All the United States notes are printed in sheets of four notes of one denomination on each sheet. Each note is lettered in its respective order, in the upper and lower corners diagonally opposite, A, B, C, and D, and this is the system for numbering notes: All numbers, on being divided by 4 and leaving 1 for a remainder, have the check letter A; 2 remainder, B; 3 remainder, C; even numbers, or with no remainder, D. Any United States note the number upon which can be divided by 4 without showing the above result is a counterfeit, and while this rule is not infallible in all instances it will be found of service in the detection of counterfeits.

Compared with a dozen or so years ago, there is nothing like the counterfeiting going on in this country. Shortly after the war the country was practically flooded with it, but so perfect is the machinery of the secret service and so successful have its officers been in recent years in unearthing the big plants and their operators, and placing the latter behind the bars, that counterfeiting has almost ceased.

The receipts of subsidiary counterfeit coins at the subtreasury at New York have been in recent times inconsequential. Some time ago an Italian silversmith, who was an expert coin counterfeiter, was captured, and the destruction of his plant and his subsequent conviction had a wholesome effect upon his fellow countrymen, some of whom have come over to the United States for the express purpose of counterfeiting its silver coins. Only five counterfeit issues of notes made their appearance during the year in question, and of these three were new and two were reissues of old counterfeits.

This shows how well the counterfeit situation, as it were, is kept in check and under control by the government. By some it is supposed that most of our counterfeiters come from abroad, but this is not strictly accurate, though many of those who attempt to imitate our silver dollar and the subsidiary coin issues hail from Italy and Russia.

In order to set up a first-cla.s.s counterfeit shop for the turning out of good paper counterfeits, there are so many indispensable requisites on the part of the spurious money-makers that they get discouraged or caught in most instances almost at the very outset of their would-be easy money-making careers. All of the good engravers who are capable of turning out good plates are more or less under the constant supervision of the secret service officers, while the paper supply, or its possible supply, is equally well watched.

Because gold and silver coins pa.s.s current out on the Pacific coast, where notes do not yet circulate freely as in the east, California has more counterfeiting cases than any other state in the Union, with Pennsylvania, with its large foreign population in the mining regions, a close second.

A moderately deceptive $5 silver certificate was made in Italy, imported into this country by various gangs of Italians and pa.s.sed quite extensively in the eastern states, but the secret service officers quickly got on to the source of issue, and made many arrests and secured convictions. So closely did they hit the trail of a fairly good counterfeit note issued in the west that they got the maker and pa.s.ser arrested and convicted and the plates captured so quickly that it must have caused him acute pain. It was the same with a $10 note of deceptive workmanship which appeared in New York. Only three of these notes were circulated.

Of course there are plenty of counterfeit notes and coins in circulation--if there were not the secret-service officers would have an easy time of it--but the output has largely decreased as compared with former years, and, unless all signs fail, it is likely to go still lower, as the secret service officers become each year more expert in detecting this cla.s.s of crime and putting the criminals away where they will serve the state the best. Gold certificates issued below the denomination of $20, are numbered the same as treasury notes and are check-lettered in their order upon each sheet.

The only denominations of the gold certificates which have been counterfeited are the issues for $20 and $100, respectively, as the gold certificates present a pretty tough counterfeiting proposition, though most of the denominations of the various issues of the silver certificates have been more or less extensively counterfeited, perhaps the issues for $5 and $10, respectively, being the most favored at the counterfeiter's hands, by reason of the ready circulation of these two issues.

The main deterrents to counterfeiting nowadays are, first, lack of good engravers who will take the risk; second, the difficulty in the making and the a.s.sembling of first-cla.s.s plates, and third, the difficulty in the securing of suitable paper. As to the last, the fiber paper now in use with the two silk threads running through the note lengthwise presents a hard proposition for imitation, and lastly, and an important provision, is the fact the public is now pretty well educated on the question of counterfeits, and know how a spurious bill both looks and feels. As for the bank tellers, they scent counterfeits by instinct. Things have changed for the counterfeiter, too, and they are not for the best from his point of view.

The secret service of the United States is without a question the best in the world.

