Silver Cap Bust Coinage

OK this will be the first instalment. Now like I said it will be alot: 6 4" 3 ring binders
OK LETS GO
SILVER
CAPPED
BUST
COINAGE









TABLE OF CONTENTS


I. Silver Capped Bust Coinage
A. Introduction
B. Capped Bust Coinage
1. Half Dimes
2. Dimes
3. Quarters
4. Half Dollars
C. Rarity Scale
D. Coin Characteristics
E. Dentils VS Beads
F. Die Progression
G. Parts of the Capped Bust Coin
H. Grading Scale
I. How Coins Are Made
1. Making Dies and Hubs
2. Making Blanks and Planchets
3. Striking the Coin






INTRODUCTION
The capped bust motif was used on the Half Dime, dime, quarter, and half dollar silver coins.
This same design was also used on some copper and gold coins.

SILVER CAPPED COINAGE

Capped Bust Half Dime, 1829-1837



Description:

The Draped Bust Half Dime was last produced in 1805, the final year of a short five-year series of the type (no Half Dimes were produced in 1804). Production of Half Dimes resumed in 1829, the first samples struck early on July 4 as part of the events surrounding the laying of the cornerstone for the second Philadelphia Mint building. The reason for the restart of the denomination after a two-decade gap is unknown, but perhaps demand had grown for a denomination greater than one cent but less than a dime (two and Three Cent coins, and the nickel, would not be produced until the 1850s and 1860s). The new Half Dime was prepared by Chief Engraver William Kneass, although many believe he adapted an earlier John Reich Capped Bust design. Kneass' effort was in turn modified by Christian Gobrecht after Kneass became impaired by physical issues. Gobrecht, who had prepared the letter and numeral punches for the Capped Bust issues during Kneass' tenure, was responsible for the subsequent Liberty Seated design. Capped Bust and Liberty Seated half dimes were both minted in 1837.
The Capped Bust Half Dimes were produced using the close collar technology implemented by the Mint in the late 1820s. Earlier coins were edged prior to the obverse/ reverse striking, but the close collar (essentially an edge die) eliminated this step, imparting the edge reeding as part of the striking process. The close collar also limited the outward spread of metal during striking, creating not only a uniform diameter to the finished coins, but generally improving the device impressions; metal constrained from flowing outward more completely flowed into the details of the design features. The close collar also produced a raised protective rim around the beads or dentils along the circumference, and enabled the minting of proof coins with higher quality details and polished surfaces.
On the obverse Liberty faces left, wearing a softly folded mobcap (a woman's headdress of the time) with the word LIBERTY around the base. Long curled hair extends from under the edge of the cap along the front and sides, and cascades down the neck and over the shoulder. Folded drapery wraps around the neck and down and across the bust, and is secured by a clasp above the shoulder. Thirteen six-point stars are arranged on both sides of Liberty, seven to the left and six to the right, all inside the beaded or dentilled border that is inside the raised smooth rim. The date is at the bottom.
The reverse displays a centered eagle, wings partially raised, clutching an olive branch in the right claw and three arrows in the left. A shield is placed over the body of the eagle, and a concentric banner folded backward at the ends, displaying E PLURIBUS UNUM, is above the eagle. The denomination 5 C. is at the bottom. UNITED STATES OF AMERICA follows along the top three-fourths of the coin inside the beads or dentils that are placed next to a raised smooth rim. All coins were minted at Philadelphia and display no mintmark.
Circulation strike Capped Bust Half Dimes are relatively plentiful in census/ population reports, though specific varieties are scarce or rare. A few proof like examples have been certified. Prices are modest up to near-Gem, becoming expensive as Gem or finer. The 1834 3 over inverted 3, 1836 3 over inverted 3, and 1837 Small 5C have modest premiums over other dates, increasing by factors of two or more as Choice Uncirculated or finer. Very few proof coins have been certified, including some with cameo designations. All proof examples are expensive even at lower grades, but very expensive as Select Proof or finer. There are minor price variations from year to year but no proof issue is markedly more or less expensive than any of the other dates in the series.
Specifications:
Designer: William Kneass, possibly adapted from a John Reich design
Circulation Mintage: high 2,760,000 (1835), low 871,000 (1837)
Proof Mintage: high 30 (1829, estimated), low 10 (1830-1833, 1835-1827, estimated)
Denomintion: $0.05 Five cents (05/100)
Diameter: ±15.5 mm; reeded edge
Metal content: 89.24% silver, 10.76% copper
Weight: ±1.35 grams
Varieties: Many known, including 1834, 3 over inverted 3; 1835, Large and Small denomination and Large and Small date; 1836, 3 over inverted 3; 1836 and 1837 Large and Small denomination; and other minor die variations.

