "W" of "TWO." + + +VARIETY 27a. (26-1/4 × 25-1/2 mm.) + +"POST" 9-3/4 mm. Same as last variety, but appearing to be different. +This is due to great deterioration of the die. It is found on a wrapper +only and is rather scarce. + +[Illustration] + + +CLASS V. + +Bust points to middle of "O". + + +VARIETY 28. (26 × 26 mm.) + +"ST" close. Wide space after "S" of "CENTS". Buff and Orange. + +"Post" 7-1/2 mm. "U" wide, nearly vertical and near the left oval. +"U.S." near. "PO" near, but "O" slightly above "P". There is a wide +space between "OS". "T" near right oval. "T" of "TWO" far from left +oval. "WO" very close. "OC near". "CE" close and top of "E" under the +point. "EN" wide, especially at top: "N" slightly above "E". "NTS" +close. Nose near left oval. Figures well centered in ovals. "U" line +cuts top of "O" of "TWO" at right. Envelopes only. + + +VARIETY 29. (25 × 25-3/4 mm.) + +Space before "U" and after "T" extremely wide. Light Manila. + +"POST" 7-1/2 mm. "U" wide. "U.S." near and both letters close to inner +frame line. "P" well to left of point and on a level with "O." "O" +close to point. "POS" near, but "T" further from "S". "T" of "TWO" +close to left oval. "WO" near. "OC" near and "C" under the point. "E" +quite a distance to right of point. "EN" wide. "NTS" near right oval. +Nose far from left oval. Figures well centered in ovals. "U" line +passes through middle of "C" of "CENTS". Point of bust very broad. +Wrappers only. + + +VARIETY 30. (26 × 25-1/2 mm.) + +Nose far from oval line. Amber and Light Manila. + +"POST" 7-1/2 mm. "U" wide, nearly vertical and near left oval "U.S." +wide. "SP" widely spaced. "PO" close and nearly on a level, "OST" near. +"T" far from right oval. "T" of "TWO" far from left oval. "WO" near, +but "OC" wide. "CE" on level and close at top. "EN" well spaced. "TS" +wide at base. "S" far from right oval. Nose far from left oval. Figures +well centered in ovals. "E" line touches "S" of "U.S." at the right. + +[Illustration] + + +VARIETY 31. (25-3/4 × 25-3/4 mm.) + +"P" considerably above "O". Point of bust square and nearly touches +line. Buff and Orange. + +"Post" 7-1/2 mm. "U" wide, inclined to left, and near left oval. "S" +close to inner frame line. Top of "P" close to outer frame line. +"POST" near. "T" far from right oval. "T" of "TWO" near left oval and +base of "T" some distance from outer frame line. "WO" near. "OC" very +wide. "C" low. Back stroke of "E" almost touches the point. "EN" wide +and "N" high. "NT" wide at top. "TS" close. "S" near right oval. Nose +near left oval. Figures well centered in ovals. "T" line passes through +center of "U" of "U. S." + +[Illustration] + + +VARIETY 32. (26 × 26-1/4 mm.) + +Bust ends in a sharp point, which nearly touches line over centre of +"O" of "TWO". Orange and light manila. + +"POST" 7-1/4 mm. "U" rather short, inclined to left and near left oval. +"SP" wide at top. "P" near point and above level of "O". "PO" near but +"O" slanting to right. "OS" well spaced, but "S" low. "ST" wide. "T" +far from left oval. "WO" close. "C" of "CENTS" almost touches outer +frame line and "CE" close at base. "ENTS" close and "S" near right +oval. Nose near left oval. Figures well centered in ovals. "U" line +passes slantingly from top of "E" to base. + + +VARIETY 33. (25-3/4 × 25-3/4 mm.) + +Projecting hair. Wide space after "S" of "CENTS." Buff, Orange and +Light Manila. + +"POST" 8 mm. "U" wide, close to inner frame line and near left oval. +Base of "S" some distance from inner frame line. "P" leans to the left. +"PO" close but "O" slants to the right and is near the point. "OS" well +spaced but "ST" spaced wider. "T" far from right oval. "T" of "TWO" far +from left oval. "WO" near. "OC" wide. "C" some distance to right of +point but on level with "E." The backstroke of the latter nearly +touches the point. "EN" wide, and "ENTS" close to inner frame line. +Nose far from left oval. Figures well centered in ovals. "P" line +passes through back stroke of "E." + +[Illustration] + + +VARIETY 34. (25-3/4 × 27 mm.) + +"S" of "U.S" touches line above. "OC" near. Buff envelope and wrapper. + +"POST" 8 mm. "U" wide, inclined to left and near left oval. "SP" near, +"P" far to left of point. "PO" well spaced at top and "O" a little +raised. "OS" widely spaced. "ST" low, so that top stroke of "T" is +somewhat above top of "S." "T" far from right oval. "T" of "TWO" near +left oval. "WO" near. "C" slants to left, and "E" to right, so that +there is a considerable space between the letters at base. "ENT" wide. +"TS" close. "S" far from right oval. Figure in right oval near inner +frame line, but in left oval well centered. "U" line passes between +"CE." + +[Illustration] + + +VARIETY 35. (25 × 25-3/4 mm.) + +"O" of "POST" slants sharply to left. Hair far from frame line. Buff, +Orange and Light Manila. + +"POST" 8 mm. "U" almost vertical and quite near to left oval. "U.S." +near. "P" inclined to left. "O" near point. "OST" close. "T" near right +oval. "T" of "TWO" far from left oval. "WO" near. "OC" near. "CE" wide +at base. "N" higher than "E" or "T." "S" slants sharply to right and is +far from right oval. Nose far from left oval. Figures well centered in +oval. "T" line slants through "C" from right to left. Bust ends in a +rather short point. + + +VARIETY 36. (26 × 26 mm.) + +"P" tipped to left. "O" nearly touches outer