>From the January 1902 issue of THE PENMAN AND ARTIST AND BUSINESS EDUCATOR, a publication of Zaner and Bloser: "Copybooks. Our good jovial western brother, Mr. A. N. Palmer, is still denouncing copy-books as the educational crime of the century. He can see no good in them--of late he says they are not so bad for children in the primary grades. But behold, he is a second Michael. He publisheth "The Palmer Method' for 'public schools,' etc. It is a book of copies printed from THE WESTERN PENMAN. What for? For pupils to copy and practice from. After all, it is only the other fellow's copy-book our brother does not like--simply a matter of kind. Then why continue the cry? Simply as a cloak to keep up the appearance of reform? We are against the kind of copy-books usually published. Why? Because they do not contain a graded series of copies and movement exercises. Because they do not put penmanship upon a basis of movement for the grammar grades. It is not the institution of providing correct copies for pupils to practice from that is wrong, but its failure to give movement exercises as well as letters, words, sentences, etc. Every penman's paper is a copy-book, containing copies for practice--also instruction as to how to practice. If we did not believe in copy-books we would say so by shutting up shop and discontinue publication. Consistency is a jewel some do not possess."

Comment: In the last series of posts from the Palmer story, you might recall that Palmer said he was the promoter of consistency in penmanship. DTysdal@aol.com          RETURN to Table of Contents

Lessons in Engrossing Script By Elbridge W. Stein >From the PENMAN-ARTIST AND BUSINESS EDUCATOR January 1902 issue A publication of Zaner-Bloser, Columbus, Ohio Part One "Engrossing script is a widely admired style of penmanship, and fills the adage, 'The first shall be last,' it having been in use for three centuries, and probably will be used much longer.

This style of script is adapted to engrossing resolutions, testimonials and memorials; filling in insurance policies, deeds and extracts; writing professional and calling cards; and for various other uses. Compared with other script, it is easy to master, and is worth more to the penman in dollars and cents, than any other style of script. The demand is also greater today than ever before for person proficient along these lines, hence it is worth mastering and will pay you good interest on the time and labor spent in acquiring it.

Materials should be the best. Use a good quality of paper; linen, bond or wedding, is best. Avoid thin, soft paper. Prepared liquid India ink, diluted with 5 parts water and one part of powdered gum arabic, to one part of ink, is best and makes a good ink at small cost. For general work, use Zanerian Fine Writer pens, and for very fine work, use Spencerian Epistolaire or Gillott's 290. Use an oblique holder, with the point of the pen well elevated.

The movement used is mainly that of the hand and forearm, with the little finger acting as a center of control. Finger movement is used to some extent; too much of it makes the work tiresome. A steady movement is necessary, and to secure it, use a combination of the three previously mentioned (hand, arm and finger movements)."

End of part one. For copy of the actual lesson on this page of the magazine send SSAE and 5 cents to Del Tysdal, 812 Broadway, #4, Fajrgo, ND 58102. DTysdal@aol.com

Lessons in Engrossing Script

by Elbridge W. Stein as taken from THE PENMAN-ARTIST AND BUSINESS EDUCATOR January 1902 issue a publication of Zaner-Bloser, Columbus, Ohio

"Practice the first exercise, the straight line, carefully. (Exemplar) Use pencil head and base lines. Make this exercise about 1/2 inch in height. Aim to secure uniform spacing, strength of shade, and slant. In the first half of this line the ends were re-touched. The last half are just as they came from the pen. Try to secure decisive beginnings and endings.

In the second and third lines (exemplar of small letter 'u' and 'n') care must be taken with the upper and lower turns. Raise the pen often. The copy was prepared with the view of revealing pen liftings. Study it carefully. Notice how delicately the shades bend and diminish, as they near the tops and the bottoms of letters, to assist in making the proper turns.  (Exemplars show lifts at bottom of letters)

The up strokes are on the same slant as the down (strokes), there being no connective slant. If you have mastered the first three exercises, you will have no trouble in making the letters given here ('n', 'm', 'v', 'i').

In the words (exemplars: minimum, vim, win), careful investigation will show that spacing between letters is slightly wider than in them, and wider between some than others. Space so that at a little distance it will give the effect of all shaded strokes being the same distance apart, yet near at hand, each letter will appear separate and distinct.

Go slowly at first, be patient and preserving (perservering?), study the copy well, practice on the theory of "Not how much, but how well," and you will succeed.

Students desiring their work to be criticised should send specimens not later than the 5th of each month to Zaner, Columbus, Ohio"  End of the article.
 

