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WHAT PHILATELY TEACHES

A Lecture Delivered before the Section on Philately of the Brooklyn Institute of Arts and Sciences, February 24, 1899

JOHN N. LUFF

New York Third Edition

Stamp collecting, as pursued to-day, has become something more than an amusement for children. It affords instruction and mental relaxation to those who are older and more serious.

Philately embraces the whole earth and likewise the whole earth is sometimes embraced within the limits of a postage stamp. As an example of this, witness the recent effort of our Canadian cousins in celebration of the achievement of the long-desired ocean penny postage, at present an inter-colonial rate of the British Empire, but some day to be an international rate. The motto is a trifle bombastic and suggests the Teutonic superlative; "So bigger as never vas," and the "Xmas 1898" reads like the advertisement of a department store: "Gents pants for Xmas gifts." But we must admit that the stamp is a pretty conceit, in spite of these defects and of the ambition of the artist, which has spread the "thin red line" over territory that has not otherwise been acquired. In addition to the things to be learned from the pictorial part of stamps, there are other things which attract the attention of the thoughtful and bring with them knowledge that is both interesting and valuable. The mechanical part of stamp making may be studied with much profit and entertainment. Considered in all its aspects, philately is even more instructive than matrimony. You will remember the elder Weller's views on the latter subject: "Ven you're a married man, Samivel, you'll understand a good many things as you don't understand now; but vether its worth while going through so much to learn so little, as the charity boy said ven he got to the end of the alphabet, is a matter o' taste. I rather think it isn't." This reproach cannot be applied to philately. It teaches even the unwilling and careless. In the effort to fill the spaces in their albums they must learn what varieties they are lacking and in what these differ from other and similar varieties. Thus some knowledge must be gained, even if unsought. To the studious and the careful, in this as in other things in life, the greatest benefits naturally accrue.

In my remarks this evening I shall endeavor to touch upon a few subjects which are quite certain to attract the attention of any one who takes up stamp collecting with any degree of earnestness and thoroughness. That these subjects open up other fields for interesting and profitable study will be readily apparent.

Let us take a postage stamp and consider it. Aside from the name of the country whence it emanates and the expression of value, what do we find in it to study? First the design, next the means by which the design was prepared and placed upon the paper, thirdly the paper upon which the stamp is printed, and lastly the finishing touches of gum, perforation, etc.

In the early days of stamps most countries made their own and they were, in some degree, an indication of the artistic progress, or want of it, in a country. But we have changed all that and to-day all effort seems to be directed toward producing artistic and attractive stamps. Sometimes this is due to national pride and occasionally it is intended to draw attention to the resources and natural wonders of a country. As an example of the latter, here are the marvelous pink terraces of New Zealand, which were, unfortunately, destroyed by volcanic disturbances a few years ago. But too often, we fear, these picture stamps are produced merely with a view to their ready salability to collectors. More frequently than not, these brilliant labels are the product of a distant country and are no longer indicative of the artistic status of the country by which they are issued. For example, a late issue from the Tonga islands but made in London. Indeed, the wilds of Africa, the distant islands of the Pacific and the tumultuous republics of Central America far outshine the cultured countries of the old world in their postal stationery. The designs of stamps may suggest many things: the power of nations, the march of history, the glory of victory, the advance of civilization, art, industry, natural resources, scenic grandure, the dead and storied past, the living breathing present.

The majority of stamps bear a portrait, usually that of a sovereign. The stamps of our own country present a portrait gallery of our great and heroic dead, for by law the faces of the living may not appear on our stamps or money. This is the reverse of the rule in monarchical countries, where the portrait of the reigning sovereign usually adorns the postal issues. The likeness most frequently seen on postage stamps is that of her most gracious Majesty the Queen of England. For more than half a century her portrait has adorned the numerous stamps of Great Britain and the British Colonies, beginning in 1840 with a beautiful portrait--painted by an American, we may be proud to say--the portrait of the girl queen, wearing her coronation crown, and continuing, until to-day she wears a widow's veil beneath the crown of the Empress of India. In the issue by which Canada commemorated the sixtieth year of Her Majesty's reign the two portraits are happily combined.

