INTI\ODUCTION ~

TEACHERS of courses in commercial

artJmechanical drawing' and dra.ftins' will
find this book a practical guide to letteri~
and poster art. All such courses shoula
include a working knowledge of the basic
alphabets and the tools best suited to
their production.
STUDENTS who follow instructions given
herein and practice regularly and intelligently
can be assured of satisfactory progress, for
anyone who can write can learn to letter. No
unusual talent is required.
CRAFTSMEN can improve their tech-
niques and increase their incomes by using
this book for instruction and inspiration.
Merchandising' depends so much upon
showcards for quick turnover that we
seldom see displays without them.
Supplying this need means that ex-
perienced, versatile letterers are in.
demand everywhere. for steady
employment, few occupations offer the
opportunities enjoyed by poster artists
who are able to do good lettering at a
commercial speed.
 TOOLS for LETTERING
In making letters by hand,choose tlte style and size of pen that
will produce their elements with the fewest strokes. There is a
Speedball demgned .for e.ach ,of ~e different families of alphabets
Wlth five SlZes m each style.
- _ _T_H_E ST Y LE 'A" THE S TYLE II
SPEEDBALL ·a .
pen was the first pen was next
ofit's kind,design- de ve l oped
ed to produce SCJ,uare for single stroke
poster letters smgle
stro'Re. ROUND 60THICS
THE STYL£ ·c " THE STYL£·o ·
pen was created to petL.Wlth its oval
iiuP.licate the strokes marking tip is used
1lai:1e bY t he fle,cibl e to produce the bold
hand·cut reed pen .
It is used to make the POSTER
graceful Roman a.nd Roman alphabets
Italic alpha.bets with with 'thickand thic~er •
'thick and thin' elements. elements.
THE NEWEST SPEEDBALL pens are
trademarked "FLICKER·. Thew ink reservoirs are
hinged flicking wen simultaneously so they can be
wiped clean. Tlte F8 6 is equippeli with ruling flaHges fOr
_:____ --==drafting work.----------....;;;--=
Keep your clean! The best way to clean
!etten~ a- rir:~•.vino- pens is to scrub them gently.....
with a wet tooth brush

6000 INKS ARE NECESSAR.Y

FOR GOOD LETTERING-.
MOST STANDARD BRANDS
OF WATERPROOF BLACK
DRAWING INK CAN BE USED.
c71rtists ..... .. .
who desire a .specially prepared ink that
has oroved e'fcepttonally .sa.cce.ss{ul
in thi.s type of draWinq and lettenng
pen con obtain opeed.ball iHJu from
their .stationer or art dealer. They
are made in all the Drilliaillt color.s
of the rainboW, plus black and white.
lllultr<>h•'"" .Ub.l mcthod> ,,( m•r.·u<li<>n :lf'l""'ring in thi•lx-...>1< <.Up_vrigiu 1956 ~ H''""I'. G..~>~
»..d, "fJ,Jr.,,l, .. ,~_...,_,.. JIII,_N•N.~ ,..,.,._ ~,. ..Ma.l* ~ •f $fwt1N8 ~b ~ 'i>nts. I•!$, 7«r~""-li~ &II~,._
.,~ 1141/.VI !¥~.-t
 TIPS for LETTERERS
Letters should be drawn
freehand ifpossible. .Practice
regularly to secure freedom.
grace and individual beauty
Always use aT-square , or
ruler for guide lines.

O ertical position of hand

in m - Roman letters lor
. ooffi s!fles ·c·orD'

1Jstdes a set ofpen0 &ezy

letterer() kit .should tnclude
two or more red r5able SHOW
CA.RD BRUSHES in 8i:I;~
10-12 and 14 to take care cf
the letter<5 that are too large
for the pen8.

SHOW CARD COLOR.S prepared. for brush use will work satisfactori~ in,
pens when thinned to a free-flowing consistency with a little of this solution---
-water: 9 ounces, alcohol, 1 ounce, gum mucilag'e.l ounce. and a few drops of gly-
cerine. Do not ptepa.re a. large quantity .because they work best when freshly mixed.
Keep well stirred.
44'
COATED CARDBOA~D comes in sheets
I
I
; 7 1f ll
22 •28, or 28·44 inches. To avoid waste in cutting, II I 14 f·· --·
the usual sizes for posters are 1-Irinches, ll•l{ • ! 7 x l/
inches or 14 • 22. 18' 22 • 2& t ~ ~-~-·~--·

me
Price tickets are smaller and vary in .s sQalle.
for tips on poster and price card layouts see page 96. I '--------'----'
/of I

tltis is ltOJII lite 28<44 ·card cats.