CHAPTER XVIII

CHARACTER AND TEMPERAMENT INDICATED BY HANDWRITING

A Man's Handwriting a Part of Himself--Cheap Postage and Typewriters Playing Havoc with Writing by Hand--Old Time Correspondence Vanishing--Two Divisions of Handwriting--Fashion Has Changed Even Writing--Characteristic Writing of Different Professions--Handwriting a Sure Index to Character and Temperament--Personality of Handwriting--Handwriting a Voiceless Speaking--A Neglected Science--Interest in Disputed Handwriting Rapidly Coming to the Front--Set Writing Copies no Longer the Rule--Formal Handwriting--Education's Effect on Writing--Handwriting and Personality--The Character and Temperament of Writers Easily Told--Honest, Eccentric, and Weak People--How to Determine Character by Writing--The Marks of Truth and Straightforwardness--How Perseverance and Patience Are Indicated in Writing--Economy, Generosity and Liberality Easily Shown in Writing--The Character and Temperament of Any Writer Easily Shown--Studying Character from Handwriting a Fascinating Work--Rules for Its Study--Links in a Chain That Cannot Be Hidden--A Person's Writing a Surer Index to Character Than His Face.

A person's handwriting is really a part of himself. It is an expression of his personality and his character and is as characteristic of his general make-up as his gait or his tone of voice.

There is always a direct and apparent connection between the style of handwriting and the personality of the writer. Another familiar evidence of this is the fact that no two persons write exactly alike, notwithstanding that hundreds of thousands of people learned to write from the same copy-books and were taught to form their letters in precisely the same way. Thus, it will be seen, if handwriting bore no relationship to personality and temperament and was not influenced by the character of the individual, we would all be writing the beautiful Spencerian copper-plate we were taught in our school days. But, as it is, not one in fifty thousand writes in this manner five years after leaving school.

Like speech or gesture, handwriting serves as a means for the expression of thought; and in expressing our thoughts we give expression to ourselves. When once the art of writing is learned we are no longer conscious of the mental and manual effort required to form the letters. It becomes, as it were, a second nature to us. We do it mechanically, just as we form our words when talking, without realizing the complex processes of mind and muscle that it involves.

Of course, the style of handwriting does not in every case remain the same throughout the entire life of a man or woman. A man of fifty may not write the same hand that he did when he was eighteen or twenty, and if he lives to be eighty or ninety it will in all probability show further indications of change. This fact only emphasizes the relationship between handwriting, character, and personality; for it will always be found that where there is a change in the style of penmanship there is a corresponding change in the person himself. Very few of us retain the same character, disposition, and nature that we had in youth. Experience and vicissitudes do much to modify our natures, and with such modifications come alterations in our handwriting. In some persons the change is very slight, while in others it is noticeably evident.

When a man attempts to change his style of handwriting he simply alters the princ.i.p.al features of it. If his writing normally slopes to the right, he will probably adopt a back-hand. He may also use a different kind of pen; may change the size of the writing, alter the customary formation of certain letters, and add certain unfamiliar flourishes. But knowing nothing about the many minor characteristics of his natural writing he unconsciously repeats them, notwithstanding his best efforts to veil the ident.i.ty of his chirography. In this respect he resembles the actor, who, while he may a.s.sume all the outward characteristics of another individual, still retains certain personal peculiarities of which he is himself unaware and which render it impossible for him to completely disguise his own individuality.

The introduction of cheap postage and the immense increase of every-day correspondence has ruined handwriting and banished forever the art of composition. The short, modern, business-like letters of to-day will not bear comparison with the neat, voluminous letters full of graphic scenic descriptions, which our forefathers were wont to compile, and were worth keeping and rereading. Now, when similar correspondence is undertaken, it is dictated to a stenographer, copied on a typewriter, or printed, for few people will take the trouble to read ma.n.u.script composition of any kind. Looking backward, we find a marked paucity of ideas and carelessness of writing in correspondence, getting worse the farther back we go. Few letters are preserved these days, except those on business, which is a pity, for a letter is always a unique production, being a correct reflect of a writer and his times.

