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INTRODUCTION o
•

•
No npology is needed for placing in tho hands of tho public a seek its perusal ancl utility, to increase its chances of success and
standard compilation of tho SEMI-ANGULAR, or SPENCERI.A.N SrsT.ElI usefulness in bnsy life. t
•
OF W RITlr:iG . •
From tlic center-tablc ancl scriptorium of tbc lady, it will lend
It is submitted in obedience to t11c popular call, tho dc1uand of its speaking iiungcry to grace the a1bun1 of a friend, and delight
•

nu1nerous adepts and teacl1ers, the n1ass of most accomplished bus-
iness ,vritcrs, the n1ost refined fcn1ale preferences of our country,
and therefore is an imperative duty.
..
It ,vill be 'vclcome<l by tbo teael1er as a tin1eTy and friendly
. •
'monitor; in the couuting-bonso as a fai r exponent of 'rhat should
constitute the li,·ing body-,>ork of business transactions; in con1-
n1ercial schools aud col leges it \vill facilitate tho atl,·ancc of tho stu.-
dent) in giving scientific for1n t o books and papers of every Lusin css
. '
t he eye, \Yhile it bears abroad from soul to sonl the mature thought
and tl1c ricl1 treasures of the heart, througl1 her 'chcrishetl corrc-
spondence. -
1'lic brig11t-cyed 111iss 'vill son1etirucs forego her flower-bed, and
the hopeful, plnyfnl boy his hoop and marl>lc, to i1ubibc intellcctu-
•
ally fro1n its pages tho first outline of spcak.ing forms, destined to
·n1o nld tli c early preference of inintl, and iuodcl their \Yrittcn cl1ar-
actcrs in aftei· years, as surely as the unfolding bud \vill reveal the

iiupo1t, as ho inastcrs the science o( accounts, and the usages of trade. perfect fl o,ver. A fri endly greeting to all.
ci.n~)loy111ent
'
1'ho yotu1g inquirer of crci·y condition and 1vill J Trrs Aurnoa.
•
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Movements. ' (See Copy 33.)
'
In writing, four movements should be employed in training all the muscle~
' .
. whose ready and disciplined use constitutes good work.
. '
.
1st, MusoULA.R MOVEMENT-which is the action of the forearm from the el-
bow forward in all directions. The wrist an inch abo:ve tho paper at C, and tbe
forearm playing freely on tile movable Test at B. .
This is the business writer's movement generally, on which he depends more
than all others, both for the capital· cw·ves and the combination of the small
letters. Wherever the le~er E is attached to a copy in the book, \t means that
a forearm or muscular exercise is intended to govern.
91, 92, 98, 9'7, 10'1, 110, 112, 113, 115, 116, 11'1, 131, 133, 136, 138, on the
principles of flourishing; and in the applied flourishes 146, in the capitals of
page 39, etc., as · the student 'vrites the words of wbich t he bold whole arm
capitals are the initials. .Also in the large oval copy 53.
•
Classification. ,
This disposition of letters, from the principles on which letters depend for
root and government, tnay" be profitably studied by those ambitious to know
clearly the system. On page-~ 3, 4, 6, and '7, are grouped the classes thus de-
rived, and their principles ·plainly drawn on pages 3, 4, and 5. The cla-sses
are -'- Contract.ea.,. $emi-contracted, or Compound Elevate. P urely Extended.
• • .. , • • , l

(Now see page 3, copies 3, 4, 15.) and Capital : :· ' - (...,

•
All the ,ascending or ba'ir lines of t he prlnciples, and
'
letters formed of the ---'-~---·---,..._..........;:...__......;· . ·).

principles, and the E on the letters thus formed, the wave!i . , light lines which
. ,;

unite words in columns, and terminate them by a bold, heavy sweep to the r.,URTHER KEY AND EXPLANATORY ~DIRECTIONS.
lefr, at their base, on page 3, nre by muscular movement free, firm, and with '
· FOI~ OORR1:!}0'£ EASY WRITLNG.
a will Remember, muscular is the tlue combining .m¢v.~ment for all con- < •