22

2
 lET!ER!NG 7he 71LreeCJJasic Groues
can be segregated mlo lhrce basic groups
l2othk A6CDEFGH
narne!Y. ROman. Golh.Lc. and. 'Tcxl styles
From these three all alphabcls originate.
The simple elements from which. thry are
composed a1·e easy to learn amt not hard
G0t IJIC abcdefgh
AU ld.lert. COmpc»oed d ufli!\rm w<tth ~;.ernrenlJ, ¥C c
41.-. tAd s,""/11<1-«1 Glo.nif~iat - . t ~-:1. . ~d'
,f e.d \trolllh
'U..-:l ......,
the
!tAo.,..,..
GOth•G$
4lS e«J,.c_

to form wilh. a shoca.Ri brush or Speedball pen.

!Roman&..- ABCDEFGJ
I~ ~
I
Elements cf Roman letter& are made with"Cor'D"pens

2.

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" ~(:...::,~~~
3-£.--

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11
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B Roman abcdef~hi
Alllet.ters compoHCI. of thick and th"' clements are c.>.l).,d Roman

~~t Ar8~!0~3J:~J!l
III\ . E.: . : ·.-::. c, "...•
Elements ci Gothic letter s-made with'A' oiB"pens

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\l.tt~ .ab,ebt f,ght] kl

Jlnc!u/ou all $~\u of Q)lb"l'uqlish ~~lulrdt iul.ltloist~r ~.xt,

·i~ifU\t~~fii~
!llacll irxl:,ISmnan "ltxl.l?rablt~ ' t , <lio~on t"ut :mb o\MT$.

In t he creation of new alphabets these Illustrations

will help to show how variations or modifications
Jl':!f i"tlte kiter.f mtJLk Qf l a s ltod are called ..rtaJics~ of the•Serif. c hanges the appearance ci a letter.

rt1i1nnnnr~ tr
/lomanltoiics-'cw'D~IS N Gothic lt•lic.s - "A' .<B"pens

/Allf.5&C93 IAL7[CSJ5
Time and. e!Torl will b<.• •hinuni·u:d by using lhe si-ze aM ;>l:yle roman PO:manegothic \¢X.l$
...
of pet\ or bru.slt "·h•ch will IOrm llw. d,ff<·•-cnl ldkrs of aJ!)'
~ alpha.bel: without Sltbs<:qucnt remodeling .i the strol<es. ROMAN R GOTHIC?;-'~~
 "volution of f_etter Stvles
(_) ~VU·r.IV~ ~Ar ~
~de.~AfiUm:n:a twPy
a.bc#.Jfllj/Jmnop rstuvwx:~
o.a·1b·.cc·:.dd ·12-e · f ~9 .Jt.h.ti·
jj1h.ll.mm:iY·-"ofp·qg·n·
h...CS·lt ·uu·nn ·VV·WW·'X.X·fl.3·
~~ 4~~w~~
...
Roman Lettering
%>uru£, 'W~-~~~~~
C]{ound w t itin.9 unjoin~d and loops left off.ab
Round writing thus becomes Roma~
1Ji(f#.-.xt a'Yflrant .$"ariJ qr a'ijftrtnt/"""
ltllv styt.s .,. •ffl>i•<t &y

a b e d e fghij kl m n o pq rstu .J"Cy/tt 'C' ptA

ab c def ghijklmnopqrstu style 'A' pen.

abcdefghijklrnnopqrstuvwy
~tyle '1J'pon

abcdefghi ---..jklmnopqrst:U:W
scyle'1Ypen.

abcdefgb.ijltlm'!~~~'!;stuvw"y~~
abcde(gh!J.klmnopq~stu.v1
~ mcst clr4racterist ic. letter sf.yles are ~ltose of 1:4 sins1(!,-s~o1tt varief!
4
 ELEMENTARY GOTHIC PRACTICE EX.ERCISES
1l

III I I I I I I I I I I I I '
Rllk- wp •11d bol~ -«"idt liMt. for nth line 3 U5t allY !lmOO!h $UI'Ia«d
' I ' I I
~ or ar~rd.