frame line. Point of bust +short and over centre of "O." Amber and Light Manila. + +"POST" 8 mm. "U" large, inclined to left and near left oval. "U. S." +near and base of "S" some distance from inner frame line. "P" near +point and slanting to left. "PO" wide, "O" nearly vertical. "OST" wide. +"T" far from right oval. "T" of "TWO" far from left oval. "WO" close. +"OC" near. "C" is low and slants sharply to left. "CE" close at top. +"ENTS" close. "T" almost touches line above. "S" near right oval. Nose +near left oval. Figures in ovals well centered. "U" line touches ends +of upper and lower stroke of "E." + + +VARIETY 37. (26-1/2 × 26 mm.) + +"P" nearly touches line at top. "POST" near. Orange and Amber. + +"POST" 8 mm. "U" wide, inclined to left and near left oval. "US" wide. +"P" nearly vertical and some distance to left of point. "PO" on a +level. "T" "of "POST" very far from right oval. "T" of "TWO" near left +oval. "WO" close. "OC" near. "C" nearly under the point and vertical. +"EN" well spaced at top. "NTS" close, especially the last two letters, +"S" near right oval. Nose far from left oval. Figures in ovals well +centered. "T" line slants across top of "E." Envelopes only. A common +die. + +[Illustration] + + +VARIETY 38. (26 × 26 mm.) + +Bust point behind "O." "NT" wide. Orange, Amber, Light Manila. + +"POST" 8 mm. "U" wide, greatly inclined to left, and quite near left +oval. "US" very wide. "P" near point and slanting to left. "O" some +distance to right of point and inclined to right. "POS" wide but "ST" +widest. Top stroke of "T" close to outer frame line. "T" of "TWO" near +left oval. "WO" near. "OC" very wide. "C" almost vertical and close to +point. Top of "E" slightly above "C." "EN" near. "TS" wide at base and +"S" close to right oval. Nose far from left oval. Figures in ovals well +centered. "U" line touches base of "T" of "CENTS." + + +VARIETY 39. (26-1/4 × 25-1/2 mm.) + +"P" considerably above level of "O." "POST" wide. Amber, and Light +Manila. + +"POST" 9 mm. "U" wide, inclined to left, and near left oval. "US" wide. +"SP" wide. "P" slants to left and is close to the point. "PO" very +wide. "O" far to right of point and but little slanting. "OST" wide. +"T" near right oval. "T" of "TWO" close to left oval, "WO" close. The +entire word is well above the outer frame line. "OC" very wide. "C" +under the point and upright. Top of "E" slightly above "C." "NT" close. +"TS" wide. "S" close to right oval. Nose near left oval. Figures in +ovals well centered. "W" line touches base of "U" at right. Broad point +to bust. Envelope and wrapper. + + +VARIETY 40. (26 × 26 mm.) + +"NT" very near. "POST" wide. Buff, Orange, Amber, Light Manila. + +"POST" 9-1/2 mm. Inscription in upper label much resembles that of the +preceding variety, but "S" of "U.S." is low and "PO" nearer. "T" of +"TWO" near left oval. "WO" close. "OC" wide. "TS" close at top. Nose +far from left oval. Figures in ovals well centered. "U" line passes +along middle stroke of "N." One of the most common varieties. + + +REFERENCE LIST OF THE TWO CENT ENVELOPES AND WRAPPERS OF THE SERIES OF +1863 AND 1864. + +ENVELOPES. + +TWO CENTS, BLACK. + +1863. + +Inscribed: "U. S. POSTAGE." + +DIE A. + +VAR. 3. + +No. Class. Paper. Knife. Size. Dimensions. Remarks. + +370 4 Buff 2 3 139 × 83 Gummed. +371 " " 2 3 " Ungummed. + +VAR. 5. + +372 4 Buff 2 3 139 × 83 Ungummed. +373 " " 2 3 " Gummed. + +VAR. 6. + +374 4 Amber 2 3 139 × 83 Gummed. +375 " Buff 2 3 " Ungummed. + + +DIE B. + +VAR. 8. + +376 4 Buff 11 3 139 × 83 Ungummed. +377 " Orange 11 3 " " + + +1864. + +Inscribed: "U. S. POST." + + +DIE C. + +VAR. 1. + +378 2 Buff 11 3 139 × 83 Ungummed. +379 " " 11 3 " Gummed. +380 " Or. 11 3 " Ungummed. + +VAR. 3. + +381 3 Buff 11 3 139 × 83 Gummed +382 " Or. 11 3 " Ungummed + +VAR. 5. + +383 3 Buff 11 3 139 × 83 Gummed +384 " Or. 11 3 " Ungummed + +VAR. 6. + +385 3 Buff 11 3 139 × 83 Gummed + +VAR. 6A. + +386 3 Buff 11 3 139 × 83 Gummed +387 " Or. 11 3 " Ungummed + +VAR. 7. + +388 3 Buff 11 3 139 × 83 Gummed +389 " Or. 11 3 " Ungummed + +VAR. 8. + +390 3 Buff 11 3 139 × 83 Gummed +391 " Or. 11 3 " Ungummed + +VAR. 9. + +392 3 Buff 11 3 139 × 83 Gummed +393 " Or. 11 3 " Ungummed + +VAR. 10. + +394 4 Buff 11 3 139 × 83 Gummed. + +VAR. 11. + +395 4 Buff 11 3 139 × 83 Gummed. +395a " " 12 5 160 × 90 " +396 " Or. 11 3 139 × 83 Ungummed. + +VAR. 12. + +397 4 Buff 11 3 139 × 83 Gummed. Generally "Specimen." +398 " Or. 11 3 " Ungummed. Generally "Specimen." +399 " Buff 12 5 160 × 90 " Generally "Specimen." + +VAR. 13. + +400 4 Buff 11 3 139 × 83 Gummed. +401 " Or. 11 3 " Ungummed. + +VAR. 14. + +402 5 Buff 11 3 139 × 83 Gummed. +403 " Or. 11 3 " Ungummed. + +VAR. 15. + +404 5 Buff 11 3 139 × 83 Gummed. +405 " Or. 11 3 " Ungummed. +406 " Buff 12 5 160 × 90 " + +VAR. 16. + +407 5 Buff 11 3 139 × 83 Gummed. +408 " Or. 11 3 " Ungummed. +409 " Buff 12 5 160 × 90 " + + +DIE D. + +VAR. 17. + +No. Class. Paper. Knife. Size. Dimensions. Remarks. + +410 3 Buff 11 3 139 × 83 Gummed +411 " Or. 11 3 " Ungummed +412 " Buff 12 5 160 × 90 " + +VAR. 18. + +413 3 Buff 11 3 139 × 83 Gummed. +414 " Or. 11 3 " Ungummed. +415 " Buff 12 5 160 × 90 " +415a " " 12 5 " Gummed. + +VAR. 19. + +416 3 Amber 12 5 160 × 60 Gummed +417 " " 12 5 " [HW: Gummed] + +VAR. 20. + +418 3 Amber 12 5 160 × 90 Ungummed + +VAR. 21. + +419 3 Amber 11 3 139 × 83 Gummed +420 " " 12 5 160 × 90 Ungummed + +VAR. 22. + +421 4 Buff 2 3 139 × 83 Ungummed. Very rare. + +VAR. 23. + +422 4 Amber 12 5 160 × 90 Ungummed. + +VAR. 24. + +423 4 Buff 11 3 139 × 83 Gummed. +424 " Or. 11 3 " Ungummed. + +VAR. 25. + +425 4 Buff 11 3 139 × 83 Gummed. +426 " Or. 11 3 " Ungummed. + +VAR. 26. + +427 4 Amber 11 3 139 × 83 Gummed. + +VAR. 27. + +428 4 Amber 12 5 160 × 90 Ungummed. + +VAR. 27A. + +429 4 Amber 12 5 160 × 90 Ungummed. + +VAR. 28. + +430 5 Buff 11 3 139 × 83 Gummed. +431 " Or. 11 3 " Ungummed. + +VAR. 30. + +432 5 Amber 12 5 160 × 90 Ungummed. + +VAR. 31. + +433 5 Buff 11 3 139 × 83 Gummed. +434 " Or. 11 3 " Ungummed. +434a " Buff 12 5 160 × 90 " + +VAR. 32. + +435 5 Or. 11 3 139 × 83 Gummed. + +VAR. 33. + +436 5 Buff 11 3 139 × 83 Gummed. +437 " Or. 11 3 " Ungummed. +438 " Buff 12 5 160 × 90 Gummed. + +VAR. 34. + +439 5 Buff 11 3 139 × 83 Gummed. + +VAR. 35. + +440 5 Buff 11 3 139 × 83 Gummed. +441 " Or. 11 3 " Ungummed. + +VAR. 36. + +442 5 Amber 12 5 160 × 90 Ungummed. + +VAR. 37. + +443 5 Amber 11 3 139 × 83 Gummed. +444 " Or. 11 3 " Ungummed. + +VAR. 38. + +445 5 Or. 11 3 139 × 83 Ungummed. + +VAR. 39. + +446 5 Amber 11 3 139 × 83 Gummed. +447 " " 12 5 160 × 90 Ungummed. + +VAR. 40. + +448 5 Buff 11 3 139 × 83 Gummed. +449 " Amber 11 3 " " +450 " Or. 11 3 " Ungummed. + + +WRAPPERS. + +1863. + +Inscribed: "U. S. POSTAGE." + +DIE A. + +VAR. 1. + +No. Class. Paper. Dimensions. Laid. Remarks. + +451 1 D. M. 227 × 148 + +VAR. 2. + +452 2 D. M. 227 × 148 + +VAR. 4. + +453 4 D. M. 227 × 148 + +VAR. 6. + +454 4 D. M. 227 × 148 + +VAR. 7. + +455 4 D. M. 227 × 148 + +1864. + +Inscribed: "U. S. POST." + +DIE C. + +VAR. 2. + +No. Class. Paper. Dimensions. Laid. Remarks. + +456 3 D. M. 100 × 200 V + +VAR. 4. + +457 3 D. M. 100 × 200 V + +VAR. 6. + +458 3 Buff 100 × 200 V +459 " D. M. " V + +VAR. 6A. + +460 3 Buff 100 × 200 H +461 " D. M. " V + +VAR. 7. + +462 3 D. M. 100 × 200 V + +VAR. 8. + +463 3 D. M. 100 × 200 V + +VAR. 10. + +464 4 D. M. 100 × 200 V + +VAR. 12. + +465 4 D. M. 100 × 200 V + +VAR. 13. + +466 4 D. M. 100 × 200 V + +VAR. 14. + +467 5 D. M. 100 × 200 V + +VAR. 15. + +468 5 Buff 100 × 200 V +469 " D. M. " V + +VAR. 16. + +470 5 Buff 100 × 200 V + +DIE D. + +VAR. 17. + +471 3 Buff 100 × 200 V + +VAR. 19. + +472 3 L. M. 133 × 200 V + +VAR. 20. + +473 3 L. M. 100 × 200 V +474 " " 133 × 200 -- + +VAR. 21. + +475 3 L. M. 133 × 200 H +476 " " 115 × 375 H Stamp 137 mm. from top. + +VAR. 23. + +477 4 L. M. 133 × 200 H +478 " " " V +479 " " " Wove + +VAR. 24. + +480 4 L. M. 100 × 200 V +480a " Buff " V + +VAR. 25. + +481 4 Buff 100 × 200 V + +VAR. 26. + +482 4 L. M. 133 × 200 H + +VAR. 27. + +483 4 L. M. 133 × 200 H + +VAR. 27A. + +484 4 L. M. 133 × 200 V + +VAR. 29. + +485 5 L. M. 133 × 200 H + +VAR. 30. + +486 5 L. M. 133 × 200 H + +VAR. 31. + +487 5 Buff 100 × 200 V + +VAR. 32. + +488 5 L. M. 100 × 200 V + +VAR. 33. + +489 5 L. M. 100 × 200 V +490 " Buff " V + +VAR. 34. + +491 5 L. M. 100 × 200 V +492 " Buff " V +493 " " 150 × 212 V +494 " " " H + +VAR. 35. + +495 5 L. M. 100 × 200 V +496 " Buff " V + +VAR. 36. + +497 5 L. M. 133 × 200 V + +VAR. 38. + +498 5 L. M. 133 × 200 H + +VAR. 39. + +499 5 L. M. 133 × 200 H + +VAR. 40. + +499a 5 L. M. 133 × 200 H + + + + +FIFTH ISSUE: 1864-1865. + +THREE CENTS, ROSE; THREE CENTS, BROWN; SIX CENTS, ROSE AND SIX CENTS, +PURPLE. + +In the Postmaster-General's report for 1864 it is stated that "during +the last session of Congress a bill was passed for the relief of the +contractor for furnishing the department with stamped envelopes and +newspaper wrappers, under the provisions of which the existing contract +expired on Sept. 11, 1864." + +With the renewal of the former contract Nesbitt changed the dies of the +two, three and six cents. The first we have already exhaustively +treated. It is, of course, the two cents, black, "U. S. POST". All +these dies remained in use until June 30th, 1870. + +As a matter of history it may be noted here that the three cents +printed in brown, likewise the six cents rose, both on official size, +were issued in July, 1865. The dies have a portrait of Washington +facing to the left in a plain oval. It is enclosed in a frame of +colorless lines. Inscription above "UNITED STATES"; below, "THREE +CENTS" or "SIX CENTS", in block capitals. Large numerals of value at +each side. + +None of the Nesbitt die varieties have given the writer so many anxious +hours and have required such prolonged study as the three cents of +1864. Indeed, the final solution of the problem of classification of +the various dies was only arrived at after more than two years +continuous research. Like the famous balancing of the egg of Columbus, +the problem, when solved, is extremely simple. Looking backward on the +long series of failures, it seems strange that the chief +characteristics have so long escaped the attention of cataloguers. The +fact, however, is patent. Even as thorough and painstaking a student as +the late Gilbert Harrison who, in 1895, chronicled, as he thought, all +of the existing die varieties of the three cents has failed to observe +the most important differences. Indeed, in the entire philatelic +literature dealing with the Nesbitt dies of 1864 there is but one +allusion to the feature which constitutes the surest means for the +identification of the die varieties, and this is only a single