There are always two divisions of handwriting, the formal hand employed for clerk's work, and a freer, less mechanical, less careful style, used for private correspondence. Writing was a profession only understood by a few, and as late as the sixteenth century, when it was necessary to communicate with persons at a distance, a professional scribe was employed to write the letter. But letter-writing was rare and did not become general till after the close of the sixteenth century, and even then it was restricted to the upper cla.s.ses of society.

Fashion changes in everything. Every generation had its own particular type of writing. Compare, for instance, any bundle of letters taken at random, out of an old desk or library. It is quite easy to sort them into bundles in sequence of dates, and also guess accurately the age and position of the writers. The flowing Italian hand, used by educated women early in the nineteenth century, has now developed into a bold, decisive, almost masculine writing.

It will be found that most professions have special characteristics in writing and these are all liable to change, according to circ.u.mstances and writing is the clearest proof of both bodily and mental condition, for in case of paralysis, or mental aberration, the doctor takes it as a certain guide.

The most noticeable movement by which cultured people recognize one another are the play of the features, the gait, talking and writing.

Of these evidences the last named is the most infallible, for by a few hasty lines we may recognize again a person whom we neither see nor hear, and enjoy in addition the advantage of being able to compare quietly and at our leisure the traits of one individual thus expressed with the characteristics of another. There are not many men to be found in any walk of life who do not endeavor to conceal to some extent, however slight, their true views and emotions, when brought into close contact with their fellow-beings. But the mind photographs itself unsuspectingly in the movements of the hands, by the use of pen and ink away from all alien observation, and with the rigid unchangeable witness in our possession the character of the author of the ma.n.u.script lies open to the gaze of the intelligent reader.

In this way handwriting becomes much more individual than any other active sign of personality. It varies more, it is more free, it represents the individual less artificially than voice or gesture.

There must exist between the form and arrangements of letters in words and lines, on the one hand, and certain individual peculiarities of the writer, on the other, some kind of connection. It is strange that no scientific writing has ever yet been undertaken, for it seems conclusive that handwriting is a kind of voiceless speaking, consequently a phenomenon, and therefore an operation which lies within the province of physiology.

Yet there are no books or studies on the subject of disputed handwriting up to the present time, short newspaper and magazine articles and sketches being the only contributions the public has been favored with up to the publication of this work.

There is as yet no physiology of handwriting formulated, and that the further question of the relation of handwriting to the moods of the writer has not ever been touched upon scientifically. The history of science teaches us that in case a fact, which is theoretically and practically important, has been neglected for decades and even centuries by trained scientists; but the subject will now be taken up and a place made for it among the prominent and leading studies of the day. Interest in disputed handwriting and writing of all kinds is rapidly coming to the front in the United States, and is a study and research that the business man of the future will be perfectly familiar with.

It is now no longer the rule to teach to write entirely by the aid of set copies, as was the case with our forefathers, who wrote after one approved pattern, which was copied as nearly as possible from the original set for them; therefore characteristics, peculiarities are longer in a.s.serting themselves and what is now considered a "formal"

handwriting was not developed till late in life. There were, and still are, two divisions or cla.s.ses of handwriting, the professional and personal; with the first the action is mechanical and exhibits few, if any, traces of personality. Yet in the oldest ma.n.u.scripts studied and consulted there are certain defined characteristics plainly shown. The handwritings of historical and celebrated personages coincide to a remarkable degree with their known virtues and vices, as criticized and detailed by their biographers.

As the art of writing became general, its form varied more, and more, becoming gradually less formal, and each person wrote as was easiest to himself.

Education, as a rule, has a far from beneficial effect upon handwriting; an active brain creates ideas too fast to give the hand time to form the letters clearly, patiently and evenly, the matter, not the material, being to the writer of primary importance.

So as study increased among all cla.s.ses, writing degenerated from its originally clear, regular lettering into every style of penmanship.

If the subject of handwriting, as a test of personality is carefully studied, it will be found that immediate circ.u.mstances greatly influence it; anxiety or great excitement of any kind, illness or any violent emotion, will for the moment greatly affect the writing.