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Hold tba pen linnlt bct,.'«n. the 'wo 'n' '"'J;tM ~ tbrnb 5 ~ elo.sc ~ tht w'Qtltir;c i1p u the Mdtt wiU J~etmil

LTET LTLEFTLT 4

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Dip 1hc pen <kcpiy mout:h m!O Wink 11> 6!11be- ftlet'Y(llf 9 w1pe od 1he tutpbt$ bf dn~w~t~~ pm unau ~t! of l)otde

VAVAVAVAVA ll.ll.

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 WITH F·B +OR F·B 5 SPEEOBALL"7/ic:Aer,.PEN&
2

I' I I I I I I I I I I I I I I I I I I I
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H'THTHTHTHTH
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SPEEDBALL ' GOT\-IIC 'ALPHABET S

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'11ie ROMAN Alphabets
The Roman alphabet is both beautiful and usefUl
It lends itself to individual modifications and
type innovations which are usually created simply
by cha~ng the design of the serif (see page 3) or
by adding a few ornamental touches to the body of
the letter.
Por descripjiVe copy or/or Words of special t!1H--
phasis, Italics caJI be emploged effectiJ!e/1/.
Italic letters are simplg slanted Vertical letters .
In learning the ·single stroke"Roman, analyzed on
pages 17-21 study the letters carefully before usin~
the pen. Note where strokes are started and ended,their
order of construction.and bow the pen is manipulated in
producing them. Make a page of each letter, using a No.
2 style C pen. Try to combine .a smooth arm move..-
ment with a flexible manipulation of the pen. Next,
make several pages of the full alphabets. Letters
should be one inch high at first. ruling three guide lines
1
for each line of copy. Keep the serifs as unifornL as
possible and try to equalize the space between letters as
you work.

ANCIENT GREEK AlPHA LATIN

A-A f\1\ A LATER.}

AAH8 WY
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IWfDOM LETTERS FROM
4'N. (E!IT. CODEX $1/IAITICUS
BY 0/.D RfED PENS
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 Style 'C' Speedball Pen R~man
A rapid legible alphabet for Artists and Sho-card Writers •

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SINGLE-STROKE ROMAN

use the si.x.e of pen that will mahe the widest elements in one stroke
19
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ARCHITECTS & DRAF-TSMEN
Rapid, sin._9le stroke afj>habet.s w,ith B ·S or 8·G S'peedha/1

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 ,~
PROGRESSIVE STEPS
IN MAKING A POSTER
FOR SCREEN PROCESS
REPRODUCTION.

OR SPliT 5HA0fS
CMATED 6Y OYE/1
LAY/1.6 (OlOfiS

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· : :: ~(OUR IO~t-R'U<XWRJ:':~ ·
t\e'il R ihat 111r rttrn6 14 him ..-
lUar Ofe!'tnlllshe.l for hls health,hi1Jtpinetfo>.,.au~ a
continll.l.tlon of 5ucceu in hi> cboun uaork ... ·. "'il

€:SO£.'\?€:D tb.lt acOJJ!l ofthm1\esolution•

. M• • be pmented to him a' a tokm of oar dpprrrution.

Splendid uampl~s of n.1f'Ot11in• And illuminatin• by L. M. Kde:hnct. Particular RCSC)1ution. letter~ with Style "C'' f)C'n•. Tht .cript is lettered witb a C·6 PtO
aUt.ntion is caned to the decoration , which iJ hannoniously finjshcd in coJon. usd in an oblique penholder. Illumination c01nttV~tivcly dipi6«1.
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fang•r 11UfnipMUJk,. will fJ'r()dN&# ''"'" ew llro411. ---Do nol o~"lo11J brws.h. MosssAo·t11rJ

78
 OOTl'CO ARA.ow• :.:>&wow 'TWII!t\.IWO OP 8AU$.W r')

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cclon ,.u4 "lilt.U tvrll'r ,,.J tcm#lhn#J "*'CH"W "'*~i/4(' di/J~ 10 m.i1 tlllm ~111 fntJy (,.,1M lwtuA.

79
 "L A'-T.QUT ",:::~
~ ~
,cl THE PRINT-ER'S WORD for the
ARRANGEMENT of 'copy•
Copy containing' only a few words and perhaps an illustration, is not
hard to lay out: B¥-t suppose qour customer qiVes z;ou COPlf
lzk.e thzs ~ a pzcture, plus the words ....... .,
.._ UAUTtfol. G~~t>t.N
''1o'R "' su??LY
L~~iS\~t. Nl> ~E-rAtJ...
co.
W"OLt.S~l.'£. A 5fll· M~IH 3134
M~~\<!'f sV~iT~lL1: seeos
fLO~Eft £ "'S Of -roo L.S
ALL ~~~II ?