Capped Bust Dime, Large Size, 1809-1828


Description:

John Reich's Capped Bust Liberty was first used on half dollars and half eagles, quarter eagles and quarter dollars, and Half Dimes. When Capped Bust dimes were produced, Mexican and Spanish coins were legal tender, the familiar and preferred small denomination silver coins. The two-reales coin ("two bits") was roughly equivalent to the U.S. quarter, and the Spanish silver real was equal to 12 1/2 cents. Relatively few dimes were produced from 1809 through 1828 (bullion depositors didn't often request the denomination), and the silver real was more common. The federal dimes that were released into circulation appear to have been well used, but only in 1821 and 1827 did production of dimes exceed one million coins; none were minted in 1810, 1812, 1813, 1815 through 1819, and 1826. The stars and dates of Large Size dimes were individually hand punched, and the coins were produced without a collar to restrain outward expansion during striking. Though larger than the subsequent Small Size Capped Bust dimes, the finished dimes were of varying size and have been listed in reference works as having diameters ranging from 18.8 mm to 19 mm.
Born in Bavaria, John Reich came to the United States as an indentured laborer. His freedom was purchased by an unidentified Mint officer, though it was not until 1807 that Mint Director Robert Patterson offered Reich a permanent position as second engraver. Some believe this delay in formally recognizing Reich's talents was due in part to preceding Mint Director Elias Boudinot's reluctance to offend aging Chief Engraver Robert Scot (Scot was to die in 1823). Reich worked from 1807 through 1817, and began working on Capped Bust coins immediately after being hired. Some attribute his relatively short tenure to the political situation in which he found himself: he was doing the work of the Chief Engraver, but did not receive either the credit or the compensation for that superior position.
The obverse features a matronly Liberty, facing left and wearing a mobcap bound at the base with a ribbon. The ribbon displays LIBERTY and is tied at the back. Liberty has long curling hair that peeks from under the cap at the front and sides, and cascades down the back. A loosely draped garment lies across the bust and shoulder, secured with a small clasp above the shoulder. Thirteen six-point stars are to the sides of Liberty, seven to the left and six to the right, and the stars form a circle inside a broadly dentilled rim. The date is at the bottom.
The reverse shows a centered left-facing eagle, with extended but partly folded wings. The eagle clutches an olive branch in the right claw and three arrows in the left. A shield is placed over the chest. UNITED STATES OF AMERICA forms a concentric arc to the inside of the top two-thirds of the dentilled rim, with the denomination of 10 C. at the bottom visually completing the circle. A simply curved banner, folded ends to the back, displays E PLURIBUS UNUM. All coins were minted at Philadelphia and display no mintmark.
Several hundred business strike Capped Bust Large Size dimes have been certified, including a few proof like pieces. Prices are moderate for coins at grades up to Select Uncirculated, expensive as near-Gem and finer. The key 1882 dime is expensive at all grades finer than Good. Other issues at higher prices are the 1809, 1811/9, and 1814 STATESOFAMERICA, with prices increasing as Select Uncirculated and finer. Very few proof coins have been certified, including at least one with the Cameo designation. All are expensive, rising to very expensive as Select proof and finer.
Specifications:
Designer: John Reich
Circulation Mintage: high 1,215,000 (1827), low 51,065 (1809)
Proof Mintage: high 10 (1827-1828, estimated), low 5 (1820-1825, estimated). Some consider these "proof" coins to be presentation pieces.
Denomintion: $0.10 Ten cents Dime (10/100)
Diameter: ±18.8 mm; reeded edge
Metal content: 89.24% silver, 10.76% copper
Weight: ±2.7 grams
Varieties: Several known including 1811/9 (all 1811 examples); 1814 and 1821 Small Date and Large Date; 1814 and 1820 STATESOFAMERICA (no spaces between the words); 1823/2 (all 1823 examples) and Small E and Large E; 1824/2 (all 1824 examples); 1828 Large Date, Curl Base 2; and other minor die variations..







