arrangement. Being a craftsman, his liking for tools, materials, and methods will also be in evidence.
His aim is to produce a thing of beauty and he will be "writing-conscious" whilst working. The
ephemeral note, beginning "Dear John" or "My dear Joan", from a person whose pleasure is in a
good hand, will also doubtless be written with some writing-consciousness, and though of modest
worth it may, nevertheless, be regarded rightly as calligraphy and appreciated for its beauty.

Since these authorities confirm what dictionaries--and indeed etymology--tell us, that callig-
raphy is simply the art of beautiful writing, it would seem that all methods and all teachers of writing
must aim to train their pupils to produce it. Yet handwriting as generally practiced in our country can
lay little claim to beauty, or to legibility either. Does the fault lie in the methods taught, in the imple-
ments used, in lack of time, or in current neglect of crafts--for isn't writing "Everyman's Handicraft"?

One suggested answer is that handwriting regain the status of calligraphy by returning to
classic examples and the use of an implement--the broad-edged pen--modeled on the ancient reed and
quill. Unlike the flexible pointed pen of our grandfathers, this pen can enrich the pattern of the writing
by a ribbon of alternating thick and thin strokes created without pressure. This is the answer favored by
most contemporary calligraphers, and much of their own work presented in the exhibition demon-
strates the effect of the broad-edged pen and the influence of the writing masters of the sixteenth century
--the style of writing now generally called Italic.

During the exhibition a mimeographed catalogue without illustrations was issued. Its intro-
duction contained analytical comments on some of the exhibits, which elicited praise from many well-
known calligraphers and teachers. These comments have here been amplified and each placed with the
listing of the corresponding exhibit. In addition, a brief biography is given of each calligrapher whose
work is illustrated; including, in many cases, his ideas and opinions. This revised catalogue is being pub-
lished in the hope that it may help to answer some questions and arouse some others regarding the state
of handwriting in America today.

The compiler expresses gratitude to the many who have given technical assistance, furnished
information, or granted permission to reproduce specimens owned by them or by the institutions with
which they are associated. Especially valuable was the advice of James M. Wells, Custodian, Wing Foun-
dation, Newberry Library; Harold Hugo, Meriden Gravure Company, Conn.; Paul Standard, New
York; Warren T. Johnson, Peterborough, N. H.; and Ray Nash, Professor of the History of Graphic
Arts, Dartmouth College, N. H. Professor Nash's writings were the source for much of the pre-1850
material, and many of the notes are quoted from his American Writing Masters and Copybooks and Hand-
writing in America from Colonial Times to 1850.

The compiler is also indebted to Major Sir Edward Ford, Private Secretary to Her Majesty,
Queen Elizabeth II; Major F. O. Anderson, Minneapolis, Minn.; Mr. Paul A. Bennett, Jackson Heights,
N. Y.; Esther Fisher Benson, Newport, R. I.; Mr. R. E. Bloser, President, Zaner-Bloser Co., Colum-
bus, Ohio; Mr. John Brinkley, School of Graphic Design, Royal College of Art, London, England;
Mr. John M. Cackett, Secretary, Society of Scribes & Illuminators, London; Mr. Herbert Cahoon,
Curator of Autograph MSS, Pierpont Morgan Library, N. Y.; Mr. Gilbert A. Cam, Executive Assistant,
New York Public Library; Father Edward M. Catich, St. Ambrose College, Davenport, Iowa; Mr. T.
M. Cleland, Danbury, Conn.; Mr. Raymond F. DaBoll, Newark, Ark.; Vera Ruth Filby, Savage