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The normal thickness of its line is extremely small, but so beautifully is the nib made that it will respond vigorously to a big sweeping stroke. I say a "sweeping stroke," as its capacity is not to be taxed for uniformly big lines. An equally delicate point, which surpasses the crow-quill in range, is "Gillott's Mapping-pen." It is astonishing how large a line may be made with this instrument.
Gillott's eye twinkled with a merry humour, as, from another bit of paper, he produced an emerald larger than the diamond, and a minute afterwards trumped both these with a splendid ruby. It was now Lawson's turn. Assuming a serious look, he said that Mr. Gillott's specimens were certainly very remarkable, but he could "beat them hollow."
I HAVE THAT PEN NOW. A cedar-stick of a not uncommon sort, and holding one of Gillott's pens. It is in my inkstand now, I tell you. Anybody may see it. The handwriting on the check, for such the document was, was the writing of a female. It ran thus: "London, midnight, March 31, 1862. Pay the bearer one thousand and fitty pounds. Rachel Sidonia. To Messrs. Sidonia, Pozzosanto and Co., London."
Referring again to outsiders and their ideas of Birmingham trades, when visitors distinguished or otherwise come to see our factories there are two that they generally begin and often end with namely, Mr. Joseph Gillott's pen manufactory and the electro-plate works of Messrs. Elkington.
He soon came in penitence to Gillott, who again took him by the hand, and befriended him until his untimely death in 1845, at the age of 33. At the sale of Mr. Gillott's pictures after his decease, Müller's celebrated picture, "The Chess Players," fetched the enormous sum of £3,950. The story of Mr.
Joseph Gillott's pen manufactory it is a very interesting show place, but is practical and prosaic compared with the art electro-plate establishment I have just now referred to. Those, however, who like to see processes, and something going on quickly from stage to stage, find Mr. Gillott's factory a place of almost fascinating interest.
The advertisements invariably had the fac-simile of Mr. Gillott's signature, as now; a signature better known, perhaps, than any other in the world, and one with which almost every human being who can write is perfectly familiar. Of course it will be understood that the quantities given above are altogether imaginary.
Gillott's works can scarcely be set down in figures, but may be estimated roughly, from the statement made at the time of his death that the average weight of the weekly make of finished pens exceeded five tons. I have tried, by experiment, to arrive at an approximate estimate of the number of pens this weight represents.
From this moment the two men, so utterly unlike in their general character, but so strangely kindred in their love of Art, became on intimate terms of friendship, which lasted until Turner's death in 1851. Mr. Gillott's collection of Turner's works was the largest and finest in private hands in England, and, when they were sold, realised more than five times the money he had paid for them. Mr.
It is a great place for jewelry and the champion emporium for buttons. It is also the great English workshop for swords, guns, and other small-arms, and here are turned out by the million Gillott's steel pens. Over all these industries presides the magnificent Town Hall, a Grecian temple standing upon an arcade basement, and built of hard limestone brought from the island of Anglesea.
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