Capped Bust Dime, Small Size, 1828-1837



Description:

After Robert Scot died in 1823 William Kneass became Chief Engraver. In order to meet requirements of greater coin output and a more standardized design (to help thwart counterfeiting), Kneass implemented a mechanical change in the coin production process, the close collar or collar die. This die encircled the planchet, restricting outward flow during striking, and imparted to the dime a reeded edge, a process that had previously been done manually. Not only was edge reeding more efficiently done with the close collar, it was necessary; any previously imparted edge designs would have been obliterated by that collar during minting. The Small Size Capped Bust dime was thicker than the previous Capped Bust dime, thus slightly smaller in diameter in order to meet the weight standards previously established.
Though the close collar process introduced a measure of uniformity, dates, stars, and letters were still hand punched on dime dies, which accounts for the number of die varieties known for a series of relatively short length. Subsequent study of Capped Bust dimes has shown that even with the close collar the diameter of dimes produced during this period still varied, particularly through 1834, because not all collars were the same size. Rather than size, the primary means of determining the type is the design of the rim details. Dimes produced prior to the introduction of the close collar have dentils around the edge, a larger radial design that formed a complete circle even if the planchet was struck slightly off center. The Small Size Capped Bust dimes have a raised rim, followed along the inside by small beads laid out in a pattern similar to that of the previous dentils. Kneass modified John Reich's design for the smaller dime size and for the new minting processes, though no significant design changes were made. In the transition year of 1837 both Capped Bust dimes and the subsequent Liberty Seated design were produced.
The obverse features a matronly Liberty, facing left and wearing a mobcap bound at the base with a ribbon. The ribbon displays LIBERTY and is tied at the back. Liberty has long curling hair that peeks from under the cap at the front and sides, and cascades down the back. A loosely draped garment lies across the bust and shoulder, secured with a small clasp above the shoulder. Thirteen six-point stars are to the sides of Liberty, seven to the left and six to the right, and the stars form a circle inside the beaded border. The date is at the bottom.
The reverse shows a centered left-facing eagle, with extended but partly folded wings. The eagle clutches an olive branch in the right claw and three arrows in the left. A shield is placed over the chest. UNITED STATES OF AMERICA forms a concentric arc to the inside of the top two-thirds of the raised rim and beaded border, with the denomination of 10 C. at the bottom visually completing the circle. A simply curved banner, ends folded to the back, displays E PLURIBUS UNUM. All coins were minted at Philadelphia and display no mintmark.
Several hundred business strike Capped Bust Small Size dimes have been certified, including a few proof like pieces. Prices are moderate for most dates at grades up to and including near-Gem, expensive as Gem and finer. The most expensive date is the 1829 Curl Base 2, which is expensive at all grades. Very few proof coins have been certified, though there are a couple with a Cameo designation. All are expensive, with prices very expensive as Select proof and finer.

Specifications:
Designer: John Reich
Circulation Mintage: high 1,410,000 (1835), low 359,500 (1837); however, the combined Large Size and Small Size mintage for 1828 was 125,000 pieces.
Proof Mintage: high 15 (1831-1835, estimated), low 10 (1828-1830 and 1836-1837, estimated).
Denomintion: $0.10 Ten cents Dime (10/100)
Diameter: ±18.5 mm; reeded edge
Metal content: 89.24% silver, 10.76% copper
Weight: ±2.7 grams (slightly lower for some 1837 coins, per the Mint Act of January 18, 1837)
Varieties: Several known including 1828 Small Date, Square Base 2; 1829 Curl Base 2, and Small, Medium, and Large 10 C.; 1830/29, and Large and Small 10 C.; 1833 last 3 high; 1834 Small 4 and Large 4; and other minor die variations..