Following the lead of Europe and America, other countries have placed the portraits of their rulers on their stamps and from this custom we may gain some slight information on the subject of ethnography. Hayti, Tonga, Samoa, Siam, Liberia, Holkar, etc., have shown us types of other races than the Caucassian. One of the stamps of Congo is adorned by a couple of natives in local full dress which appears to be much on the order of that of the lady in the ballad who wore a wreath and a smile. Japan has placed on her stamps the portraits of two heroes of her late war with China. Guatemala has the head of an Indian woman. The stamps of British North Borneo have the arms of the company with two stalwart natives as supporters and a similar device is used by the British Central Africa Co. The stamps of Obock show a group of natives. The picture is entitled "the missionary at dinner with the native chiefs." For further particulars of the missionary enquire within.

Another large group of stamps have numerals of value as their distinguishing feature. As examples of this we find, the early issues of Brazil and Hawaii, many stamps of Sweden, Netherlands, Denmark, etc., as well as the postage due stamps of many countries, including our own.

In other countries only inscriptions are used. This is especially the case with the Native States of India, in some of which as many as four languages are said to be employed on one stamp. These are interesting for their crude and curious designs but are not popular with collectors, probably because of our inability to read them.

Afghanistan has varied the idea by placing on her stamps a tiger's head surrounded by a broad circle of inscriptions. Owing to the short comings of native art the tiger is more often droll than ferocious.

The method of cancellation used in that country is crude but effective. It consists in cutting or tearing a piece out of the stamp. Needless to say, it is not popular with stamp collectors.

The first stamps of Uruguay bear the inscription "diligencia" , thus plainly indicating the method then employed for transporting the mails. On some of the Venzuelan stamps is the word "escuelas" , a portion of the revenue from this source being devoted to the maintenance of the state schools.

The animal world has been thoroughly exploited by designers of stamps and many curious products have they shown us. This creature with the fine open countenance hails from North Borneo but it is said that similar creatures have been seen by earnest philatelists after an evening of study in the billiard room of the Collectors Club, followed by a light supper of broiled lobster and welsh rarebit. Very familiar to collectors are the camel of Obock and the Soudan, the Llama of Peru, the sacred quetzal of Guatemala--the transmigrated form of the god-king of the Aztecs--the lyrebird and Kangaroo of New South Wales. New Foundland has pictured the seal and cod fish, Western Australia the black swan, Liberia the elephant and rhinocerous, and New Zealand the curious bird called the apterix, which is wingless and clothed in hair instead of feathers. Tasmania shows us her animal freak, the platypus paradoxus, the beast with a bill, first cousin to our tailors and butchers, all of whom are beasts with bills. Our own country has added to the philatelic "zoo" by placing a herd of cattle on one of the Trans-Mississippi issue. That it is a pretty picture cannot be denied but the connection between cows and postage stamps is not obvious.

New Foundland, Nova Scotia and New Brunswick have adorned their stamps with the heraldic rose, thistle and shamrock of the British Empire. Japan, ever artistic and ever a lover of the beautiful, has placed on her stamps the chrysanthemum, both as a flower and in its conventionalized form as the crest of the Imperial family. And Nepal has the lotus, sacred to Buddha. Brazil has shown us the brilliant constellation of the Southern Cross which sparkles in the tropic sky.

Many nations have used their coats of arms as appropriate decorations for their postal issues. On the five shilling stamps of Malta we find the Maltese cross, emblem of the Knights of St. John and reminiscent of the crusades.

Egypt has her sphynx and pyramids; Greece an artistic series of pictures of her famous statues and ruins. Fiji shows a pirogue, the native canoe, rudely shaped from a tree trunk and hollowed out by fire. Labuan has a piratical looking native dhow. The stamps of Rhodesia and the Congo Free State depict the advance of civilization on the dark continent. History is sumptuously illustrated in the series of stamps issued by our Government to commemorate the 400th anniversary of the discovery of the new world by Columbus and to celebrate the settlement and growth of the great west. Portugal also has celebrated, in an elaborate issue of stamps, the voyage of Vasco da Gama to India. Other countries have been quite too ready to do likewise until we have feared we were in danger of being drowned in the flood of commemorative and celebration stamps, many of which we felt were designed to replenish an empty treasury rather than to honor the glorious deeds of the past.

Quite a number of stamps have allegorical designs. One of the most beautiful examples comes from St. Vincent. Familiar figures to philatelists are those of Peace and Commerce on the stamps of France, Hope with her anchor on the issues of the Cape of Good Hope and Britannia on several of the British Colonies. The stamps of British East Africa bear a flaming sun and the legend "light and liberty," typical of the light of civilization and progress now dawning upon that part of the world. And on one of the late issues of Portugal is a beautiful allegory of the muse of history watching Da Gama's voyage to the East.