My comment: his turns at the top and the bottom are too rounded, the lines somewhat too vertical and hence, although precise, in my opinion, his script is 'sleepy'. DTysdal@aol.com

For a copy of the actual lesson, send SSAE and 5 cents to Del Tysdal, 812 Broadway, #4, Fargo, ND 58102. Or for help on particular letters, send SSAE and a sample of your letter you need help with. DTysdal@aol.com

RETURN to Table of Contents
 

>From THE PENMAN ARTIST AND BUSINESS EDUCATOR, March 1902, published by Zaner and Bloser, Columbus, Ohio: "By Louis Madarasz: Twenty-five years from now there is likely to be a very few top-notchers in ornamental script writing. A quarter century ago there were hundreds, where we can now count one. The young men of today do not exercise the patience which leads to the top in ornate writing, nor have they the time to acquire a style of handwriitng for which there is only a limited market in these strenuous times. It would not be surprising, therefore, if the ornately beautiful in writing. conjured into perfected existence by Lyman P. Spencer, becomes, even in our day, a lost art. The New Spencerian Compendium of Penmanship issued by Ivison, Blakeman and Co. in the early 80's is now out of print. I am told the initial cost of that work was near $10,000 before a copy was printed; the launching of it was a failure. The magnificent copy-slips, fathered by Flickinger and Root, have barely paid the cost of engraving; both of these standard works will pass away soon--more's the pity. Williams and Rogers' pen written copies (reproduced) had an enormous sale in their day, owing to the special judicious pushing they got--how long it will last is problematical." End of part one. DTysdal@aol.com

>From THE PENMAN, ARTIST AND BUISNESS EDUCATOR, a magazine published by Zaner and Bloser, February 1902 edition: "Turning back to the 'cracks' of the profession of 25 years ago, it is only the older generation who can recall the beautiful and individual writing styles of such men as Lyman P. Spencer, H. W. Flickinger, A. P. Root, F. W. H. Wiesehahn, G. A. Gaskell, W. J. White, L. L. Williams, B. M. Worthington, D. L. Musselman, H. W. Shaylor, P. R. Spencer, J. E. Soule, A. H. Hinman, Thos. J. Stewart, G. F. Davis, A. Cowley, F. Seregni, E. Burnett, B. B. Euston, A. R. Dunton, and others, too numerous to mention; each one's work having the hallmark of peculiar individuality. Who of the active penmen of the present can approximate Lyman P. Spencer in origination? No one can equal H. W. Flickinger in geometrical accuracy--Flickinger, the incomparable , whose writing breathed ease and beauty. The daintiness of Root's work passed with him. The magnificent grandeur of Wiesehahn's work is beyond attempt. The page writing of Williams and Worthington is an unknown quantity today. The work of Gaskell, White and Seregni is only a memory, and so on throughout the list of the master penmen of 1876. Today, whom have we in lieu? W. E. Dennis and F. B. Courtney--the two geniuses, Bloser, Zaner, Doner, Lampman, Kelchner, Mills, Canan, Lehman, Behrensmeyer, Glick, Henning, Tamblyn, and....who else? The list is short. the balance imitate one of the above, or Madarasz, and, as one critic has aptly said: 'They exaggerate the faults and skip over the good points.' Possibly the mistaken desire to combine the artistic with business writing is the head of the evil. These two qualities won't mix, and young penmen, if they want to become expert, must work at them independently, and with different tools. The thing in ornamental writing is to not count time--in practical writing, speed is the goal: legibility, of course, applying to both styles." L. Madarasz. End of the article. DTysdal@aol.com   RETURN to Table of Contents

>From THE BUSINESS EDUCATOR, a Zaner-Bloser publication, September 1924 edition: "The great master penman of the old school has passed on to a higher plane of existence. No man in the profession has done more to keep alive an interest in artistic penmanship as taught and practiced by 'the old timers.' It was always a joy to visit Dennis, as he was a genuine and genial friend whose dry humor and big heart made him a favorite with all (persons) fortunate enough to come within the circle of his acquaintance. His studio in Brooklyn (357 Fulton St.) has long been a Mecca for lovers of fine penmanship, and hanging on the walls are some of the finest specimens of pen drawing, flourishing and lettering, which in point of delicacy, accuracy and individuality are in a class all alone--masterpieces of line and color. No entertainment could quite take the place of an evening with Dennis, and in a letter written to me in April (1924) he sends the following characteristic invitation to visit him: 'I wish U could come out this wa (sp) some da (sp) and C our big displa(sp) of pen-work, the old timers, etc.' Dennis, when quite a young man, lived for a time with A. R. Dunton, at Camden, Maine. Under the critical eye of 'A. R.' he acquired a wonderful degree of accuracy in penciled script for copper engraving, and he made several large exhibition pieces of pen drawing equal in detail an delicacy to the finest steel engraving, displaying wonderful skill and patience. He also acquired a knowledge of disputed handwriting which he developed in later years. " End of part one. DTysdal@aol.com