SPACING
I. Different letters and dividing areas seldom occupy like spaces.
2. Words rt"ad better when the spaces between the letters a<e less than half the space occupied by
the letters themselves.
3. For convenience, letters may be divided into three classes: Regular, E-H·l·M-N and U;
Irregular, A-F-J-K-t-P-R·T·Y·W-X-Y and Z; Circular, B-C-D-G-0-(P)·Q-(R).S·& and?.
4. Ugly gaps between irregular shaped letters can be avoided by fitting thern closer together
according to their shape.
5. Circular and irregular shaped letters should cut into the spaces between them and the letter.
adjoining their .cucved or jrregular sides, the amount thus taken from the "dividing" aetas
helps compensate for the extra space created by the form of the letter.
6. Lettexs can also be 8<0uped as Narrow, B-E-P-1-J-L·P·S·T·Y and ?; Nomzal, C.D·G·H-K-0·
Q.a.u.v.x.z and&: and Wide, A-M-Nand W.
7. Compressing a wide letter to make it lit into a space that suits a narrow or a normal letter
causes it to appear blacker than the rest of the letters. Aod stretching a narrow Iotter into the
space of a wide One makes 11 appear lighter than the rest.
80
 Simplified spacing guide for different letters-

This leuering chart illustrate.~ how different combinarions should be spaced. The full space as
it appears between two straight lerrers is shown by the stippled block marked "A." Block "B" illusrraces
the dividing area between two circular len<rs. Note how the lcners cut into it. Block "C" shows how
the area appears between a circular and a sruighr letter. Block "0" shows the a.rea berween an irregular
and a straight lener Block "E" shows the area berween an irregular and a circular letter. Note that
the exrra. space at the top and bonom of a circular letter approximately equals wha< the letter cuts our
of the dividing area - and the irregular lerrers offer a similar example that requires closet fining

0 - L

Tht examples shown here illusrrare how che different combinations work out in use. In the word
"5padns" lerrers of the same si1.e an<l shape are spaced both ways. Note how legibility and unity
are desrroyed by the mechanical arrangement. Using a "yard-srick" to measure the width or distance
between different lerrets seldom produces pleasins results and is generally detrimental to legibility.

The yard-stick spacing of " Minatown" shows what happens when leners are all fined into like
areas wi th the some distance between them. Nore how sporty the different lerrers look, especially the
M. A and Wand how unrelated the irregular letters appear. By making !heM, N, A, 0 and W wider
~nd ficcing the arreuular leuers opci<;ally co compensate for their shape: an even cone is obuined over all.

f- OPTICALLY FITTE\> \£1'TEP$ '' NOT CRAMPED- GOOD UW•T 7

,~ARO STICK SPACING,, LETTERS+ SPACES OF LIKE WIOTH -POOR UNIT 1

Jt--------ot-r-·1-r------~-r:----::'1--t------+-l--:--~!*-----·++------<t
'100 BI.M:K D .... A.K ~008\.ACK ••o,..- OAR.K TOO I!>IA(.K OARK
81
 \

- EFFeCTWE USE
I ''
'

5·

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\
/
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I

82
TAPE/liNG LINES SU6GESTIN&
RAPID MOVEMeNT

~POWER
~~
GREAT fOil(£ SUGGESTED BY DROOPING GIIACEFUL CURYES STRAIGHT liNES MEWN(i AT SHAIIP
liES/STANCE&. SLANTING BASE S/KiGEST ABSENCEwRESISTANCE ANGLES·ALL CURVES ELIMINATED

::I~,J~~l~!~ ffiJlJllU.~
l=!::f:~:t-~ I~ I ANY SUG(;fSTION
:==~=-=:-: OF ACTION
sPIIIAL LINES SUG(;ESTIN6
R.HYTHMIC MOTION

~~.~~
STAG(;ERED, JIIGGEDLY BROKEN,
TAPER£() STRAIGHTIJNES·"'~M>~JSI!t:TION

~Cilvr} • su.- · 9.~·8olcl· tRJvGlou~ · Shrte

c~~ · Chup·•• ...,. ·JA(.£-t •cp~ · (t"'aft-
STRENGTH·fmpluuis· CLARITY· Smart
ASimplified System
r /'or
enlarging or
Reduciny Pictures