One of the stock arguments advanced in favor of philately, by those who think it needs other excuse than the entertainment it affords, is that it teaches geography. This is undoubtedly true, and, as if in support of the argument, several countries have given us what might be called map stamps. Of late years, it has become customary for countries to exploit their attractions by issues of "picture" stamps, many of which show views of local scenery. One of the first in this line came from North Borneo, showing a view of Mt. Kimbal, a celebrated volcano of the island. Congo has given us two pictures which are microscopic gems of art. The first is a view of the railroad crossing the Mopoxo river and the second the Falls of Inkissi. British Guiana has recently shown us two of her natural wonders, Mount Roraima, a great table-topped mountain, and the Kaiteur Falls. New Zealand has an extensive series of views, one of the most striking of which is Mount Cook. Among the latest of these attractive issues is one from Tonga, which includes a picture of a wonderful work of the pre-historic inhabitants of those islands, a tri-lithon, believed to have been erected as a burial place and monument of a chieftain. In its arrangement and massive simplicity it is suggestive of the Druidic ruins of other lands.

Crowns and post-horns figure on many stamps and both are significant of the authority and purpose of these seemingly trifling bits of paper. An interesting combination of these two emblems is found on one of the newspaper stamps of Hungary. In this case the crown is not merely a creation of the artist's fancy but the historic crown of Saint Stephen, the "iron crown of Hungary," so called because it has within its rim an iron band said to be made from one of the nails of the cross.

In all these subjects of thought I have mentioned only a few examples under each head. The number might be multiplied many times, did I not fear to weary you.

The second sub-division is known as typography or surface printing. As its name indicates, the lines to be reproduced are at the surface of the plate, the other parts being cut away. A newspaper is an example of typographical printing, the term being applied to designs made up from type, as well as to specially prepared plates.

I need not suggest to you how wide a field for thought and exploration this subject of engraving opens to us, leading as it does directly into the world of books, pictures and art. But at present we must confine ourselves to the subject as applied to postage stamps, save for a brief consideration of its origin and history.

Until the early part of the present century copper was practically the only metal used for engraving. Only a limited number of impressions can be taken from a copper plate because it wears rapidly, and it is not suited to such work as the production of postage stamps. About 1830 the way was found to make steel of sufficient softness and fineness of grain to be available for engraving. To-day annealed steel is almost exclusively used for this purpose. Annealed steel is steel which has been softened without being decarbonized. The surface is carefully ground and polished to a mirror-like brightness. Any work which is to be reproduced many times, such as postage stamps and parts of bank-notes, is made on small pies of steel called dies.

If the design to be used is in the shape of a drawing or engraving, a sheet of gelatin may be laid over it and the outlines traced with a sharp-pointed instrument. More often a photograph is taken on a ferrotype plate and the outlines scratched into the plate. These outlines are filled with vermilion. A piece of paper is then laid on the plate and the two passed through a hand-press. This is called "pulling" an impression. While the ink of the impression is still moist it is sprinkled with powdered vermilion to strengthen the lines. The block of steel is then covered with an etching ground and the impression is transferred to this. The outlines are cut through the etching ground and bitten into the steel with acid. The coating is then removed from the block and the artist proceeds with the engraving. The mechanical details and various methods of engraving are highly interesting but time will not permit their discussion.

An engraver is seldom expert in more than one style of work. Each makes a specialty of some branch, portraiture, lettering, scroll-work, etc. For this reason several engravers are usually employed on each die for a postage stamp. And in this inability of one individual to do all styles of work equally well lies one of the great securities against counterfeiting.

In the course of making a die, proofs are usually taken and these are much prized by collectors.

The plates are made with great care. They are touched up by hand and subjected to close scrutiny and the work is often gone over a number of times before the result is pronounced satisfactory. Incidentally any guide lines and marks used by the transferrer are removed by burnishing. In the older issues of United States stamps, such lines and dots are frequently found on the stamps but the later issues are very free from them.

Plates that have become worn are "re-entered," that is to say, the transfer roll is applied to the plate in the original position and the lines thus sharpened and deepened. If, by any mistake in making or re-entering a plate, the roll is incorrectly placed and then changed to the correct spot, a double impression of some of the stronger lines will result. This is called a "double transfer" and sometimes, though wrongly, a "shifted die." These double transfers are quite common in the United States stamps made before 1861 but are scarce in the late issues, either because the work is now more carefully done or because any mistakes have been corrected. Such a correction is effected by turning the plate on its face on a hard substance, hammering on the back until the surface is driven up smooth and then entering the design anew.

