[Illustration: signature of W C Bryant] Mr. Bryant’s MS. puts us entirely at fault. It is one of the most common-place clerk’s hands which we ever encountered, and has no character about it beyond that of the day-book and ledger. He writes, in short, what mercantile men and professional pen-men call a fair hand, but what artists would term an abominable one. Among its regular up and down strokes, waving lines and hair-lines, systematic taperings and flourishes, we look in vain for the force, polish, and decision of the poet. The _picturesque_, to be sure, is equally deficient in his chirography and in his poetical productions. [Illustration: signature of Fitz-Greene Halleck] Mr. Halleck’s hand is strikingly indicative of his genius. We see in it some force, more grace, and little of the picturesque. There is a great deal of freedom about it, and his MSS. seem to be written _currente calamo_, but without hurry. His flourishes, which are not many, look as if thoughtfully planned, and deliberately, yet firmly executed. His paper is very good, and of a blueish tint—his seal of red wax. [Illustration: signature of N. P. Willis.] Mr. Willis, when writing carefully, would write a hand nearly resembling that of Mr. Halleck; although no similarity is perceptible in the signatures. His usual chirography is dashing, free, and not ungraceful, but is sadly deficient in force and picturesqueness. It has been the fate of this gentleman to be alternately condemned _ad infinitum_, and lauded _ad nauseam_—a fact which speaks much in his praise. We know of no American writer who has evinced greater versatility of talent; that is to say, of high talent, often amounting to genius; and we know of none who has more narrowly missed placing himself at the head of our letters. The paper of Mr. Willis’ epistles is always fine, and glossy. At present, he employs a somewhat large seal, with a dove, or carrier-pigeon, at the top, the word “Glenmary” at bottom, and the initials “N. P. W.” in the middle. [Illustration: signature of Rufus Dawes]