Evening star. [volume] (Washington, D.C.) 1854-1972, 1896-11-19
THE NEW CURRENCY.
It's Artistic Eject Considered by an
Eminent Art Critic.

Its Artistic Effect Considered by an
Eminent Art Critic.
AS there has been much discussion in re-
gard to the new currency, the following
criticism In the New York Evening Post
from Mr.. Russell Sturges, one Of the most
eminent art critics In the country, will be
read with interest:
The serious attempt of the authorities at
Washington to give the nation artistic
treasury notes is Worry of every ones at
tention. Whatever may be the paper cur
rency of the future, there will certainly be
paper currency, and this will as certainly
be printed from plates engraved by the bu-
, reau of engraving and printing. 1t might
almost be said that just certainly will
those notes be covered with elaborate
workmanship of one sort or another; 1t is
in the highest degree improbable that the
example set by the British will be followed.
Bank Of England notes are open and slight
in design, mere arrangements Of lettering,
with comparatively large surfaces of white
paper showing. and the bank depends upon
the paper itself and upon the signatures
for the prevention of counterfeiting. Many
of the national currencies of Europe, per-
haps most of them, are, on the other hand,
rather richly adorned with figure designs
and ornamental borders and the like; nor
does it seem probable that the United
States will in this respect pursue a differ
ent policy in the future from that of the
past TIE point of view, then, Is deter
mined from which the new notes must be
regarded The five and the two and the
one are the first attempts to make our pa
per currency really refined in character and
to Invest 1t with artistic qualities Of design.
The ten. which is soon to follow will be
another effort in the same direction.
The bureau of engraving and printing is
now under the direction of Claude NJ. John
he aal lor olx
or mainly his influence that has prevailed
In the decision to take this important STEP
but how serious one 1t is can only be un-
derstood by those who have made them
selves familiar with the real and supposed
requirements of paper currency. One of
these requirements is, of course, the DOS
sibility of swift recognition by the teller of
a bank. He must be able to know from one
corner of bill. and equally so from its
whole face taken together, at once its de-
nomination and whether it is good or not.
~ IL rs Is on TINS account that the "engine turn
ing used in borders, and of which the
backs of our notes are almost entirely COM
posed, is defended against the assaults of
the more artistically minded critics. 1t is
alleged that the tellers will never be salts
fed Without the mechanical devices to
which they are accustomed. The answer to
this is. of course. that "engine turning" is
precisely that which is the most often well
initiated in counterfets; that the free-hand
or artistical engraving is that which is the
hardest to initiate exactly. and that after
all there Is the English example of reliance
upon the paper and signatures alone.
There is. moreover. the opinion of tellers
OF New York banks to the effect that the
inquire In the corner, 2. or l. or s. is what is
heeded when one is counting money without
separating the notes. and the general ap-
pearance OF the central group or figure is
the important thing when one lifts the
roteS off the pile. Another important con-
slderation, and a controlling one is the pos
sibility OF transmitting the design from the
Nkdn nj 70 70 ,o1r
these to other plates. The original engray-
ing being made, by Mr. G. F. c. Smile in
the case of the two and the five and by
Mr.. c. Schlecht in the case of the one and
the ten on steel plate which has not been
highly tempered, this plate is then hard
ened and a roller of soft steel is passed over
1t, taking the minutest features of the de-
sign. This roller, being in its turn harden
ed. transmits the design to as many plates
as may be necessary fer printing the large
edition, as We may call it, which Congress
may have voted. 1t is. therefore. to be re-
membered in looking at for instance tn,
new two-dollar bill, that what we have he
fore US is as far as possible from being a
fine proof on selected paper. 1t is Just the
contrary. 1t is an impression on hard and
reluctant paper. which takes the ink badly
from twice transferred original The diff
ference between proof of the orieina,
engraving by MIR. Smile and print as it
comes signed, numbered and sealed from
the treasury Department for circu]a tion
Is at least az great as the difference be-
tween fine first proof of an etching and
'commerciai' impression in a journal ot
large circulation taken from the plate after
1t has been steeled Indeed. the difference
Is greater than that, because of the neces-
sary qualities of the paper used and be-
cause of the inevitable effect of the roller
transfer in broadening the lines of the en-
craving. We are told. indeed. that expert
ments have been made showing that here
after these unfortunate results of the trans
fer process will be greatly diminished, but
1t is too much to expect that twice trans
ferred design will give impressions quite
equal to those taken from plate as left
by the engraver. That which is
important is their effect as pieces of fine art
used in a decorative way, and in this re-
Spect our painters will see their way to de-
signs better even than the very good ones
we are considering. The great thing is that
every citizen who can afford to keep eight
dollars IS unproductive capital should lay
aside a clean and unfolded five. two and
a one-dollar note: that We should all con-
graduate the bureau of engraving and
printing and ourselves on the serious step
that has been taken in advance. R. S.
Lamp Not Lit.