Capped Bust quarter, Large Size, 1815-1828



Description:

The last Draped Bust, Heraldic Eagle quarter dollar was minted in 1807, the same year that German immigrant John Reich was hired by the U.S. Mint. Tasked with creating new coinage designs, Reich modified Liberty's portrait and the reverse eagle, producing designs that appeared on the half dollar and half eagle in 1807, the quarter eagle in 1808, and then the dime in 1809. After a seven-year gap in production, the quarter dollar was minted with these new designs in 1815. Continuing a Mint policy of using the same design on all coins as much as possible, the Half Dime also received the Draped Bust design, in 1829, but it was never used on the silver dollar, which had not been produced since 1804.
Quarters were not regularly minted in the early 1800s because the demand for the denomination was limited. Spanish two-reales pieces were still a common circulating coin at the time, with the same legal tender value as the quarter, but the reales were lighter weight. The result of this same denomination circulating coinage was inevitable: the Spanish coins were used in commerce but the U.S. coins were saved because they contained more silver. The 1815 quarter mintage happened only because banks had ordered them and not, as far as we know, because of a federal interest in increasing their use (over 20 percent of the 1815 mintage went to one bank, the Planters' Bank of New Orleans). Production was further compromised by a fire at the Mint in early January, 1816, which halted the mintage of gold and silver coins. Quarters were not produced again until 1818, and except for 1826, yearly thereafter until the end of the type in 1828.
The obverse portrait is of a more fulsome Liberty than the previous Draped Bust style, which led to unfortunate, though unsubstantiated, comments that Reich had modeled Liberty after his "fat mistress." Liberty is wearing a mobcap (a fashionable woman's headdress of the period, not a liberty cap as it is sometimes erroneously labeled) with a band displaying LIBERTY. Long curling hair drapes over the forehead, around the ear, across the shoulders, and down the back. A flowing robe covers the bust and shoulder, fixed with a clasp above the shoulder. Thirteen six-point stars surround the portrait, seven to the left and six to the right, just inside a dentilled rim. The date is centered at the bottom.
The reverse displays a left-facing eagle with outstretched, though partially folded, wings and a Union shield across its breast. The left claw clutches three arrows, the right an olive branch. UNITED STATES OF AMERICA encircles inside the dentilled rim around the top two-thirds of the coin, and the denomination of 25 C. is at the bottom, below the eagle. A concentric banner with E PLURIBUS UNUM is located above the eagle's head, below STATES OF. All coins were minted at Philadelphia; no mint mark appears on the coins. Some 1815 and 1825 dated quarters have an E or L counter stamp above Liberty's head, marks unmentioned in official records and purpose unknown. Some have speculated that these letters indicate the use of quarters as school prizes which were saved as keepsakes, thus accounting for the high grade of most survivors.
Prices for business strikes are moderate up to XF grades, advancing steadily and becoming very expensive as Gem and finer. A few hundred pieces have been certified for each year that quarters were produced for circulation, though some varieties are represented by only a few pieces. The 1822 25C over 50C variety is expensive in all grades, and the low mintage 1823/2 overdate extremely expensive. A few proof like business strikes have been certified. A small number of proofs from each year are listed in census/ population reports, which include pieces with a cameo designation. All proofs are expensive to extremely expensive, with the very rare original 1827/3 at the top of the price range, closely followed by the 1827/3 restrikes.
Specifications:
Designer: John Reich
Circulation Mintage: high 361,174 (1818), low 4,000 (1827, possibly dated 1825; only proof strikes are known for the date. Next lowest was 17,800 coins in 1823)
Proof Mintage: high 30-40 (1827, estimated), low 5 (1823 and 1824, estimated. None known for 1815, 1818, and 1819)
Denomintion: $0.25 Twenty-five cents (25/100)
Diameter: ±27 mm, reeded edge
Metal content: 89.24% silver, 10.76% copper
Weight: ±6.74 grams
Varieties: Several are known, most overdates or overpunches, but also including variations such as the 1819 Large and Small 9 varieties, and the 1820 Large and Small O varieties. Other well-known varieties include the 1818/5, 1822 25C over 50C, 1823/2, 1824/2, 1825/2, 1825/3, 1825/4, 1827/3 (proof) and 1828 25C over 50C. All known 1823 and 1824 quarters are overdates. The 1827 restrikes are well known because of the rarity of issues for the year, and were most likely surreptitiously made in the late 1850s, some with rusted dies and some overstruck on older quarters (a piece struck on an 1806 quarter is known). Quarters dated 1815 and 1825 (including 1825 overpunch varieties) are often seen with E and L counterpunches, likely private marks rather than Mint-produced