ENLARGEMENT
ORIGINAL (or reduction)
83
 STRUCTURE
~(]]~ [p
~

__.
- -E!:r..:Jmi .1SW£
~ Jfftr" lkt.-w t:l J ~~j UCIJ[J[J
--'1~/ ;- J
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tkecompletedjo_b. Rougly defi~tecopy
1Visualize
4- picture area [or i11ilial sludf ~balance 2 t.Paint in moin letters in bold lYM· tef111e facial
olJter detail. Y changed to a [ttting t;ype

EliY
I
COl OR.
l
COLOR
3

cow-.
5

TDUR!i !'Ill 111 slry c. face tcnes alter Itita! sta:fl,

TDUR!iOddshadcw mlues, hif;lt/K;hts.K(e{J tlfSide
3 ~ fX!!CI1 OJHection 4 letteri11q in suhjedion to JIIQ/11 klters
 ~>

~' o~~

SHELTERED
INLAND
SEAS

J AT4LE OF
ROAR IN&
RAILS
back in the days
00
before <llesels
"'
 s~ance
ORIGlngof
iJ< !if'LS
GRECIAN
SALON
.... 8....-10
~
•••• I• ~tt•r•••
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'lisit
the
 DIAMOND fro~
r;))a¥ut ~anJUn 1r59r1 eo.

... :to be
IIIRE

88
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89
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IMPORTS
__aka,
............
.......... ,. "eaoo"

~ ......... tao_....,
)t<? lXPORTS
~
TUNA

·Y ~
I FISHERIES
......,&Sa~

91
 Sketching Nature With the Speedball pefl.J

.. '• ~
PenDm"ins
h,y eNrlts StOntr
versatile pen, the Speedball C·6, ma.Res it possible to capture
fleeting Jmpress1ons as in the above ·Early morning in the snow·
pen sketch. All that is reqUJred for a field trip JS the C- 6 pens, black.
dr.a\ving ink and sketch block. Increase your skilll:y draWing directly
\\'Jth the pen Without pre-sketching the subject in pencil.
92
.u +-. RECREA -~- WI]
- -I i0N A A S

)
q ./

-- 93
 f\C\ION
IS E/\SY

HOliCE lHAT NOlKE .o.LSO lMAl

THE HIP THl 5UPVOII.llt-.ICT
CARRYINCT -.. "'·'~ fOOl IS 011\ECTLY
'TIIf. BODY'S UNOEII. CEHlfll.
WEIGHT IS OF GRAVITY
HIGHER
AND THE.
C:ORRlSPONOIN6
SHOULOEP.
IS LOWEll.

94
4
95
 slso

MODERNE
$115.

96
 INDEX

Adl>'«httOI U~1:1Utt and ?c.uu ll, 46. <7. 82-90"* NOVELTY ALI'IIABETS
A<l=t•""' M c><>do • 16,83 Amma ~
Ar.::h.:t«u' (',oda.c n &id O...rU!t, R - " •. ~I
Atdl:ucc.. $. t1N •• ll Butl«!'t.
Cun.1v.&l
w
$8
Basic ktttf G~p.. 3 Dl.vtn.tty. l3
Border l)("iCI'• , l2 (color), 69 f~r S.l"-t • , 41
Brut!~ Alr!ubcts f. 6-~. 7$-79 Tnle, Sl)'tc 6 . )4
c..tb.:r-.arJUc: l..<H('rt l8 Oztu~T~en~l PcnnunJup. .SO (colo<), 71. 7<
.(:)r.&ft..e:acn·, C«mc: .n Ptn Skttchtn1 . 91
On.fbmQ's S.:npt 32 P~. Tbnr L ~n..s Cut: I. 2
Oecouh\'C ln1 t1.1ls . <'1. <9 (color), 61, 71 J\.,ttU ll, •fS•47. 51 (cotur}.Sl-90
ElcmtntJry E"e:r~1teS .6-9 Pn~ Tickeu., 96
Elecncnu o.f B.uw: Alph.lbcts 3