>From THE BUSINESS EDUCATOR a publication of Zaner-Bloser, Columbus, Ohio, Sept. 1924 edition, written by E. L. Brown of Rockland, Maine: "I met W. E. Dennis in Boston in1889 where he was employed by Mr. A. R. Dunton filling diplomas for the city. I was inspired by his unusual skill, and of course gathered many specimens of his off-hand flourishing, which have been carefully preserved all these years in my scrapbook. Dennis used to tell many interesting stories about his experiences while living with old 'A. R.'. One day the man said, "Dennis, I want you to write a letter for me in your best style in order that my reputation may not suffer, and sign my name." Dennis was pleased with the final product and turned it over to the old gentleman, who, after stroking his patriarchial whiskers for a few minutes returned the letter suggesting the following postscript: "Please excuse poor penmanship. Been holding plow for a neighbor and my nerves are not as steady as usual." Dunton did a great deal of his work with a crow-quill pen and diluted India ink, producing the most delicate effects. Dunton lettered The Lord's Prayer within a border of very delicately tinted roses, and Dennis was making a copy of the design. After several days of painstaking work he completed the design and to all appearances his copy equalled Dunton's in fineness. Dunton said nothing but during Dennis' absence he removed his specimen from its frame, worked it up to a higher degree of fineness and replaced it in its frame. It was some time before Dennis discovered the Professor's original method of getting results, a method which was quite successful in developing the skill and patience of this enthusiastic young man." End of Part 2. DTysdal@aol.com

Taken from THE BUSINESS EDUCATOR September 1924, published by Zaner-Bloser, Columbus, Ohio, written by E. L. Brown, Rockland, Maine: " His going is a distinct loss to all, especially those who knew him and loved him as a man and honored him as a penman and engrosser of the first rank. He was ever a student, always striving for greater skill, although his work seemed to combine all the important elements of beauty and perfection. I admired his everyday writing, charming it was in grace of line, distribution of color, and strikingly characteristic, all in all. The name W. E. Dennis will live in memory as a penman of the highest order, whose skill and genius influenced thousands of young men to strive for greater heights in the line of artistic penmanship. All honor and respect to his memory. E. L. Brown, Rockland, Maine." End of the article. DTysdal@aol.com

On the Death of W. E. Dennis (1860-1924)

>From the September 1924 edition of THE BUSINESS EDUCATOR a publication of Zaner-Bloser, Columbus, Ohio by Henry W. Flickinger, Glenolden, Pa: "Have you heard of the sudden death of Mr. Dennis? It occurred last Friday, June 6, 1924, after an illness of only three days, from pneumonia. The sad news came to me as a shock. I can scarcely realize it. It seems but as yesterday since I met him at the Convention in New York and, in company with others, called to see him in his studio at 357 Fulton St., Brooklyn and looked over his wonderful collection of penwork. He was a very genial, pleasant gentlemen and very unassuming. To my mind he had more skill in flourishing, birds, swans, etc. than any other man whose work I have ever seen, not excepting that of the late John D. Williams, who, in his day, was considered the finest in the profession. I greatly admired Dennis, and shall miss his frequent jolly letters, which were often written in very grotesue fashion. Some others of us must soon follow. Ames, Hinman, Zaner, Risinger, Huntsinger, and now Dennis. They have led the way. Are we ready to enter? To enter the heavenly home? H. W. Flickinger, Glenolden, Pa." End of the article. DTydal@aol.com

W. E. Dennis, by his partner W. A. Baird

William E. Dennis, from an article in THE BUSINESS EDUCATOR, Sept. 1924 issue, a publication of Zaner-Bloser, Columbus, Ohio, written by Willis A. Baird, his partner

Dear Friends: I have your letter suggesting a tribute to my esteemed former business partner and friend, W. E. Dennis. I am more than pleased for this opportunity to commend Dennis, the man, as well as Dennis, the penman.

I first met Dennis in 1909, having gone from the Zanerian to work for him during the diploma season, and became associated with him in business in January, 1914, the partnership continuing until I left New York in August, 1918. During this time we closely associated both in and out of the office, and I learned many of his peculiar traits of character which he permitted but few others to learn.

The longer I knew Dennis the more highly I valued his friendship. He was one of the kind that stick, and I could always count on his friendly letters whether I answered promptly or not. His letters were entirely different from the letters I receive from others--penmen or otherwise. He had a style all his own--a combination of shorthand, hieroglyphics and longhand.

Dennis had planned a trip this summer to include Chicago, the Zanerian in Columbus, Ohio, and other places along the route of a pleasant round trip, and I regret that death claimed him of pnemonia before he could make this visit. Many penmen would have had the pleasure of meeting a real prince of the profession--the most original by far that I have ever met. He was generous in his praise of the skill of others, and like most of the really great ones was extremely modest of his own ability. He helped many aspiring engrossers, and they were always welcome to examine his scrapbooks of engrossing and learn as much as they could from them. He was glad to hear of the success of others, and envied none.

Dennis' work had included almost everything that a penman could be expected to do. His first inspiration was Gaskell's Compendium and later he attended Gaskell's school in Manchester, New Hampshire. At the age of 16 he was widely advertised as Gaskell's boy wonder. Later he had assisted A. R. Dunton with his diploma work and also his correspondence, which in those days before the advent of the typewriter, was in ornate penmanship. He told many amusing stories of both Gaskell and Dunton, and had great admiration for their skill.