Capped Bust, Lettered Edge Half Dollar, 1807-1836



Description:

Two half dollar series are called "Bust Halves", the earlier Draped Bust type that ended in 1807 and the Capped Bust type that started in 1807 and ended in 1839. Capped Bust halves produced through 1836 have a lettered edge, but in 1836 the edge was changed to the familiar reeded style. Though there were subtle design changes after 1809, and others throughout the life of the series, it is the 1836 edge change that is used by many numismatists to separate the styles into two distinct types. Half dollars in the early 1800s were the workhorse of circulating silver coinage; no silver dollars were minted from 1804 through 1835, and not in quantity until 1840 (excluding the specimen 1804 issues). Produced using man- or animal-powered screw presses, with hand-punched elements on the dies, Capped Bust halves have many varieties, which has generated extensive collector interest. The design was by German-born engraver John Reich, who had come to the United States as an indentured servant to escape the Napoleonic Wars. Mint Director Robert Patterson saw in Reich the person who could create designs that would in his opinion improve the beauty of this country's coins. Some maintained that Reich based the Liberty portrait on his mistress, though nothing confirming that rumor has ever been found. In only three years of the Capped Bust series did production drop below one million coins. No halves were produced in 1816 because a major fire at the Mint forced the suspension of all silver coinage, and no proofs are known until 1820, though rumors persist of samples produced as early as 1817.
Reich's elegant Liberty portrait covers most of the obverse. Facing to the left, Liberty wears a mobcap, described by Webster's dictionary as "a woman's fancy indoor cap made with a high full crown and often tied under the chin." The high crown of the hat is shown, folded over toward the front, but no tie appears on the coin. Across the bottom of the cap is the word LIBERTY, and cascades of curling hair drop down across the back and shoulder from under the cap. A flowing robe drapes across the bust, secured by a clasp on the shoulder. Thirteen six-point stars encircle inside a dentilled rim, seven to the left and six to the right. The date is at the bottom of the coin. An imposing eagle is placed in the center of the reverse, head turned to the eagle's right (viewer's left), wings outstretched as if ready to fly, with a shield over the breast. Three arrows are held in the sinister claw (eagle's left) and an olive branch in the dexter. UNITED STATES OF AMERICA is placed around the top two-thirds of the coin inside a dentilled rim, with the denomination 50 C. at the bottom. A concentric banner with E PLURIBUS UNUM is placed above the eagle, below STATES OF, flat except for folded ends. The edge displays the value of FIFTY CENTS OR HALF A DOLLAR. From 1814 through 1831 a star was added between DOLLAR and FIFTY, and from 1832 through 1836 vertical lines were added between the words. No mintmark is shown; all were produced at Philadelphia.
For nearly every date, but not necessarily for every variety, hundreds of coins are listed in census/ population reports. Coins are certified at grades from Very Fine to Superb Gem, though most cluster from Extremely Fine through near-Mint State. Significant numbers are available as Mint State up through near-Gem, but Gem and finer coins are scarce to rare. Prices are generally moderate through Choice AU but advance steeply thereafter, particularly as Gem or finer. Proofs are known from 1820 through 1836, and speculated for the years 1817 through 1819, though not confirmed. All proofs are rare and expensive; in most years the total produced was fewer than 15 coins.
Specifications:
Designer: John Reich
Circulation Mintage: high 6,545,000 (1836), low 47,150 (1815; all are the 1815/2 overdate)
Proof Mintage: high 15 (1836, estimated), low 5 (1820-1824, estimated; none confirmed prior to 1820)
Denomintion: $0.50, Fifty cents (50/100)
Diameter: ±32.5 mm, lettered edge
Metal content: 89.24% silver, 10.76% copper
Weight: ±13.48 grams
Varieties: Extensively studied, and collected by Overton Numbers. Over 789 different dies have been identified. Varieties trading at higher price premiums are the 1812/1 Large 8, the 1815/2, the 1817/4 (very expensive), and the 1830 Large Letters. The 1815/2 overdate is the only 1815-dated coin of the series, and fewer than 10 of the 1817/4 overdate are known. Many overdates, engraving errors, and letter and number size/ shape variations have been catalogued, some represented in census/ population reports by fewer than five examples.