sentence +contained in the Historical Notes of Messrs. Tiffany, Bogert and +Rechert. It reads:-- + +"It is worth mentioning, however, that while dies 9, 15 and 26 (the +latter the die under consideration) all have the small bust of +Washington, there are small differences in each which show them to be +different engravings. * * In die 26 the front hair shows only five +locks and the back hair only four lines." + +We shall presently see that, like the three cents, red of 1853, (Die A) +the diemakers have produced different groups of heads which, once +known, are not only an absolute means of differentiating the varieties, +but also protect the collector from acquiring a multitude of the same +die. + +Although, as stated above, the die of the three cents rose equals that +of the three cents red in the use of various heads, it is, otherwise, +quite dissimilar to the first issue, as will be seen presently. + +As in the varieties of the two cent dies the horizontal and vertical +dimensions of the three cents vary greatly. After careful research and +taking the advice of experienced philatelists, it was decided to adopt +only two sizes for classification: i.e. + + Size A:--to include all stamps measuring horizontally 24 mm. but + not exceeding 25 mm. + + Size B:--to include all stamps measuring horizontally 25-1/2 mm. + or more. + +In our study of the three cents red of 1853 we noted, in addition to +the various heads, some minor differences in the spacing of the letters +forming the inscription. Referring now to the three cents of 1864, even +the unskilled eye of the layman will be struck with the surprising +changes, not only in the spacing of the letters forming a word, but, +also, in the relative position of the words to each other and their +distance from a definite point, such, for instance, as the figure "3." +The subsequent cuts well illustrate this point. + +[Illustration] + +In the first the "S" of "CENTS" is several mm. distant from the right +figure "3": in the second it is close to "3". The same remarks apply to +the "U" of "UNITED" in its relative position to the left figure "3". In +the second cut there is also a square period after the final "E" of +"THREE". + +[Illustration] + +Looking at cuts 3 and 4 the great variety of spacing between the +letters of a word is strikingly apparent in the word "THREE." These +differences are easily detected by the 10 mm. unit distance +measurement, which has been explained in the introductory chapter of +this series of articles. The subjoined diagram proves that there are at +least three forms of each word, and, with a little study, the collector +will soon recognize the leading types. + +[Illustration] + +It seems strange that such great and palpable differences remained +unknown until 1892. Quoting from the work of Messrs. Tiffany, Bogert & +Rechert, we are, however, informed: "Heretofore it has _not_ been +noticed that there are a large number of minor varieties of this die +depending on the relative position of the parts." + +Commenting on Die 26 (three cents rose) the writers make some valuable +suggestions, but they discourage the would-be student from going deeper +into the subject by the closing paragraph: "So few collectors would be +interested in looking for these varieties that it has been thought +unnecessary to devote space to them in a general work." In the writer's +opinion the most valuable hint thrown out by Messrs. Tiffany, Bogert & +Rechert is contained in the following sentence: "If a thread be laid +along the lower stroke of the "U" it will pass at different distances +from the tip of the nose and fall on different parts of the right +numeral, of the space below it, or even as low as the "S" of "CENTS." + +Why these experts stopped at the gate and did not enter is one of those +freaks of the human mind that defies explanation. Certainly the person +who made this observation was on the very threshold of discovering a +scientific classification of this elusive die. The writer confesses +that, after having independently evolved this system of classification, +nothing has given him greater satisfaction than to find that the basic +idea had been chronicled as far back as 1892. To-day it is well known +that a line prolongation along the "U" of "UNITED" establishes five +distinct classes. As this system has been fully described in a lecture +given by the writer before the Boston Philatelic Society, (April 19, +1904) which lecture has also been published in pamphlet form, and, as +this classification has been accepted by the writer of the latest Scott +Catalogue, it seems unnecessary to go into the details, especially as +the subjoined diagram is self-explanatory. + +[Illustration] + +It is evident that we now possess various means for the classification +of the three cents die varieties, but a system based solely on a line +measurement, as has been stated heretofore, would not guard the +collector sufficiently from acquiring a number of the same dies, due to +unavoidable mistakes of measurement. To prevent duplication of dies it +is imperative to know the various heads. + +Luckily the distinctive features are quite plain and it is easy to +divide the heads into five classes for, as in the first issue, the die +cutters have adorned the head of Washington with a variety of +coiffures. + +In Heads 1 and 2 there is a _triangular open space_ between the middle +bunch of hair and the lowest strand which meets the queue. + +[Illustration] + +[Illustration] + +HEAD 1.