tracted letters. Practice also fre~ly on copies 6, 17, and .19, especially.
Principles. · ·, · ·
' · .f
' With a view of forming ~ ·good, plain, easy chir.ogt~piiy;
in the use of the .
" 2d, FINGEl) MOVEMENT-which means an extensiol! and contraction of the '
copies on the first 15 pages, th.e studeni; will not on}y do well to understand
1st and 2d fingers and the thumb. Such a movcrp.ent, p'urely as such, scarcely
pen holding, position, movements, and --~ti.cati on, but the structure and
exists in the specimens of tbe correct and ready 'Wij~r.: ,i'.hose marks which • . • t • • ' •
application of principle.-; in ·jof';Rjt-ng letters. On principles depe.nd just forma-·
come nearest requiring this movement purely are'. . tl\e ,descending or centTal • •
tion. Principles are ·fL...:~d farin'$ '(s~e oopi~s 33, 21, n.nd 48,) for the structure
mark of the 1st, 2d, and 3d principles and the whoie o-f We 4th · in copy 3, page
of letters, and tbe principle or. principles employed to form a lotter or combina-
3; and even in these, the muscular movement preca:<lling o~ their hair line, car-
ries its steady, firm sympathy into the down wiu·d mar~
tion of letters is designated fl.r: ih·e proper figure an~ figures above them, as
• •• on page 3 to page 15 inclusive,. etc. ·
3d, MixEn OR. Com>om.--n .i\fOVEMENT-which is a simultaneous action of the P also stands for principle, . as in.1 copies ·19 and 36. Mind the principles
forearn1, thumb, and fingers;
.
or, protruding and receding movement of. the arm, specially. (See copy 48.) .
attended by thumb and Jinger extension and contraction. ,
This movement prac- Eacb principle has it.'3 peculiarity, or distinct character,· very· visible to t he
,
ticed with sleight, produces t he extended lettE>rs most beautifully. See copy 8, careful eye, very necessary in modeling distinct forms.
also stem of p, Ji, y, 7', q, z, ciopies 6 and '7. See also page 13. Take ihe principles on the 3d copy. Look at the 1st. ·rt has a gentle 90-n-
4th, WHOLE .AJuc MovB:t..G'~"T--this is the largest, boldest movement em- . cave bail' line on the le~ a direct downward mark for its center, and the same
ployed-training all the muscles into obedieQ.ce from the sbould,er forward. gentle concaYe b\rir line on tbe right. ' Dot it and it becom,es i, ,loop it narrow
It, is formed, (se".l ilosing clause and letter A-, left hand d rawlng, Card 1.) (~ half \Vt\Y down and ·it is e, repeat it and it has the character of u, and so -on.
~

should be practiced .freely and frequently on the bold··capita:I -curves~ or-· cd!>fes · Look at the 2d principle. :Et is entirely the revfJrse of the ! st in its hair line, and

•
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ia therefore distinct, though its downward mark is the same. Add the 1st prin-
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ciple shortened, to it on the right at top.and it is r; a.dd the third principle and '(

"o/ill be goveynoo.,, in their ~ecial department, from page 41 to 60 fnclumve, ·

it is n, and so on. ~~ the prin~iples, scale, and exercises in principlas, as they occur; modifying
Look at the 3d principle. It takes the character of the second ou its left,
tbe prominent business character into lady's style. They will study the princi-
and that of the first on its right, and is therefore a cvmpolµld of the two, •
ples and capitals with care; and by no means forget the fl.owing muscular com-
though its central or downward mark is tb~ same as the lat and 2cl Look
bining movement,- so essential to ease, beauty, and uniformity; see copies 1 5'1,
below, and you see the third principle as the rightlialf of n, and the right third ·' '
I '
15'9, 176, 179. • .All good uniform writers, both in epistolary and business styles,
• of m, and so on. . \. ' will furm and mafutain the habit of writing t hrough whole words without lifting
' ' Look at the 4th principle. It is a gentle o~aJ, whose width is one third its
the pep. The ro~d t-9 gqod, clean combination without this habit, is weary free,
height ; and this is- t he proportion we seek to giye i~ w?eth~i:. :ised as o simply, ./I.. ..,S: ••
• ~ ..
and endl~ " A· word!t0sthe. ·. .. wise is sufficient."
' or as the lefl; of the compounds a, d, g, and.q,, with ~increased slope. Look a t • ;. ~
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the line next below t hese principles, and ·ychi·.cian. not- but see the principles in '
Shading.
the l~tters they form, as plainly as when th~ principles Stand alone. Copy the •
principles many times, th~n the letters t hey form, as often; then the words Some may regard the sha'des, where employ;ed, as too bold. Wnd where
formed of these letters in copy 4, then practice·much on exercise l{o. 6, copy 5,
. '
~hades are used, and 19'here.they are not; for a happy disposition of light and
where tha same letters again occur, and thus the· third page will be made to shade renders writ.i,ng anl:agi-eeable picture work. 1.'ry to reach the bold shad-
'
form 50 per cent. of your handwriting. • ings in the copie~; '. f.orf th.a a~i'Zit;y to shade bo~dly does not require th~ neces.~ity
' '
• Frequently practice' oopy 17, with ,muscular movement, to secure a free com- of·bold shading•whei:e.you pi;efer Ug'hter ; yet the <il>ilifJy to shade heavily gives
bining power; also copy 87. ypu 'a control in ir.gh'ter. ~~~lid,t which you can gain in no other way.
This is the way to study . the principles as they
. are introduced ; the head in- For this reason, rh,eav'fi
.. .,., ,shading
• ! .. marks your specimens fbr imitation, which few
~

quiring, the movements rendered availa ble, and the pen kept busy doing as
' , '
, will're~; but, 1\11 .~~P, (#, \fill glean a power that will show it&elf in the ease
the head directs. ,vith which just wli<it shaif,irfg they prefer, is done. Shade is matter of taste.
' " r
Form is tbe sam~ whethei:"lig,h t'or h'eavy.
,
Exercise. ,
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-(Please wok at page . 54.) i'<:~
E means exercise (see page 18). Wherever the printed· or written E occura • .