A number of very delicate machines are used as aids to the engraver, though much more for bank-notes and large pieces of work than for postage stamps. These are called ruling machines, medallion rulers, cycloidal and geometric lathes. Ruling machines are used to make the backgrounds of portraits, the shadings of letters and similar work.

Here is a very pretty example of ruling, in the so-called "coin" stamp of New South Wales. These machines rule either straight or curved lines. They can be adjusted to rule several thousand lines to an inch, but that is only done for microscopical work, not for engraving. The general principle of a medallion ruling machine is a rod, fixed on a pivot, at one end of which is a pin which is drawn across a medallion, while at the other end a graving point traces a corresponding line on the steel. The large stamps issued in the United States in 1865, for the payment of postage on newspapers and periodicals, are examples of this work.

Printing from line-engraved plates is largely done by hand presses. The ink used is very thick. When black it is made of finely pulverized carbon, mixed with oil. Colored inks are composed of zinc white and dry colors, ground in oil. The colors are animal, vegetable or mineral. The latter cause the plates to wear out rapidly. Green is an especially destructive color. In recent years aniline colors have been largely employed. They afford an elaborate range of shades and color combinations which are most puzzling to describe. Soluble inks are much used by the leading English firm of stamp printers. They are very sensitive to water and are regarded as one of the best preventatives of the cleaning of used stamps. Beautiful results are obtained by printing stamps in two colors. Of course, this necessitates the use of two plates for each design. This also gives rise to some interesting varieties, caused by one part of the design being printed upside down. Such oddities are scarce and are highly valued by philatelists.

When a plate is to be printed from, it is first warmed, then the ink is applied and rubbed into the lines with a pad. The surface of the plate is wiped off with a cloth, then with the hand and lastly, polished with whiting. A sheet of dampened paper is next laid on the plate and the whole is passed under the roller of a press, which forces the paper into the lines of the plate, where it takes up the ink. When the plate is deeply engraved the ink seems to stand up from the surface of the paper in ridges and some times we find corresponding depressions on the backs of the stamps. The sheets are then dried, gummed and dried again. They are now so much curled and wrinkled that they are placed between sheets of bristol board and subjected to hydraulic pressure of several hundred tons which effectively straightens them out.

The dies for typographical plates are cut in wood or steel, usually the former. They are reproduced by two methods, stereotyping and electrotyping. In the former process casts of the die are taken in papier mach? or plaster of Paris. From these casts other casts are taken in type-metal. A sufficient number of these casts are clamped together or fastened to a backing of wood and thus form a plate. This process is not much used for stamps. It may interest you to know that most of our large newspapers employ this process. The type-set forms are, of course, flat. From them papier mach? impressions are taken and bent into a curve, so that the casts made from them will fit the cylinders of the printing presses.

In electrotyping, an impression is taken from the die in wax or gutta percha. The surface of this impression is coated with powdered plumbago. It is placed in a solution of sulphate of copper and, by the action of a galvanic battery, a thin shell of copper is deposited on it. This shell is backed with type-metal and is then ready for use. A number of these elecrotypes may be fastened together and electrotyped in one piece.

There is also a photographic process for making typographical dies. This is said to be used in making the stamps of France and her colonies.

Another form of typography is found in stamps which are composed of printer's type and ornaments. These are usually called "type-set", to distinguish them from stamps produced by the normal process of typography. Stamps made in this manner are often of a high degree of rarity, having been produced in remote parts of the world, where facilities were limited and the use of stamps restricted. To this class belong the stamps of the first issues of British Guiana, Hawaii and Reunion, which rank among the greatest philatelic rarities. We show you here a number of type-set stamps. The first was used in the Hawaiian Islands, in payment of postage on letters between the different islands. There are a number of plates of these stamps, of different values, and each containing ten varieties. The second stamp was issued by the postmaster of Petersburg, Va., in the early days of the war of the rebellion and before the postal service of the Confederate government was in working order. The third was used in the city of Guadalajara, Mexico, in 1869, during the war between France and that country. It was made from the cancellation stamp in use in the post office, the usual date being replaced by the value. The stamps were struck by hand on sheets of paper which had been previously ruled into squares with a lead pencil. The fourth stamp is one of the Reunion stamps previously mentioned. There were eight stamps in the setting, four having a central device like the stamp shown, and the other four being of a different design.