--The queue consists of three vertical strands + extending from the top of the head to the neck. Next to the + queue are 3 rear locks, of which the middle one is a large, + pear-shaped bunch, consisting of five fine strands, while + the second highest is by far the longest, and cuts into the + queue, resembling the stem of a pear. + +HEAD 2.--Same as Head 1, but the second lowest strand of + hair in the pear-shaped bunch is the longest and does not + extend into the queue. The triangular space below is + slightly larger than in Head 1. + +HEAD 3.--The queue consists of either three or four strands + which extend from the top of the head to the neck. Next to + the queue there are five locks in the rear row, the + arrangement of which differs in the various specimens. The + _main_ feature of Head 3 consists in the _absence of an open + space_ between the middle bunch and the lowest lock. + +HEAD 4.--The queue consists of three strands which extend + from the top of the head to the neck. The back row of hair + consists of five locks of which the lowest is very small and + runs almost perpendicularly into the queue. There is a small + space between the perpendicular lock and the next lowest. + +HEAD 5.--Generally found on the second quality of buff + paper. The queue consists of three strands, which extend + from the top of the head to the neck. The main feature is + the middle bunch of hair, which is oblong shaped and + consists of three heavy strands, all of which slant + diagonally into the queue. Immediately below this bunch is + the lowest small lock, which also slants diagonally into the + queue. + +Of the five heads, the first is certainly the one which is most +commonly found; especially on amber paper. Knife 1 is always Head 4. +Head 3 is less common, and Head 5 is most frequently found on the +second quality buff paper. It is also useful to remember that Head 5 +appears on Knife 11. + +The subsequent table gives the knives and heads of the three cents, +Rose:-- + +K. 22 120 × 73 P. O. Size 1 Heads 1, 2, 3, 4 White +" 1 120 × 73 " 1 " 4 White +" 2 139 × 83 " 3 " 3 White +" 11 139 × 83 " 3 " 1, 2, 3, 4, 5 White +" 11 139 × 83 " 3 " 1, 2, 3, 4, 5 Buff +" 11 139 × 83 " 3 " 1, 2 Amber +" 11 139 × 83 " 3 " 1, 5 Buff 2nd +" 9 139 × 83 " 3 " 1, 2, 3, 4 White +" 9 139 × 83 " 3 " 1, 3, 4 Buff +" 9 139 × 83 " 3 " 1, 2 Amber +" 12 160 × 90 " 5 " 1, 2, 3, 4 White +" 12 160 × 90 " 5 " 1, 3, 4 Buff +" 12 160 × 90 " 5 " 1, 2 Amber + +A similar table for the three cents, Brown shows that the following +heads exist:-- + +K. 21 225 × 98 Size 7 Heads 1, 2, 3, 4 White +" " " " " " 1, 2, 3, 4 Buff +" " " " " " 1, 2 Amber + +The six cents, Rose and Purple comes only on heads 1 and 3. + +A systematic and rational classification of the three cents (both rose +and brown) and their congener the six cents (purple and rose) is now +ready. The collector of entire envelopes will proceed as follows:-- + +Given a certain specimen, he first ascertains the knife, second the +color of the paper. He then decides which head is represented, and +finally ascertains whether it is an "A" or "B" die. The specialist, or +any collector who is sufficiently interested to possess the various +sub-varieties, goes a step further. Having determined the head, he +finds to which of the four classes of line measurement a given specimen +belongs. Thus the apparently bewildering number of varieties, through +the knowledge of the heads and the "U" line measurement, are brought +into perfect order, and all risk of confusion is avoided. It is evident +that, henceforth, the collector of cut squares will try to obtain at +least one specimen of the different heads of both die A and B, while +the collector of entires may go to any length to satisfy his zeal and +ambition. + +The large die (Die B), measuring horizontally 25-1/2 mm. or more, is +comparatively scarce and it is found most commonly on the small +envelope, Knife 22. + +THREE CENTS, ROSE. + +K. 22 Heads 1, 2, 4 White +" 11 " 4 Buff +" 9 " 1, 4 White +" 9 " 1 Buff +" 12 " 2, 4 White +" 12 " 2 Amber + +THREE CENTS, BROWN. + +K 21 Head 1 White +" " " 1, 2 Buff +" " " 2 Amber + +With the issue of the three cents, rose, the contractor, at the order +of the Post Office Department, introduced a second quality of buff +paper. This matter is of importance to all collectors and should be +duly noted. + +In a circular letter from the Finance Office, dated "Washington Oct. +1866," signed "A. N. Zevely, 3d Asst. P. M. G.", it is stated:-- + + "Letter size envelopes stamped 3 cents, made of a _cheaper_ + quality of paper than those hitherto furnished, are + furnished by the Department at $32.80 per 1,000." + + The schedule of 1867 gives the prices of three cent + envelopes, etc., and of letter size _second quality buff_. A + circular to the public of the same date says that "letter + size _second quality_ are furnished ONLY in buff." + +The white and colored paper of this issue exists in various qualities, +of which the extremes may be called nearly cardboard paper and almost +tissue. The texture is soft and highly surfaced. An interesting +variety of the white paper is a decidedly brownish-white, which, as far +as the writer knows, has not been mentioned