End of the first half of this article. DTysdal@aol.com (If you would like to see a copy of an original letter by Dennis in his heiroglyphic ornate style, send SSAE to Del Tysdal, 812 Broadway, #4, Fargo, ND 58102)

William E.Dennis from an article in THE BUSINESS EDUCATOR, Sept. 1924 as written by Willis A. Baird Part 2 After coming to New York, Dennis had written cards, taught penmanship and prepared pencil copy for copybook engravers, which was quite a field for penmen at that time. I showed some of this pencil copy to Mr. Zaner and he pronounced it the equal of any he had seen and an entirely different style of work from the free, dashy pieces characteristic of the Dennis of later years. He had specimens of carefully drawn and stippled figures, birds, etc., a style prevalent among penmen years ago. He had specimens of engrossing made from 20 to 40 years ago that employed a great variety of styles of lettering, and the color work which was in washes included ornament, portraits and other decorative adjuncts. Dennis had done comparatively little work in opaque color or what was generally termed illuminating at the present time, and strange as it may seem he had no success with the engraver's style of script, saying he 'guessed' he didn't have the right pull of the pen for script, but he could draw beautiful script in pencil, as witness his Lord's Prayer which appeared in the Business Educator a few years ago. The style of engrossing which was characteristically Dennis had display lines of German and Old English text and rustic lettering, and a Spencerian style of script which he wrote rather tall and compact. This style of engrossing permitted of considerable flourishing, which was a real pleasure to him. Specimens of his lettering and flourishing remain which prove quite conclusively that he had no superior.

Dennis was rather small of stature--about 5 feet 6 inches in height, and weighed not over 135 pounds. His hobby in the line of exercise was walking and his vacations, which lasted as much of the summer as he could spare away from the office, were spent tramping over the hills of New Hampshire and Massachusetts.

He was a hard worker and had produced perhaps as many pieces of penwork as any other engrosser in the land. He had many sincere friends and I hope to see some memorial to his memory placed where penmen of the present and future can see it and know of the esteem in which he was held by those who new him best.

Willis A. Baird, 3501 Sunnyside Ave., Chicago, Illinois

End of the Article. DTysdal@aol.com

For a photograph of a large original piece of engrossing and flourishing by Dennis, send $1 and SSAE to Del Tysdal, 812 Broadway, #4, Fargo, ND 58102.     RETURN to Table of Contents
 

>From THE BUSINESS EDUCATOR, September 1924, a publication of Zaner-Bloser, Columbus, Ohio: " The Passing of H. W. Ellsworth: The Fredonia, NY CENSOR of July 16, 1924, contained the news of the death of that veteran penman, teacher and penmanship author, Mr. Henry W. Ellsworth. Mr. Ellsworth was in his 87th year, having been born at Stockton, NY in 1837. Singulary, his wife died just four months previous to his death, she at 85. Mr. Ellsworth was an earnest student of penmanship, and did what he could for the improvement of the methods by which youth of the land could develop good penmanship. In 1861, believing that the then prevailing styles of writing with flourished, shaded, complex capitals and the long loops of small writing could be simplified and made more practical, he decided to prepare a series of writing books with simpler capitals and shorter loops. It is said that he was the first to make the change in reducing the length of loops from four or five spaces in length to thirds, and which was later followed by other publishers. In 1866, Mr. Ellsworth published the first journal devoted to penmanship, 'THE WRITING TEACHER and continued its publication until 1872. This journal was followed by the PENMAN'S ART JOURNAL which was begun by A. H. Hinman in 1874 in Pottsville, Pa. and later transferred to D. T. Ames, of New York City. As the crowning feature of Mr. Ellsworth's life work for the benefit of business colleges, public schools, teachers and their pupils, he published in 1897, LESSONS AND LECTURES ON PENMANSHIP which many regard as the best treatise on writing known at that time. It is stated that Mr. Ellsworth always placed the good of the cause before his own pecuniary gain. Yet, he continued to prosper even in competition with others having much greater capital. He raised a family of 8 children. He retained his skill in writing to the very end, as letters recently received in our office testify." End of the article. DTysdal@aol.com     RETURN to Table of Contents
 

Some of them went fast while they were yet able to write well. Others died slowly, watching their skill evaporate. C. P. Zaner was killed in a car-train accident at Linden Crossing just east of Columbus on his way home from a Sunday visit--bang he was gone, age 54.. His partner, E. W. Bloser, lived to be 64 but had palsy. He had to hold his chin in his left hand, put a heavy inkwell on his paper and then write. A. M. Wonnell, Cincinatti, Ohio, had his Supervisor of Penmanship job cancelled. He killed himself. E. A. Lupfer lived to be 84. His writing went back to his childhood days--rounded, elementary, no skill or grace at all--not even a semblance of what it once was. L. Madarasz wrote well until his last days--diabetes got him. But his ornate penmanship was wonderful at age 50. Cook and Fields in Chicago both retired and left the engrossing work to others. Norder quit in 1943 and lived to 1975 or 76. He was practicing his penmanship when I met with him in St. Petersburg, Florida. He had never learned penmanship as such, just magnificent unbelievably perfect script--re-touched like a copperplate engraver would do. H. L. Darner lived to a ripe old age and was still doing lettering jobs down in Bradley, Arkansas in 1971. I found his LORD'S PRAYER for sale at a local bargain outlet store while he was still alive. He was delighted to hear I had found one. After Harry S. Blanchard died in Los Angeles, his son sold his artwork for booze, I heard on the street. L. M. Kelchner was still doing his Christmas cards in flourishing until the very end out in Seattle, age of 86. . DTysdal@aol.com