Writing depends upon so many things--a firm grasp of the pen, a pliability of the muscles, clearness of vision and brain power--even the writing materials, pens, ink and paper, all make a difference. It is not strange, then, that with so many causes upon which it depends, writing should be an excellent test of personality, temperament and bodily health.

Excitability, hastiness, temperament, personality and impatience are all seen in the handwriting at a glance. A quick brain suggests words and sentences so fast, one upon another, that though the pen races along the page, it cannot write down the ideas quickly enough to satisfy the author.

Temper depends upon temperament. The crosses of the letter "t" are the index whereby to judge of it. If those strokes are regular through a whole page of writing, the writer may be a.s.sumed to have an even-placed temper; if dashed off at random-quick short strokes somewhat higher than the letter itself, quick outbursts of anger may be expected, but of short duration, unless the stroke is firm and black, in which case great violence may safely be predicted.

Uncertainty of character and temperament is shown by the variation of these strokes to the letter "t." Sometimes the cross is firm and black, then next time it is light, sometimes it is omitted altogether, varying with each repet.i.tion of the letter like the opinions and sentiments of an undecided person. The up and down strokes of the letters tell of strength or weakness of will; graduations of light and shade, too, may be observed in the strokes.

Capital letters tell us many points of interest. By them originality, talent and mental capacity are displayed, as well as any deficiency or want of education. There are two styles of capital letters at present in use. The high-cla.s.s style employed by persons of education is plain and often eccentric, but without much ornamentation. The other may be called the middle-cla.s.s, for it is used by servants and tradespeople, having a fair amount of education, mingled with a good deal of conceited ignorance and false pride.

With these last, the capital letters are much adorned by loops, hooks and curves, noticeable princ.i.p.ally in the heads of the letters, or at their commencements.

Therefore to become an expert on handwriting, a careful study must be made of the writings of those whose life and character, together with personal peculiarities, are intimately known and understood, and from this conclusions may be drawn and rules arrived at for future use. Get some friend to write his name and from your knowledge of his character follow rules given in this work and you will find that a correct conclusion will be arrived at. The same correct solution will be found by studying any signature.

Affection is marked by open loops and a general slant or slope of the writing. A hard nature, unsympathetic and unimpressionable, has very little artistic feeling or love of the fine arts; therefore the same things which indicate a soft, affectionate disposition will also indicate poetry, music and painting, on one or other kindred subjects.

The first of these accompanies a loving, impulsive nature. In painting, four things are absolutely necessary to produce an artist, form, color, light and shade. Success in art implies a certain degree of ambition, and consequently upon its vanity and egotism; hence an artist's signature is generally peculiar and often unreadable from its originality, egotism and exuberance of creative power.

Imagination and impulse do not tend to improve handwriting. The strokes are too erratic. Haste is visible in every line. A warm-hearted, impulsive person feels deeply and pa.s.sionately at the moment of writing and dashes off the words without regard to the effect they will produce upon the reader.

Truth and straightforwardness give even lines running across the page and at regular distances from one word to another. Tact is very essential. This quality requires often slight deceptions to be allowed or practiced; hence an unevenness in the writing is observed.

Untruthfulness gives greater unevenness still; but do not rush to conclusions on this point for an unformed handwriting shows this peculiarity very often, being due, not to evil qualities, but to an unsteady hand employed in work to which it is unused.

Very round, even writing, in which the words are not closed, denotes candor and openness of disposition, with an apt.i.tude for giving advice, whether asked or unasked, and not always of a complimentary kind.

Blunt, crabbed writing suggests obstinacy and a selfish love of power, without thought for the feelings of others. True selfishness gives every curve an inward bend, very marked in the commencement of words or capital letters.

Perseverance and patience are closely allied. In the former the letter "t" is hooked at the top and also its stroke has a dark, curved end, showing that when once an idea has been entertained no earthly persuasion will alter or eradicate it. Such writers have strongly defined prejudices and are apt to take very strong dislikes without much cause.

Carelessness and patience also are frequently linked together, more often in later life, when adversity has blunted the faculties, or the drill routine of an uneventful existence has destroyed all romance.

Then the writing has short, up and down strokes, the curves are round, the bars short and straight; there are no loops or flourishes, and the whole writing exhibits great neatness and regularity.