heretofore. There are also +various shades of buff and even a reddish toned orange paper. + +Doubtless collectors would like to possess some information about the +rarity of the various heads found in the three cents, rose, of this +issue. From a study of some six thousand envelopes of this series the +writer can give a fairly accurate estimate. Calling the total number of +envelopes examined one hundred per cent, the respective percentages of +the five heads were: + + Head 1--50% + " 2--30% + " 3--10% + " 4--09.5% + " 5--00.5% + -------- + 100. + +In regard to the sub varieties of the various heads it is also of +interest to observe that a considerable number are "repeating dies," +_i.e._, generally a die, say of Head 1 on white paper and on Knife 11, +is liable to be found on buff and amber paper not only on Knife 11, but +also on Knife 9. Only very few sub varieties of a given Head exist on +of this series. Although it is evident that of all Nesbitt issues the 3 +cent rose 1864 has by far the largest number of die varieties, it is by +no means an impossible task to classify all existing varieties as has +been done with the two cent Jackson, and it is the intention of the +writer to carry out this work at no distant day. Probably due to the +apparent similarity of many dies collectors have been apathetic and +have considered one as good as the other, but a little study speedily +convinces the student of this error. Indeed, this issue contains a +number of extremely rare dies, and as soon as proper information and +classification is published, the 3 cent rose of 1864 will be a favorite +of all true philatelists. + +Before leaving these interesting dies we must not fail to mention that, +on the three cents and six cents, there is often a small dot on +Washington's face shaped like a mole, about one mm. under the ear. It +is of little importance, and is evidently merely a flaw. + +In addition to the 3 and 6 cents, Nesbitt produced, in 1864, a new +design for the 9, 12, 18 and 30 cents, while the old design of the +former 24 and 40 cents was changed in December 1865. The main +difference between the new and the old design is that the oval band and +small circular disks are with colored background bordered by colorless +lines. The inscriptions and numerals are now colorless. The branches +have eight leaves. + +Of these values no die varieties are known; but, excepting the 40 cents +pink, there are several distinct shades of each stamp. + +Commencing with the Nine Cents, we have a decided lemon-yellow and an +orange; the Twelve Cents appears in dark brown and red-brown; the +Twenty-four Cents in two shades of blue; the Eighteen Cents exists in +red and dark red, and the Thirty Cents in yellow-green, dark green and +olive-green. + +This concludes the Nesbitt issues of United States envelopes. His +connection with the Postal Department ceased March 31, 1870, when a new +contract was awarded to George H. Reay, of New York. + +To the philatelists the Nesbitt issues are by far the most interesting +series of all the United States Postal issues and, as the years pass +on, the intrinsic value of these die varieties will increase rapidly. +Specialization is the watchword of the now growing class of collectors, +and there is no field so inviting and which will repay a student so +richly for his labor as a specialized collection of the Nesbitt issues. +What is wanted to-day is a special album for United States envelopes, +which would insure to this prominent branch of United States philately +that measure of official recognition for which collectors have long and +earnestly contended. An equally valuable aid would be the formation of +a Society of Collectors of United States envelopes. The writer +confidently expects that this suggestion will soon assume a more +tangible form. + +If this series of articles has, in even the slightest degree, helped +collectors of United States envelopes to a wider knowledge and better +appreciation of these hitherto unknown die varieties, the writer will +feel well repaid for the many hours of labor. In closing, he again +asserts; "Variety is the spice of life!" + + * * * * * + + +A REFERENCE LIST OF THE ENVELOPES OF THE SERIES OF 1864 AND 1865. + +1864. + +THREE CENTS, ROSE. + +DIE A. + +HEAD I. + +No. Paper. Knife. Size. Dimensions. Variety. Remarks. + +501 White 22 1 120 × 73 1 +502 " 22 1 " 2 +503 " 22 1 " 3 +504 " 22 1 " 4 +505 " 11 3 139 × 83 1 +506 " 11 3 " 1 Unwatermarked. +507 " 11 3 " 2 +508 " 11 3 " 3 +509 " 11 3 " 4 +510 " 9 3 " 1 +511 " 9 3 " 2 +511a " 9 3 " 2 Without Patent Lines. +512 " 9 3 " 3 +513 " 9 3 " 4 +514 " 12 5 160 × 90 2 +515 " 12 5 " 3 +516 " 12 5 " 4 +517 Buff 11 3 139 × 83 2 +518 " 11 3 " 3 +519 " 11 3 " 4 +520 " 9 3 " 1 +521 " 9 3 " 2 +522 " 9 3 " 3 +523 " 9 3 " 4 +524 " 12 5 160 × 90 2 +525 " 12 5 " 4 +526 Buff 2nd 11 3 139 × 83 3 +527 " 11 3 " 4 +528 Amber 11 3 " 1 +529 " 11 3 " 2 +530 " 11 3 " 3 +531 " 11 3 " 3 Ungummed. +532 " 11 3 " 4 +533 " 9 3 " 3 +534 " 9 3 " 4 +535 " 12 5 160 × 90 2 +536 " 12 5 " 3 +537 " 12 5 " 4 +538 Amber 2nd 11 3 139 × 83 2 +539 " 11 3 " 3 +540 " 11 3 " 4 + +HEAD II. + +541 White 22 1 120 × 73 1 +542 " 22 1 " 2 +543 " 22 1 " 3 +544 " 11 3 139 × 83 1 +545 " 11 3 " 2 +546 " 11 3 " 3 +547 " 9 3 " 1 +548 " 9 3 " 2 +549 " 9 3 " 3 +550 " 12 5 160 × 90 1 +551 " 12 5 " 2 +552 " 12 5 " 3 +553 Amber 11 3 139 × 83 1 +554 " 11 3 " 2 +555 " 11 3 " 4 +556 " 9 3 " 1 +557 " 9 3 " 3 +558 " 12 5 160 × 90 2 +559 " 12 5 " 3 + +HEAD III. + +560 White 22 1 120 × 73 1 +561 " 22 1 " 2 +562 " 22 1 " 3 +563 " 2 3 139 × 83 3 Ungummed. Probably a proof. +564 " 11 3 " 1 +565 " 11 3 " 2 +566 " 11 3 " 3 +567 " 9 3 " 1 +568 " 9 3 " 2 +569 " 12 5 160 × 90 1 +570 " 12 5 " 2 +571 Buff 2 3 139 × 83 3 Ungummed. Probably a proof. +572 " 11 3 " 1 +573 " 11 3 " 2 +574 " 11 3 " 3 +575 " 9 3 " 1 +576 " 9 3 " 2 +577 " 9 3 " 2 Without patent lines. +578 " 9 3 " 3 +579 " 12 5 " 2 +580 " 12 5 " 3 + +HEAD IV. + +581 White 22 1 120 × 73 1 +582 " 22 1 " 2 +583 " 22 1 " 3 +581 " 1 1 " 2 +585 " 11 3 139 × 83 2 +586 " 11 3 " 3 +587 " 11 3 " 3 Unwatermarked +588 " 9 3 " 1 +589 " 9 3 " 2 +590 " 9 3 " 3 +591 " 12 5 160 × 90 1 +592 " 12 5 " 2 +593 " 12 5 " 3 +594 Buff 11 3 139 × 83 1 +595 " 11 3 " 2 +596 " 11 3 " 3 +596a Buff 2nd 11 3 " 2 +597 Buff 9 3 " 1 +598 " 9 3 " 2 +599 " 9 3 " 3 +600 " 12 5 160 × 90 1 +601 " 12 5 " 2 + +HEAD V. + +602 White 11 3 139 × 83 3 +603 Buff 11 3 " 2 +604 Buff 2nd 11 3 " 2 +605 " 11 3 " 3 + + +DIE B. + +HEAD I. + +No. Paper. Knife. Size. Dimensions. Variety. Remarks. + +606 White 22 1 120 × 73 2 +607 " 9 3 139 × 83 2 +608 " 12 5 160 × 90 1 +609 Buff 9 3 139 × 83 2 +610 " 9 3 " 3 + +HEAD II. + +611 White 22 1 120 × 73 1 +612 " 22 1 " 3 +613 " 9 3 139 × 83 3 +614 " 12 5 160 × 90 4 +615 Amber 9 3 139 × 83 1 +616 " 12 5 160 × 90 2 +617 " 12 5 " 3 + +HEAD III. + +617a White 12 5 160 × 90 5 + +HEAD IV. + +618 White 22 1 120 × 73 1 +619 " 11 3 139 × 83 2 +620 " 9 3 " 1 +621 " 9 3 " 2 +622 " 9 3 " 3 +623 " 12 5 160 × 90 1 +624 " 12 5 " 2 +625 Buff 11 3 139 × 83 1 +626 " 12 5 160 × 90 1 +627 " 12 5 " 2 +629 Amber 12 5 160 × 90 3 + + +1865. + +THREE CENTS, BROWN. + +DIE A. + +HEAD I. + +630 White 21 7 225 × 98 2 +631 Buff 21 7 " 2 +633 Amber 21 7 " 2 +634 " 21 7 " 3 + +HEAD II. + +635 White 21 7 225 × 98 2 +637 Buff 21 7 " 3 + +HEAD III. + +638 White 21 7 225 × 98 2 +639 Buff 21 7 " 1 +640 " 21 7 " 2 + +HEAD IV. + +642 White 21 7 1 +643 " 21 7 2 +644 " 21 7 3 +645 Buff 21 7 1 +646 " 21 7 2 + +DIE B. + +HEAD I. + +647 White 21 7 225 × 98 2 +648 Buff 21 7 " 2 + +HEAD II. + +649 White 21 7 225 × 98 2 +650 Buff 21 7 " 4 +650a Amber 21 7 " 2 +650b " 21 7 " 4 + +SIX CENTS, PURPLE. + +HEAD I. + +651 White 11 3 139 × 83 +652 Amber 11 3 " + +HEAD III. + +653 White 11 3 139 × 83 +654 Buff 11 3 " +655 Amber 11 3 " + +SIX CENTS, ROSE. + +HEAD I. + +656 White 21 7 225 × 98 +657 Amber 21 7 " + +HEAD III. + +658 White 21 7 225 × 98 +659 Buff 21 7 " +660 Amber 21 7 " + +NINE CENTS, YELLOW. + +661 Buff 21 7 225 × 98 +662 Amber 21 7 " + +NINE CENTS, ORANGE. + +663 Buff 21 7 225 × 98 +664 Amber 21 7 " + +TWELVE CENTS, BROWN. + +665 Buff 21 7 225 × 98 +666 Amber 21 7 " + +TWELVE CENTS, RED-BROWN. + +667 Buff 21 7 225 × 98 + +EIGHTEEN CENTS, RED. + +668 Buff 20 8 249 × 104 + +TWENTY-FOUR CENTS, BLUE. + +669 Buff 20 8 249 × 104 +670 " 20 8 " Dark blue +671 Amber 20 8 " + +THIRTY CENTS, GREEN. + +672 Buff 20 8 249 × 104 Yellow-green. +673 Buff 20 8 " Dark green. +674 Buff 20 8 " Olive green. + +FORTY CENTS, ROSE. + +675 Buff 20 8 249 × 104 + + + + +APPENDIX + +SERIES OF 1853-1855. + +DIE I. + +Since the publication of the early portion of the present work the +writer has discovered two new varieties of this die, both with Head I, +which must be known as varieties 1a and 2a and which, therefore, +necessitate his re-writing the descriptions of Vars. 1 and 2. + +He has, also, re-written the description of variety 3 with the idea of +enabling collectors to more easily differentiate between it and the +other varieties. + +The following should, therefore replace the descriptions of these +varieties on pages 107 and 108 of the JOURNAL for 1905. + +HEAD I. + +LONG SIDE LOCK. + +Var. 1. "CENTS" is near the frame line. "C" and "N" are + in an almost vertical position. "N" is near "T." "S" is + near curve. Letters "TH" are parallel and slant to left. + A line drawn along the "E" of "CENTS" and prolonged upwards + touches the right end of the top stroke of the first "E" + of "THREE." + +Var. 1a. The "C" of "CENTS" and "E" of "THREE" slant distinctly + to the right. "EN" close and near outer frame line. + "N" and "T" are wide at base. A line drawn along "E" + touches the left end of the top stroke of the final "E." + +Var. 2. "TH" of "THREE" widely spaced and "R" is almost in + center of label and vertical. The "N" of "CENTS" slants to + the right and is far from "T" at top and base. The top + of "S" is some distance from curve. There is a flaw in the + outer colored line nearly opposite the tip of nose. A line + drawn along "E" touches right the end of the top stroke of + the final "E." + +Var. 2a. There is a flaw in the red outer frame line nearly opposite + the junction of the queue with the garment. "CENTS" is + near the inner frame line. "HR" wide at top and near at + base. "C" is some distance from the curve. "EN" near. + "N" short and broad. The upper right curve is nearly a + straight line. A line drawn along "E" touches the left end + of the top stroke of the second "E" of "THREE." + +HEAD 1a. + +SHORT SIDE LOCK. + +Var. 3 The "C" of "CENTS" is high and close to curve. "CE" very + wide. "EN" wide. "N" nearly vertical. "EN" close at + top. A line drawn along "E" touches the left end of the top + stroke of the final "E." + */ + + + + +ADDENDA. + + +The following envelopes and wrappers have been discovered since the +lists were published and should, therefore, be added to them. + +ENVELOPES. + +1853-55. + + +THREE CENTS, RED. + +DIE I. + +VAR. 1A. HEAD I. + +No. Paper. Knife. Size. Dimensions. Gum. Remarks. + +2a W 2 3 139 × 83 Seal +2b B 2 3 " " + +VAR. 2A. HEAD I. + +4a W 2 3 139 × 83 Seal. +4b B 2 3 " " + + +DIE V. + +HEAD XV. + +VAR. 21. + +98a B 4 3 139 × 83 + +VAR. 29. + +131a B 5 3 139 × 83 + + +1860. + +ONE CENT, BLUE. + +VAR. 3. + +163a B 9 3 139 × 83 U + +VAR. 7. + +177a L. Or. 5 3 139 × 83 U + +VAR. 8. + +178a B 5 3 139 × 83 U +178b B 5 3 " U No watermark +178c Y. B. 5 3 " U " " wove paper + +VAR. 10. + +183a B 11 3 139 × 83 G + +VAR. 11. + +184a W 11 3 139 × 83 + + +THREE CENTS, RED. + +VAR. 1. + +No. Paper. Knife. Size. Dimensions. Gum. Remarks. + +187a B 7 2 137 × 77 G + +VAR. 3. + +199a W 7 2 137 × 77 G + + +WRAPPERS. + +VAR. 3. + + Distance of stamp +No. Paper. Dimensions. Laid. from upper edge. Remarks. + +245a S. B. 148 × 225 H 35 + +VAR. 4. + +252a B 148 × 232 H 38 + + +1863. + +TWO CENTS. BLACK. + +ENVELOPES. + +DIE A. + +No. Class. Paper. Knife. Size. Dimensions. Remarks. + +373a 4 Buff 11 3 139 × 83 Gummed. + + +1864. + +DIE D. + +VAR. 19. + +415b 3 Buff 12 5 160 × 90 Gummed. + + +WRAPPERS. + +DIE D. + +VAR. 35. + +No. Class. Paper. Dimensions. Laid. Remarks. + +496a 5 Buff 100 × 200 H + + + + +ERRATA. + + +Page 13, last line under Head 6, read: _narrow_ for "norrow." + + " 18, add to description of Var 2, Head XI: _there is usually a flaw + in the outer colored line opposite the lower left straight line near "C."_ + +Page 31, Head XVIII, second line, after "eye-brow", read; _some + distance_ instead of: "a considerable distance." + + " 35, No. 46 should read: "W 2 3 139 × 82." + + " " " 47 " " "B 2 3 " + + " 37, No. 89 and 90, under "Remarks", add: "_Reprints on white + and buff vertically laid paper_." + + " 38, No. 121 and 122, under "Remarks", cancel: "_Reprints on + white and buff vertically laid paper_." + + " 42, Variety 3, add: "_distance from "E" to "C" is_ 3-1/2 _mm_." + + " " The cut marked "7" should have its number changed to "9." + + " 43, The cut marked "9" should have its number changed to "7." + + " 52, No. 248, read: "V" instead of "H". + + " " No. 270, dimensions should be: 180 × 260. + + " 62, No. 327 and 327a are: Size 3. + + " 85, No. 417, is gummed. + + + * * * * * + + +Transcriber's Notes + +[HW:] contains handwritten errata notes, as listed above. Roman and +Arabic numeral inconsistencies were retained. Minor punctuation errors +and the following typos were corrected: + +CONTENTS: Changed The 1853-55 Series from page 5 to 6. + +Page 3: Changed "humilation" to "humiliation". + (it is an humilation to American philatelists) + +Page 3: Changed "unkown" to "unknown". + (timorous traveler to proceed into the unkown country) + +Page 4: Deleted duplicate "the". + (spacings between the the letters) + +Page 5: Changed "ascer" to "ascertained". + (easy manner, we have ascer [end of line] three important classes.) + +Page 6: Changed "proceeed" to "proceed". + (and the manufacture will at once proceeed.) + +Page 7: Changed "accordence" to "accordance". + (In accordence with the instructions of the United States Postal) + +Page 7: Changed "pecular" to "peculiar". + (artists, had pecular ideas of the manly beauty) + +Page 7: Deleted duplicate "the". + (expression runs the the gamut of meekness) + +Page 8: Changed "aquaintance" to "acquaintance". + (Die 1 are concerned, a thorough knowledge of, or aquaintance) + +Page 31: Deleted duplicate "the". + (Together with the the side-lock) + +Page 40: Changed "realty" to "reality". + (new SIX and TEN CENTS. In realty the latter two appeared) + +Page 44: Changed "broarder" to "broader". + (To give the philatelist a broarder hold on this issue) + +Page 59: Changed "bu" to "but". + (the SIX CENTS is very similar to the last one, bu) + +Page 64: Changed "uts" to "cuts". + (Class V.--Line falls outside of "W" and sometimes uts "O.") + +Page 65: Changed "luckly" to "lucky". + (a rarity possessed only by a few luckly mortals.) + +Page 68: Changed "contracter" to "contractor". + (the contracter for furnishing the Post Office Department) + +Page 68: Changed "vareties" to "varieties". + (five letters which differ greatly in many vareties.) + +Page 69: Changed "measurment(s)" to "measurement(s)". + (and the measurments are made as follows:) + (The student who employs these measurments) + (In case of doubt that single measurment is decisive.) + (the characteristic line measurment is mentioned) + +Page 75: Deleted duplicate "of". + (top stroke of of "T" nearly touches "W.") + +Page 77: Changed "manilla" to "manila". + (Buff Orange and Light Manilla.) + +Page 78: Changed "deteoriation" to "deterioration". + (This is due to great deteoriation of the die.) + +Page 82: Changed "beheind" to "behind". + (Bust point beheind "O.") + +Page 82: Deleted duplicate "and". + ("C" almost vertical and and close to point.) + +Page 84: Under VAR. 13: Changed "041" to "401". + +Page 103: Changed "discriptions" to "descriptions". + (replace the discriptions of these varieties) + + + + + + + +End of the Project Gutenberg EBook of The Die Varieties of the Nesbitt +Series of United States Envelopes, by Victor M. Berthold + +*** END OF THE PROJECT GUTENBERG EBOOK 40002 *** |