Capped Bust, Reeded Edge Half Dollar, 1836-1839



Description:

In 1836 Christian Gobrecht completed work for new Capped Bust half dollar obverse and reverse dies in preparation for the transition from man- or animal-powered coinage presses to new steam-powered presses. The new coins were slightly reduced in weight and diameter, but the most significant change was the use of a restraining collar around the coin blank that imparted a reeded edge to the coin during the striking process.
The "close collar", for all practical purposes a third die, had been used for smaller silver and gold coins since 1829, but the half dollar was one of the first denominations produced by the new steam presses. An immediate result was greater uniformity of the coin impressions; the "open collar" process previously used allowed the planchet to spread out somewhat which resulted in minor variations in the coin size. Mint Director Robert Patterson described the effect of the new process as giving a "mathematical equality to their diameters." The close collar also precluded using planchets already made with edge lettering or other ornamentation, because the reeding die would have obliterated such impressions during the striking process. Only 1,200 Reeded Edge half dollars were struck in 1836, overlapping the final production year of the Lettered Edge half dollar.
The 1836-dated halves are considered patterns by some because the authorizing legislation for the coin didn't become law until January, 1837, but other researchers give legal tender status to these coins which circulated following production. Other minor design changes were made in this short four-year series, the most significant being the change of the reverse denomination from 50 CENTS to HALF DOL. in 1838, possibly to match the style used on the 1838 Liberty Seated quarter.
An elegant Liberty portrait covers most of the obverse, though with slightly different profile from the preceding version. Facing to the left, Liberty wears a mobcap, described by Webster's dictionary as "a woman's fancy indoor cap made with a high full crown and often tied under the chin", though this representation is not as robust as the cap of the first two years. Across the bottom of the cap is the word LIBERTY, and cascades of curling hair drop down across the back and shoulder from under the cap. A flowing robe drapes across the bust, secured by a clasp on the shoulder. Thirteen six-point stars encircle inside a dentilled rim, six to the left and seven to the right. The date is at the bottom of the coin.
An imposing eagle is placed in the center of the reverse, head turned to the eagle's right (viewer's left), wings outstretched as if ready to fly, with a shield over the breast. Three arrows are held in the sinister claw (eagle's left) and an olive branch in the dexter. UNITED STATES OF AMERICA is placed around the top two-thirds of the coin inside a dentilled rim, with the denomination 50 CENTS at the bottom for 1836 and 1837, and HALF DOL. for 1838 and 1839. Most Reeded Edge halves were minted in Philadelphia, but in 1838 the first branch mint half dollar was minted in New Orleans (as a proof), repeated in 1839 (as a circulation strike). The O mintmark is on the obverse, below the portrait and above the date.
Because of the uniformity imposed by the minting process very few varieties are listed in census/ population reports. Coins are certified at most grades, but numbers decline substantially as Gem and finer. Prices are moderate up to Mint State, increasing at double and triple multiples per grade above that. Circulation coins listed at higher premiums are 1836 and 1839-O, the 1836 considerably more expensive. All proofs are very expensive, extremely so for the rare 1838-O issue, and cameo proofs have been certified for 1836 and 1838.
Specifications:
Designer: Christian Gobrecht, from a previous John Reich design
Circulation Mintage: high 3,629,820 (1837), low 1,200 (1836; none for 1838-O)
Proof Mintage: high 20 (1836, estimated), low 5 (1838, estimated)
Denomintion: $0.50, Fifty cents (50/100)
Diameter: ±30 mm, reeded edge
Metal content: 90% silver, 10% copper
Weight: ±13.36 grams
Varieties: A few known, with the design changes made by Gobrecht for each two-year style the most prominent. Other than that, the best known variety is an 1839 Small Letters reverse.