£ocr-··.,.,..r!.ltcd
Eoluccaa: •
10-SI (<CI<•), 66-a 71·7<
83
ROMAN AlPiiABETS
&-.~4 Ot\ri4.,. 61
ft-olut'lf-11 ol Lcuu Style.
COTHIC ALPHABETS
• llrwl>
Bw.it-up
Bulkon
73.79
15
$6
Cbm;
Btianncr.. • ...• .. .
lllo<k . . -· . • • •
B&c>.:.k, H..tr Poster •.
..8.9
• S<
. s
Cre:~.ti()C\ of
fotnul
Alptubcts .•... 16
22
"
1, 11-n frrx 2)
lltu•h C<~.F Nmchft 43
c.n.v~ S8
c.n-<J ea.. .. H Hu.too· •nd Utt: 14
l:.d"'· II<>Ll •• 26.19. )I
Cond<t\tlt'J Pc.t.:t 40 (tAl~. (':.o:,'ft..knKd BolJ . • 27
Cre.t!MII 37 lut~. St)·k C . . . l8
O.u•m OupiJy. 62 I uti~. Swuh ))
Dt.~(hmc:n •

lt:~ha . •
l.u><
Mldnn C.p
• •. . .
Elment..ry &:ercistl . •
• -·.
51
. 6-9
11
55
40
M('tropr»lu~n l>ottt.r
Pt:ntc:r,· _ .
J7tb Ct:ntury Orru.mtt\W..
Su'lcl~ Srro\.c. E\ .&d
Sltltk Sttc"l~t. M·'«m
.• ·

)1),
..
1S
l7
17
21
Nowlty «)
soo&:tc Suoltor. Styk C. IS. 19
Po. 53 Stunt )5
1\ounJ ll St.yl.e A 24
Sn!{, ll
Sh.1dow ... , • 59 SCRII'T ALI'HABHS
Sbm S.:nrt . 30
s,....rt..n . S8 Ad\'Crlifln~.
Arc.bn«u &' l'>r.tfumen
, • l9
s.,-,<J Heodlmc 57 ll
T«t, Sc)'k A n Callicnl'l>« lS
Tn-Lnr 63 Per~f:t·· )~
Uocu.l •. 69 R..ound H.lnd ')()
Vcm.;:.ll M.,nu-"!ript 10, II Sbtn SpN">.ih.all 30
Vc.wc.•l &ript. , 36 $f"«dbJll, Style 8 T1:l~. H
s,.tdb.>ll. S•yle o. l1.36
ln:cu!A, dc.;(·r~uvt <<. <~. 49 (colo<). 65 Vert1wl, Style A
ITALJC ALPHAll£T'S Sw.uh
\\'cnon'• ~ 1"t Tat
"ll
7l
M.!R- 26
Bokl Rj t!:U.n, Condctsl....t ?1 Sen{, and Tht-lr Ust 1. "'· n. t6. 11
&IJ itl'f!l.ln., St)·loe: C . 1S Sr.a.:u"l Letuu to, Bl
~J R· .rno~t\, St)·l.t: D l9
~>~srlay • . . . 56 Suck f1guru 9l-9f
Cod1ic .... , . I! S)•mbolf ••• , 91
Slam Scnrt lO
SI>O<d·O ~ TEXT ALPHABETS
Stmal. R..~n . . 41 Bl..ck 67
Sta.· tl!, ROCIIoln . ll Cudv..-:~tcn" 68
U)-out li.IO U,SI-90 En~·· 66.71
Ckrman 71
MANUSCRlPT ALPHABeTS Got!u.;. St\'l.c A. 12
Bold Rom.ul, Sl)'lt D
Cllhl!UPhW:
VcrtJC,~ol. Style B 10. 11
31
)8
Old English
Otn3-menul • . ••. ••
Sprxdb.U.S.,!., C&' D ......
66. 68
,,
71

M-IZiic. do:or:tb\'C 64 C•,.! Alpb>bc1 • 69

R..O~A.N NUlVl:ERA.LS
I 2 ... 4- 4 .,. T • It 10 II I# I;J 14 14 ld

IllillNV~ VII YUIJXXXIXII XIIIXNXYN

17 ,. 19 ~ ¥-' ,Jtl t.$ #-0 ~3 M _., #-0 7#

XWXVIIIXIXXXXXV XXX XXXV XL. XLV LNLXLXX

7~ H ()t> ft/0 l;r!/ IS<I :lH 'k~ JW 1C0 ~;)(J ~ "-""

I~XXV IXXXXCCCXXV ChOCCCLrniCD ll 0C lXX;

- --
IXU~CM.M 9CMXXVrt •-l917 :xCMitVII ., 1947
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(.HOWARD
Cll!l.i!n 1 Vu
HUNT PEN (0.
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