It is interesting to remark that most of these type-set stamps show an evidence of their provisional nature and the stress under which they were made, in the paper on which they were printed. It was usually writing paper, such as would be found at a stationers at that period. Some of the rare type-set stamps of British Guiana were printed on the paper used for lining sugar barrels.

The stamps of the first issue of Shanghai supply an unique variety in typographed stamps. In these stamps the central design is cut upon a block of ivory and the surroundings are set up from printer's type and rules. The stamps were printed one at a time upon a hand press. The value, in both English and Chinese, was changed as required, and it is recorded that on occasions the different values were produced literally "while you wait." Under such circumstances it is not surprising to learn that minor varieties are very numerous.

There is often a noticeable difference in the impressions made from the same plate by different workmen, owing to the varying degree of skill and care employed. We frequently find in stamp catalogues such terms as "London print" contrasted with "local print." These terms indicate a fine impression and an inferior one. We find a good example in two five cent stamps of the Confederate States. They are both from the same plate but the first was printed in London by the skilled workmen of Messrs. De La Rue & Co., and the last was locally made with poor facilities.

Embossing is a variety of printing connected with both line engraving and typography. Embossing dies are produced by sinking lines in the plate but, as a rule, they are intended for such productions as stamped envelopes and the sunken portions are a series of hollows rather than sharply cut lines. An envelope, viewed from the reverse, will give an excellent idea of the appearance of such a die. In printing from these dies very heavy pressure is used and the paper usually is backed by a piece of leather or something of similar nature. In its simplest form embossing is a stamping in relief without color. The stamp of Natal shown here was produced in this manner. The stamps of Scinde, issued in 1850, were embossed and for the red one large wafers, at that date in common use for sealing letters, were used. The brittle nature of this material is probably responsible for the scarcity of this stamp, especially of copies in fine condition.

Embossing is usually combined with typography. The surface of the die being inked, that part of the design is printed in color at the same time that the rest is embossed. These three stamps show this class of work, one being an envelope stamp with the head deeply embossed. The Heligoland stamp like all the stamps of that island is in the local colors, red, white and green, of which the inhabitants are so proud. In the case of the Heligoland and Bavaria stamps the entire sheets are embossed at one time and not each stamp singly, as is usual.

Some curious varieties of this sort of printing are found among the early issues of Peru. The machine in use there printed the stamps one at a time on long strips of paper. When the end of a strip was reached another was attached to it with gum, in order that the process might be continuous. It frequently happened that an impression was printed upon or partly upon the overlapping ends of the strips. In the course of time these ends became separated and thus we find stamps embossed partly with and partly without color and occasionally entirely without it. Philatelists call these varieties semi-albinos and albinos. The latter term is also applied to envelope stamps which have been embossed without the die being inked.

Lithography, while a simpler and less expensive mode of making stamps than those previously described, is not often employed for the purpose. The work is inferior in quality and too easily counterfeited to commend itself. In lithography the lines of the design are neither sunken nor, to any appreciable extent, raised above the surface. The design is practically a drawing, in a certain greasy ink, upon stone of a particular quality. When several colors are used, as in chromo-lithography, a separate stone is prepared for each. The design is sometimes drawn directly on the stone and at others transferred to it. For stamps a die is made in wood, metal or stone. Impressions from this are made in transfer ink upon transfer paper. These impressions are placed, face downward, on the stone and the paper is moistened. On being passed through a press the ink adheres to the stone and the paper is easily removed. A wet sponge is passed over the stone, the water adhering to the exposed surface but not to the greasy ink. While it is moist a roller, covered with transfer ink, is rolled over the designs to which it adheres. The wetting and rolling are alternated until the designs have sufficient body. Lastly, a very weak solution of nitric acid, gum arabic and water is passed over the stone. This is at once washed off. It bites the stone to a very trifling extent and serves to clean the surface and add sharpness to the design.

Impressions taken from a lithographic stone are perfectly flat and smooth, the surface of the paper being neither raised nor depressed. They have usually a slightly greasy feel.

An interesting specimen of lithography is supplied by the first issue of New Caledonia. The design was drawn upon the stone by a sergeant of Marines, named Triqu?ra. It is said the work was done with a pointed nail. As might be expected, it was very crude.

Another interesting stamp was issued in the island of Trinidad in 1855. In this case, the stone, after the designs had been placed upon it, was very deeply bitten with acid, so that it might properly be called etched and the impressions from it be said to be typographed from stone. This stone was used in 1855, 1858 and 1860. Owing to its friable nature and want of care the stone deteriorated, so that the last impressions from it are little better than blurs.

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