. There, Freedom's..;sen..tincl"'hird swoops down . to deliver a message of no idle

a00ve or with a copy, it means free and bold movlW!e1!i is required in prominent i,¥1'-:;J... , "'
import. . T hink· iqi~ w~te· t , . ;t'wo verbs in the imperative; the latter calling to
curves and features of the copy! in order to gain additional power t-0 govern t he
us to labor diligen'tLy 't<);~ecui;e the art through which mind speaks to mind, and
i;>en. Muscular movement is required generally on the bold capital curves, and ·r
h-rt to heart. ' , 0
'

always to co~nbine the contracted letters. Mind the -exercises! (Try page 18, ~ ~ • t. I.,

No··book noyr ~e~r.{};. tQe.cpublic is calculat-ed to secure. a better channel of

agalli and again.)
tho?ght'and re~f'c~'llf:~~}~ings, than the one now before you. Then study
' • The Arrow. ,~nd il)lif:at:c, Jlln~:tJ?i~~~;i~~ ~ copies, its. pages, and all t hat is in each, and suo-
The arrow is used to iodieate beginning and course (see copy 16). Mark well ooss wtll::erew~~~~-
its ind.ications in copy 17, 19, 29, 31, 32, 38, 39, 46, 47, 60, 63, 65, 66, 67, 10,9 Your friend,
. '
. '
113, 116, i~·~, 144, 146, 157, 169, 176. ' ._; P. R. SPENCER.
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E X' P LA lJ AT I 0 !if•
A-Muscular rest of the forearm, near tl10 elbow. ing- nbo\•e, rrnd tho upper end of tho pen t>olnt to t!Jo right shoulder.
B-l{cst of tlie hand, on tho surfhcc of tbo nulls of tho 3c1 and 4th fingers. ! JI-Th'e right edg~ of lite hand-1x·hich should never touch the paper.
C- vVrist, three qu:irters t o one i'nch fron1 tho ·ta,blo. l I-'l'l1e ]Jen, hetu \vith the nob sqiiare on the paper, so tha~ pressure will pro-
D- End of the thun1b, opposite the first joillt of tho fore fiugor.:....c!rawn back duce the smallest possible n1:.trk-and grasped just tight enougll to guido it, aud
so tha.t one hnlf the pen is in viQ\V. no LTIOJ'C.
1'~-Thr.co qtuirtcrs of an ioch from tho left corner of second finger nail to tho IC-End of tho second finger dropped gently under tll.e })Cu, " ·hicfi crosses it
point of tho-pen nt l. · . . · , .. obliquely at. the root of tho nail. .
:F'-Pcn crosses tllo forefinger just forward of· the knuckle 101nt. . To prod1;1ce 'v.l)olc arn1 .n1ovcn1cnt,. raise tho (orcarm son1c t~·o inehcs nnd a ,
G-Iland ioell inclined ove1· to the left, tllat its. upper stu,:hco may face _th~ coil- · half at A (sec left dr.:nving, Oard 1), aud slide ou to t.lJ.c:J moval.Jlo rest at n.

, •
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KEY
•
.A.ND DIRECT.IONS
.,
'
J.:f'OR BOO:rt 1.3, SPENCERIAN. OR SEMI-ANGULAR PENMANSHIP.
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Position for Writing. ' ~hereto the left or rigbt side, or sitting dil'cctly in fl'ont; but in either position
, Position gi'l"cs power to do; >thcrcforo st11~ly1 and adopt in ilracticc,;tho posi- avoiding n1uch pressure on t-he ,right forearm, lest they suppress muscular move-
tion of- lhe hnnd and pen as In Ci}rd 1 nncl e xplanation . "ment.' , , ·
. _ Let tile position of body a nd paper at-tho table 'o r desk be such t!iat tho fore· Tllo easy writer of an uniform 11aud will tbrow ot1t tho feet to hartnonizo
..
arm will project naturnlly upon t he paper at right r~ng:l cs therc\vith. ' vith the slopo of letters, an<l sit or swnd as erect as practicablo, at;<l yet sco
At a sloping desk tho left side should al ways bo inclined to it. In \vrit:ng on clea1•\y tho point \Vhcro ho is "\\'riting, iu order to preserve \•ital act.ion and
a fiat surface or tablo, good busincs.'l \Vritera. select various posiLions1 it:.~liuiug health. ~, , • '
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