More on the later lives of penmen.

John S. Griffith of Chicago, a fabulous penman and good friend of the master, F. B. Courtney, was surprised when I found him in 1972. He didn't know someone was looking for him. But he was 'gruff' , hard maybe a bit vindictive. I never found out why. At first he refused to let me visit him in Chicago. Later we became friends. L. A. Swanson of Ft. Lauderdale asked me to come to his house and visit with him. He tried unsuccesfully to pen something. His skill was gone. So he showed me how to shoot a crossbow. He hit the mark on that topic. H. A. Hansen of Milwaukee is still doing Spencerian and marvelously for his age of 90. So is J. A. Francis of Nebraska. C. L. Cook of Chicago, the master illuminator (in my opinion from 1920-1976). knew a secret way to liquify gold leaf. But he would not share it at all. He died with the method. Coats Brown is doing wonderful illuminations down in Columbus, Georgia at 86, and I mean wonderful illuminations. Enuf, again. DTysdal@aol.com

F. B. Courtney--no life insurance ------------------------Subject: F. B. Courtney--no life insurance From: DTysdal@aol.com Date: Thu, 2 Oct 1997 16:36:12 -0400 (EDT)

In 1972 I went to Cleveland, Ohio to take lessons in OP from W. C. Brownfield. On the way, I went to see Mrs. Francis B. Courtney in Detroit, Michigan. FBC had died in 1952. Mrs. FB (Mildred) lived in an apartment almost next door to the lovely small home they had lived in from 1917 on Cherrylawn. Mrs. Courtney had coffee and cookies for this admiring visitor. We spent several hours chatting about her husband and his life with her. Sad to say, Mr. Courtney did not carry life insurance. Mrs. said 'he did not believe in it'. They had no children. How she existed in those days I do not know. I only met her once and had some correspondence with her for a while. DTysdal@aol.com

Penman and their children or lack thereof...---------Subject: Penman and their children or lack thereof... From: DTysdal@aol.com Date: Fri, 3 Oct 1997 03:43:14 -0400 (EDT)

The original penman, P. R. Spencer had a whole sackful of kids. 11 is about right. But others spent too much time practicing their penmanship, not making babies. C. P. Zaner had no children. He had a brother in Iowa, but that is all. L. Madarasz had no children. He had married a 'society' girl named Clara Kalish from NYC. She re-married after his death in 1910, moved to Chicago and lived until 1941. Edward C. Mills of Rochester, New York and his wife had no children. His children were his letters--absolutely perfect. E. W. Bloser had 4 children, two of each. His daughter Mary told me in person (Worthington, Ohio about 6 years ago) that she remembered the night he died. The mother had sent her and a neighbor's girl to a movie. When they came home the coroner's were taking care of the body. (She also said that her dad never drove a car. The mother always did that including taking him to Zaner-Bloser every day.) F. B.Courtey and Mildred never had kids. John. S. Griffith and Rose the same. Edwin L. Brown of Rockland, Maine had two wives. The first died early. With either wife, there were no children. C. L. Cook and L. L. Fields I do not think had children. They were 'top' engrossers in Chicago. A. N. Palmer and Sadie had no children.. Well, I hope this sidebar is interesting. Best wishes for the weekend. DTysdal@aol.com

More...no kids----------Subject: More...no kids From: DTysdal@aol.com Date: Fri, 3 Oct 1997 04:03:59 -0400 (EDT)

W. E. Dennis and W. A. Baird, partners in the Dennis and Baird Engossing Studio, 357 Fulton St., Brooklyn, NY never had children with their wives. (Is it catchy?) Dennis was divorced shortly before his death in 1924. Baird lived until 1958 and was at a Spencerian convention that year in Geneva, Ohio. C. W. Norder of Pittsburgh, Pa. and his wife were childless. He told me that when he retired in 1943 they (wife and he) sold their home to go to Florida. They closed the deal on their home, sold their property and on a given Sunday were to leave. They got in their car and in their driveway in the car Mrs. Norder became ill. She died later that day. He lived until 1976 or so all by himself in St. Petersburg, Florida. DTysdal@aol.com RETURN to Table of Contents

