Lithographed; perf. 12 1/2. Both values from the same stone. The lines of shading on the Queen’s neck do not go quite to the back, and there is, consequently, a white line down the back of the neck. Some of the lines are blurred, and run into each other. The stop before CORREOS is much too close to the C, and almost touches it. The fine inner line of the lower scroll is broken away just below the 0 of 10 (or of 40, as the case may be). The little pearls on stalks touch the boundary lines in many cases. The pearls and jewels on the coronet
are smudged, and difficult to count. The chain pattern round the head is also smudged, and very badly done. The figures of value and the date, like the rest of the stamp, are lithographed.

The 5 and 20 C. have probably been forged at the same time as the 10 and the 40 C. described above, but I have not seen them. If they have been forged, our readers will find the tests just given sufficient for their detection.

These counterfeits all have a sort of oval perforation, instead of the circular perforation of the originals. This, however, would scarcely be noticed on a single detached stamp; but is very plain where two or more stamps can be examined before separation. They are ungummed, printed in sheets of 25 (5 X 5), and are postmarked with the old British Guiana obliteration, without the central figures.

The face has a very whitey look, due to the almost entire absence of shading, particularly on the neck. The mural crown is immature, and the lower right-hand point of the star is too long. The outer lines of frame are not sufficiently wavy. These shams are on very poor paper, and badly perforated.

Lithographed, on thin, white wove paper, perf. 13. All values from the same stone. The A’S in the inscriptions are properly made. The hand holding the branch is a mere blotch, and the fingers are not to be distinguished. The stop after D. in the lower values is on a level with the bottom of the letters, like the stop after C. In the 1 peseta there is a faint hyphen
before 1., a very small stop after 1., and a faint hyphen and a stop after PESETA. The hyphens are not to be seen in some copies without a glass. The right foot is stumpy, and does not touch the boundary line. The hair is very blotchy, and the wreath is not at all plain. The long staff in the left hand is, in most copies, one thick line. The rampant lion in
the shield has only three legs visible, and his tongue hangs out slightly. The colours closely resemble those of the originals. The postmark is like our ordinary cancel-stamp, but without the central numerals, whereas the originals are usually postmarked with that curious, well-known network, with stars where the lines intersect.