The examination of a writing generally consists in making a careful comparison between it and another or others, the object being to determine whether all are by the same hand.

The writing which is in a known hand or as to the authorship of which there is no doubt, is usually called the Original, and is always referred to by this name. The writing which has to be compared with it, and which practically forms the subject of the enquiry, is called the Suspect. The Suspects should be marked A, B, C, D, &c., and put away without examination until the Original has been thoroughly mastered. This is more important than may appear at first sight, for the confusing effect of having the two types of writing in the eye and mind before one type is made familiar is highly prejudicial. Any inclination to look at the Suspects first should be firmly resisted.

Let us assume that the object of the examination is to discover the writer of an anonymous letter—one of the most frequent tasks of the handwriting expert. The material in hand is the anonymous letter, which in such a case may be called the Original, and half-a-dozen specimens of the writing of suspected persons. These Suspects are numbered from 1 to 6, or marked A, B, C, &c., and put aside until the Original has been thoroughly studied.

The first thing is to examine the paper and envelope, noting its quality, watermark, size, and any feature that may afford a clue. It is always safe to presume that the paper is in every respect unlike that commonly used by the writer, just as it is equally safe to take it for granted that the writing it contains will, so far as its general appearance goes, be the reverse of the normal hand of the author. That is, if it be a heavy back hand, the writer probably uses a hand approximating to the Italian, though too much weight must not be attached to this theory.

Next, note the general style of the document as a whole, whether the margin between top, bottom, and sides is large or small. A writer who habitually begins at the top left-hand corner very near to the edge of the paper will often betray himself by repeating the habit. It is a very common sign of an economical disposition. Note whether he crowds his words and letters near the ends of lines or leaves a good margin. Clerks and those engaged in official work rarely crowd their final words, preferring rather to leave a wide space and go on to the next line.

Note whether the hyphen is used to divide words. Many writers never divide a word, others do it frequently, with or without the hyphen.

Measure the average distance between lines, if unruled paper be used, and make a note of the average distance.

Measure the distance between words and strike an average, noting if words are connected without lifting the pen. It may be found that this joining is only done when certain letters form the final of the first word joined and the initial of the word connected. Look carefully for such.

Note particularly the slope of the topped and tailed letters.

Note the punctuation, whether frequent and accurate or otherwise.

Determine the class to which the writing belongs.

Read the document carefully, noting any peculiarities of language, errors, or Americanisms in spelling, such as "favor" for "favour," "color" for "colour," &c.; the substitution of "z" for "s" in such words as "advertise," &c. Examine with the glass any words that may have been crossed out or rewritten, noting particularly letters that have been mended or touched up.

Note whether the horizontal lines have a tendency to slope up or down.

Note particularly letters with two or more feet, like a, d, h, k, m, n, &c. It will be found that a certain regularity in formation exists in most writings. If the a be formed like an o, the toe not touching the line, or an n with the second foot high up like a bearded r, these peculiarities should be carefully noted. Some writers go to the other extreme, and carry the second foot below the line, so that a becomes a small q. Too much time cannot be devoted to this aspect of handwriting, as it presents features of which the writer is probably quite unconscious, and, therefore, affords valuable evidence.

Next study the topped and tailed letters, noting whether they are looped or barred, that is, formed by a single stroke. It will be often found that certain letters are always looped, others barred. Take careful note of such. If both barred and looped letters appear to be used indiscriminately, count and average them. In any case, a characteristic will be revealed. Examine and classify the loops. Note whether they are long or short, rounded or angular, wide or narrow. Devote special attention to the arc, shoulder and hook. Note, also, any difference of thickness between the up and down stroke; test the degree of clearness and sharpness of stroke by means of the glass, and carefully look for the serrated or ragged edge, which will assist in determining the angle at which the pen is held.