Unlike Palmer, who openly criticized Spencerian as 'too difficult for the home student to learn', C. P. Zaner, E. W. Bloser (individually) or Zaner-Bloser (as a firm) did not do so. In the many THE BUSINESS EDUCATORS and THE EDUCATORS that I have read (over 30 years), Zaner and Bloser did not comment unfavorably about the Spencerian system. Z and B promoted their style of common business writing which really was not that much different from Palmer. (The primary difference in Z and B and Palmer was in the forms of some of the letters. The arm movement was the same, the method of sitting was the same, the desk position was the same, the holding of the pen was the same--no real, marked difference)

Zaner and Bloser did use Spencerian to promote their ornamental penmanship, at least in individual classes at the school. Zaner and Bloser published manuals on ornamental penmanship (Spencerian, if you will). The forms of the letters in the Z and B ornamental penmanship manuals are re-do of Spencerian. There are differences to some extent. Zanerian did not like 'freakish' letter forms and Zaner and Bloser together created 'standard ornamental forms' that they consistently stuck to for the years early 1900-1955. (Zaner did experiment in the early years, 1888-1900) There are some Spencerian forms that are, at best, freakish. Zanerian ornamental penmanship was not freakish in the least bit even.

In individual classes at Zanerian, students were given pages from Spencerian manuals. These pages were taken from Spencerian copybooks and covered with glass and taped at the edges. (I have the ones that Zaner gave to E. A. Lupfer) The student would use these sheets at his/her desk to practice forms. Zaner and Bloser 'set copy' for individual students both at a large front desk and at the student's desk around the room. The pictures that I have of the old Zanerian classrooms show large desks where instructors could sit right beside the student to demonstrate, criticize, and compliment. ( I can imagine Zaner's southernly gentleman's criticism--"Well, this letter is pretty good, your lines are smooth and graceful (not kinky), the overall form is fine, but if you could fix this, fix this, fix this, change this, alter this, move this, turn this...it would be a perfect letter form")

Zaner and Bloser may have crticized Spencerian, as Palmer did, but not so openly. They may have determined that one person's criticism was enough and that adding fuel to the fire was counter-productive. And in ornamental penmanship, which Palmer really did not promote, at all) Zaner and Bloser used Spencerian in the classroom to help students master that art.

DTysdal@aol.com     RETURN to Table of Contents

In the early 1970's I met Charles W. Norder in St. Petersburg, Florida. He had been an engrosser and lettering artist in Chicago (1909-1922) and then to Pittsburgh, Pa (1922-1943). He did marvelous art work and wonderful script--as good as any copperplate engraver. He sent to me his auto-biography, all 17 one-half pages. It is wonderfully interesting as it tells of his start in pen-artistry, the days and years of 'practice' with Maury Harris in Chicago, and then his leaving Chicago in 1922 (with his cat) and going to Pittsburgh with no work on line. If you would like me to post this wonderful story, I will (in short segmentsd of course). Please let me know. DTysdal@aol.com (If you have the Zanerian Manual of Alphabets look for the memorial resolution to Elmer Ward Bloser. Norder did the entire piece.)

A letter from C. W. Norder, 1972, short---------------Subject: A letter from C. W. Norder, 1972, short From: DTysdal@aol.com Date: Thu, 9 Oct 1997 09:23:34 -0400 (EDT)

I had written to Mr. Norder and asked five questions of him about script (now called copperplate). Here is the exact text of his letter to me dated May 28, 1972

"Friend Delbert: I have your letter of the 20th in which you ask me five questions about Engrossing. To answer them all fully would take quite a letter, in fact it could take a little book, and I am hardly in shape to do either today, but I will answer you briefly and I hope that may help you some.

