the design of the new stamp, our illustration, prepared some time back, being taken from a proof from the steel die engraved by Messrs. Perkins, Bacon and Co., of London, and used in the manufacture of the plates of the several values issued by the Canadian postal authorities on the 1st. instant. By comparing our illustration with the stamp as issued it will be seen that the contractors or the postal authorities have made some alterations in the design, which, in our judgement, are by no means improvements. The leaves in the lower corners have been redrawn on a smaller scale, and hardly impinge upon the frame; their drawing is vastly inferior, and the graceful effect of the broken circle is lost. The numerals of value are in colour on a white ground, reversing the original design, the labels being larger and the figures taller and thinner; this also detracting materially from the charming homogeneity of the stamp as first proposed. The greatest alteration, and the worst, is the substitution of heavy diagonal lines for horizontal ones in the background. The latter were finely drawn and delicately shaded, leaving the King's Head in clear outline, and framed by the dark oval band containing the inscriptions. The background and frame no longer present this artistic effect, and the whole design materially suffers thereby.
The circumstances connected with the inception of the issue are as gratifying as they are novel, and will be hailed with acclamation by the Philatelists of the British Empire.
The Postmaster of Canada, Sir William Mulock, being one of the many distinguished visitors to this country during the Coronation festivities, took the opportunity afforded by his visit of approaching the Prince of Wales, and of meeting His Royal Highness's suggestions and advice in the preparation of a new die for the Canadian stamps. The Prince, with his characteristic energy and courtesy, cheerfully undertook the task, and it will be seen from our illustration with absolute and conspicuous success. H. R. H. wisely decided, in the first instance, that it is advisable to have some continuity of design in succeeding issues, and therefore adopted the frame and groundwork of the then current stamps as a basis. In selecting a portrait of His Majesty the Prince decided to rely upon a photograph giving a true likeness of the King as we know him, in lieu of an idealised representation by an artist. The photograph eventually chosen, with the full approval of His Majesty, was one taken shortly before the Coronation.
The likeness is undoubtedly what is termed a speaking one, and with the addition of the Coronation robes represents as faithful and as pleasing a picture of the King, at the time of his accession to the throne, as it is possible to find. The introduction of the Tudor crowns in the upper angles, which was another of the Prince's innovations, obviates the difficulty that has so often made "the head that wears a crown" lie "uneasy" on a postage stamp. These emblems of
sovereignty, taken in conjunction with the Canadian maple leaves in the lower angles, complete a design that for harmony, boldness, and simplicity has assuredly not been excelled by any hitherto issued stamps of the British Empire. It is palpable, on analyzing the stamp, (1) that the attractiveness of the design has in no way been allowed to militate against its utility, for its country of origin and denomination are clearly expressed; (2) that the boldness of the design has not been detracted from (as is so often the case) by superfluous ornamentation, and that the design has been artistically balanced by the introduction of the right-sized portrait and the proper treatment of light and shade.
We think it will be obvious, on comparing the illustration of the original design above with the issued stamps, that the modifications introduced into the lower corners by the American Bank Note Co. did not improve the appearance of the design. [Illustration No. 43 on [Plate II].]
As stated in the Post Office circular, the colors followed those of the Queen's head stamps, except that the 7 cent value was given a darker shade, more of an olive than before and an improvement on its predecessor. The stamps were of course line engraved and printed in the usual sheet arrangement of ten rows of ten. The imprint was the same as on the Queen's head plates, being placed only over stamps 5 and 6 of the top row. The plate numbers began as before at No. 1 for each stamp, and up to the present writing, (Dec. 1910) there have been recorded the following:—
| 1 | cent | —1-10, 13, 14, 18, 19, 22, 24, 25, 34, 47, 48, 51, 52, 55, 58 |
| 2 | cent | —1-30, 35-40, 47, 53-59, 62, 63, 67-74, 78 |
| 5 | cent | —1, 2 |
| 7 | cent | —1 |
| 10 | cent | —1, 2 |
Over a year elapsed before any additions were made to the above set. Finally Mekeel's Weekly Stamp News[179] published in its chronicle the following note from a correspondent:—"On Tuesday, 27th September, [1904] the last sheets of the 20c numerals were issued to the distributing offices, and the first issue of the 20c King's Head was made on the same day." The stamp of course corresponds in all particulars with the others of the set and continues the fine olive green color of its predecessor. But one plate number, 1, has so far appeared. The amount delivered by the manufacturers since its appearance has averaged about 400,000 per year.
The remaining value of the regular Canadian series, the 50 cent, because of its limited use and the stock of the 1893 issue still on hand, had escaped being included in either of the Queen's Head issues. But the old stock at last ran out in 1908 and on the 19th November, according to Mekeel's Weekly Stamp News,[180] this value appeared in the King's Head type, printed in a rich violet and making a very handsome addition to the series. It conforms in all respects to the other values, and bears the plate number 1. The supply of the stamp received up to 31st March, 1910, was 300,000 copies.