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diff --git a/40002-8.txt b/40002-8.txt deleted file mode 100644 index 07b9ddf..0000000 --- a/40002-8.txt +++ /dev/null @@ -1,5760 +0,0 @@ -The Project Gutenberg EBook of The Die Varieties of the Nesbitt Series of -United States Envelopes, by Victor M. Berthold - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: The Die Varieties of the Nesbitt Series of United States Envelopes - -Author: Victor M. Berthold - -Release Date: June 15, 2012 [EBook #40002] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK DIE VARIETIES OF NESBITT ENVELOPES *** - - - - -Produced by Adrian Mastronardi, Diane Monico, The Philatelic -Digital Library Project at http://www.tpdlp.net and the -Online Distributed Proofreading Team at http://www.pgdp.net - - - - - - - - - - - -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 THIS PROJECT GUTENBERG EBOOK DIE VARIETIES OF NESBITT ENVELOPES *** - -***** This file should be named 40002-8.txt or 40002-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/0/0/40002/ - -Produced by Adrian Mastronardi, Diane Monico, The Philatelic -Digital Library Project at http://www.tpdlp.net and the -Online Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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