Your question #1 is : What pen did I use for small script, what pen for medium size script, and what pen for large script? From my early years I used nothing but Gillott Pens. Hinman, Thos. J. Stewart, G. F. Davis, A. Cowley, F. Seregni, E. Burnett, B. B. Euston, A. R. Dunton, and others, too numerous to mention; each one's work having the hallmark of peculiar individuality. Who of the active penmen of the present can approximate Lyman P. Spencer in origination? No one can equal H. W. Flickinger in geometrical accuracy--Flickinger, the incomparable , whose writing breathed ease and beauty. The daintiness of Root's work passed with him. The magnificent grandeur of Wiesehahn's work is beyond attempt. The page writing of Williams and Worthington is an unknown quantity today. The work of Gaskell, White and Seregni is only a memory, and so on throughout the list of the master penmen of 1876. Today, whom have we in lieu? W. E. Dennis and F. B. Courtney--the two geniuses, Bloser, Zaner, Doner, Lampman, Kelchner, Mills, Canan, Lehman, Behrensmeyer, Glick, Henning, Tamblyn, and....who else? The list is short. the balance imitate one of the above, or Madarasz, and, as one critic has aptly said: 'They exaggerate the faults and skip over the good points.' Possibly the mistaken desire to combine the artistic with business writing is the head of the evil. These two qualities won't mix, and young penmen, if they want to become expert, must work at them independently, and with different tools. The thing in ornamental writing is to not count time--in practical writing, speed is the goal: legibility, of course, applying to both styles." L. Madarasz. <i>End of the article. </i>DTysdal@aol.com&nbsp;&nbsp; <a href="#contents">RETURN</a> to Table of Contents</b> <p>&nbsp;</td> </tr> </table></center> <br>&nbsp; <center><table COLS=1 WIDTH="630" BGCOLOR="#FCFFDE" > <tr> <td><a NAME="dennis"></a><b><font color="#FF0707"><font size=+2>W. E. Dennis, 1860-1924</font></font> (Part 1: 260 words)</b> <p><b>>From THE BUSINESS EDUCATOR, a Zaner-Bloser publication, September 1924 edition: "The great master penman of the old school has passed on to a higher plane of existence. No man in the profession has done more to keep alive an interest in artistic penmanship as taught and practiced by 'the old timers.' It was always a joy to visit Dennis, as he was a genuine and genial friend whose dry humor and big heart made him a favorite with all (persons) fortunate enough to come within the circle of his acquaintance. His studio in Brooklyn (357 Fulton St.) has long been a Mecca for lovers of fine penmanship, and hanging on the walls are some of the finest specimens of pen drawing, flourishing and lettering, which in point of delicacy, accuracy and individuality are in a class all alone--masterpieces of line and color. No entertainment could quite take the place of an evening with Dennis, and in a letter written to me in April (1924) he sends the following characteristic invitation to visit him: 'I wish U could come out this wa (sp) some da (sp) and C our big displa(sp) of pen-work, the old timers, etc.' Dennis, when quite a young man, lived for a time with A. R. Dunton, at Camden, Maine. Under the critical eye of 'A. R.' he acquired a wonderful degree of accuracy in penciled script for copper engraving, and he made several large exhibition pieces of pen drawing equal in detail an delicacy to the finest steel engraving, displaying wonderful skill and patience. He also acquired a knowledge of disputed handwriting which he developed in later years. " <i>End of part one.</i> DTysdal@aol.com</b> <p><b>>From THE BUSINESS EDUCATOR a publication of Zaner-Bloser, Columbus, Ohio, Sept. 1924 edition, written by E. L. Brown of Rockland, Maine: "<font color="#000000">I met W. E. Dennis</font> in Boston in1889 where he was employed by <font color="#FF0F07"><font size=+2>Mr. A. R. Dunton</font></fon
îºNow, for the question: For small script that was not for reproduction work, I used #291 or #170. For larger work to be used for photo-reproduction I used #303 or the Principality.

Your second question is: In script writing, how much larger should the capitals be than the lower case letters? Engravers, in my time, made the caps 2 1/2 times the size of the lower case letters. I believe that was good practice, not to vary those sizes very much, though the caps could be a trace larger in certain cases. But it is well to guard against the unusual size of caps used by some ornamental penmen.

An answer to your third question will need a separate letter - which I will try to write later. (This is his auto-biography, 17 one-half pages long)

Your question #4 is: In Text lettering (broad pen calligraphy, today) should the distance between the lines be about the same as the height of the lower case letters or twice that much? Certainly not just the height of the small letters. That would not look so good and would make for difficult reading. Twice the height is better but could vary for several reasons.

Answering you fifth question I would say Yes, re-touch your script where necessary but be sure not to overdo on it. Retouch so carefully that your work will not show that is has been retouched.

Enough for now. I have not been any too well in the last couple of months but feel a little better today.

Best wishes to you. Sincerely, C. W. N. (Charles W. Norder)

DTysdal@aol.com

Charles W. Norder, auto-bio.pg 1 of 17--------------Subject: Charles W. Norder, auto-bio.pg 1 of 17 From: DTysdal@aol.com Date: Thu, 9 Oct 1997 22:01:47 -0400 (EDT)

Charles W. Norder Penman, Engrosser and Illuminator Chicago, Illinois and Pittsburgh, Pa. 1881-1979 Auto-biography dated May 28, 1972

" Friend Tysdal: It was a little surprise to me to learn through your friendly letters that someone could be interested in my life as an Engrosser and Illuminator since it is so long ago that I was in that work. (He retired in 1943 and this letter is dated 1972)

And you wanted a thumb-nail sketch of my life, and to tell what may have influenced me mostly to take up penwork as a life-time work.

I will try to comply with your request as far as I am able, and you may use any part of it or none of it as you like. I don't consider that my life has been very important to anybody, except to myself, of course.

Fact is, I drifted into pen work quite naturally, and was fortunately helped by two people who became my friends because of that work and who I will mention further on.

I was born January 28, 1881 (died May 26, 1979), next to the youngest in a family of five children. Father, with family, settled in Western Pennsylvania, in McKeesport, a steel town near Pittsburgh, because he was a steel worker, and hoped he would find that kind of work there.

But such work was not to be had and very little of any other kind. The country was going thru (sp) a bad depression in the ealry 80's. So we, and many others, became well acquainted with poverty and misery. But with all, my brother, sisters and I, managed to get a fair school education.

The New Spencerian Compendium of Penmanship issued by Ivison, Blakeman and Co. in the early 80's is now out of print. I am told the initial cost of that work was near $10,000 before a copy was printed; the launching of it was a failure. </font></font></i>The magnificent copy-slips, fathered by Flickinger and Root, have barely paid the cost of engraving; both of these standard works will pass away soon--more's the pity. Williams and Rogers' pen written copies (reproduced) had an enormous sale in their day, owing to the special judicious pushing they got--how long it will last is problematical." <i>End of part one</i>. DTysdal@aol.com</b> <p><b>>From THE PENMAN, ARTIST AND BUISNESS EDUCATOR, a magazine published by Zaner and Bloser, February 1902 edition: "Turning back to the 'cracks' of the profession of 25 years ago, it is only the older generation who can recall the <font color="#FF0B07"><font size=+2>beautiful and individual writing styles</font></font> of such men as Lyman P. Spencer, H. W. Flickinger, A. P. Root, F. W. H. Wiesehahn, G. A. Gaskell, W. J. White, L. L. Williams, B. M. Worthington, D. L. Musselman, H. W. Shaylor, P. R. Spencer, J. E. Soule, A. H. Hinman, Thos. J. Stewart, G. F. Davis, A. Cowley, F. Seregni, E. Burnett, B. B. Euston, A. R. Dunton, and others, too numerous to mention; each one's work having the hallmark of peculiar individuality. Who of the active penmen of the present can approximate Lyman P. Spencer in origination? No one can equal H. W. Flickinger in geometrical accuracy--Flickinger, the incomparable , whose writing breathed ease and beauty. The daintiness of Root's work passed with him. The magnificent grandeur of Wiesehahn's work is beyond attempt. The page writing of Williams and Worthington is an unknown quantity today. The work of Gaskell, White and Seregni is only a memory, and so on throughout the list of the master penmen of 1876. Today, whom have we in lieu? W. E. Dennis and F. B. Courtney--the two geniuses, Bloser, Zaner, Doner, Lampman, Kelchner, Mills, Canan, Lehman, Behrensmeyer, Glick, Henning, Tamblyn, and....who else? The list is short. the balance imitate one of the above, or Madarasz, and, as one critic has aptly said: 'They exaggerate the faults and skip over the good points.' Possibly the mistaken desire to combine the artistic with business writing is the head of the evil. These two qualities won't mix, and young penmen, if they want to become expert, must work at them independently, and with different tools. The thing in ornamental writing is to not count time--in practical writing, speed is the goal: legibility, of course, applying to both styles." L. Madarasz. <i>End of the article. </i>DTysdal@aol.com&nbsp;&nbsp; <a href="#contents">RETURN</a> to Table of Contents</b> <p>&nbsp;</td> </tr> </table></center> <br>&nbsp; <center><table COLS=1 WIDTH="630" BGCOLOR="#FCFFDE" > <tr> <td><a NAME="dennis"></a><b><font color="#FF0707"><font size=+2>W. E. Dennis, 1860-1924</font></font> (Part 1: 260 words)</b> <p><b>>From THE BUSINESS EDUCATOR, a Zaner-Bloser publication, September 1924 edition: "The great master penman of the old school has passed on to a higher plane of existence. No man in the profession has done more to keep alive an interest in artistic penmanship as taught and practiced by 'the old timers.' It was always a joy to visit Dennis, as he was a genuine and genial friend whose dry humor and big heart made him a favorite with all (persons) fortunate enough to come within the circle of his acquaintance. His studio in Brooklyn (357 Fulton St.) has long been a Mecca for lovers of fine penmanship, and hanging on the walls are some of the finest specimens of pen drawing, flourishing and lettering, which in point of delicacy, accuracy and individuality are in a class all alone--masterpieces of line and color. No entertainment could quite take the place of an evening with Dennis, and in a letter written to me in April (1924) he sends the following characteristic invitation to visit him: 'I wish U could come out this wa (sp) some da (sp) and C our big displa(sp) of pen-work, the old timers, etc.' Dennis, when quite a young man, lived for a time with A. R. Dunton, at Camden, Maine. Under the critical eye of 'A. R.' he acquired a wonderful degree of accuracy in penciled script for copper engraving, and he made several large exhibition pieces of pen drawing equal in detail an delicacy to the finest steel engraving, displaying wonderful skill and patience. He also acquired a knowledge of disputed handwriting which he developed in later years. " <i>End of part one.</i> DTysdal@aol.com</b> <p><b>>From THE BUSINESS EDUCATOR a publication of Zaner-Bloser, Columbus, Ohio, Sept. 1924 edition, written by E. L. Brown of Rockland, Maine: "<font color="#000000">I met W. E. Dennis</font> in Boston in1889 where he was employed by <font color="#FF0F07"><font size=+2>Mr. A. R. Dunton</font></fon
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