Rarity Scale

VERY COMMON R1
COMMON R2
SCARCE R3
VERY SCARCE R4= 76 to 200 Pieces Known
RARE R5 = 31 to 75 Pieces Known
VERY RARE R6 = 13 to 30 Pieces Known
EXTREMELY RARE R7= 4 to 12 Pieces Known
R8 = 1 to 3 Pieces Known



COIN CHARICTERISTICS

Adjustment marks
pre-striking file marks seen mainly on gold and silver coins prior to 1840. these removed excess metal from overweight planchets. after 1840 these are seldom seen as the filing was on
the rim and was usually obliterated by the striking process

bag mark
when coins are first minted they are placed in cloth bags for delivery to banks etc. as the bags are moved around the coins inside rub against each other causing surface marks and scratches.


capped bust
a term describing any of the various incarnations of the head of miss liberty represented on early us. coins by a bust with a floppy cap. this design is credited to John Reich

clash marks
the images of the dies seen on coins struck from clashed dies. the obverse will have images from the reverse and vice versa.

close collar
the edge device, sometimes called a collar die that surrounds the lower die. actually open and close collars are both closed collars - as opposed to segmented collars. the close collar imparts reeding or a smooth, plain edge.

collar
a part of the die chamber that holds the blank in place while it is being stamped.

counter stamp
a stamp or impression placed on a coin after it has left the mint of origin. counter stamps were frequently used as advertising gimmicks on large cents and other coins. the counter stamp leaves a permanent impression on the metal and may hurt the value of the coin.

Cud
an area of a coin struck by a die that has a complete break across part of its surface. a Cud may be either a Retained Cud, where the faulty piece of the die is still in place, or a full Cud, where the piece of the die has fallen away. Retained Cuds usually have dentil detail if on the edge, while full Cuds do not.

Example of Cud area coin


cull
a coin that is basically non-collectible due to its extremely bad condition. a coin that will not even qualify for a grade of poor-1, usually because of extensive environmental damage or other post-striking damage.

die
metal piece engraved with the design used for stamping the coin.

die break
an area of a coin that is the result of a broken die. this may be triangular or other geometric shape. dies are made of steel and they crack from use and then, if not removed from service, eventually break. when the die totally breaks apart, the resultant break will result in a full, or retained, Cud depending whether the broken piece falls from the die or not.

die crack
a raised, irregular line on a coin, ranging from very fine to very large, some quite irregular. these result when a hairline break occurs in a die.

die defect
this refers to various sorts of defects caused by a damaged die. it could be a die crack or die clash etc., as mentioned above.

die line
these are the raised lines on the coins that result from the polish lines on the die, which are incuse, resulting in the raised lines on the coins.

die state
a readily identified point in the life of a coinage die. often dies clash and are polished, crack, break, etc., resulting in different stages of the die. these are called die states. some coins have barely distinguishable die states, while others go through multiple distinctive ones.

die variety
a coin that can be linked to a given set of dies because of characteristics possessed by those dies and mparted to the coin at the time it was struck. in the early years of U.S. coinage history, when dies were made by hand engraving or punching, each die was slightly different. the coins from these unique dies are die varieties and are collected in every denomination. by the 1840's, when dies were made by hubbing and therefore were more uniform, die varieties resulted mainly from variances in the size, shape, and positioning of the date and mintmark.

die wear
deterioration in a die caused by excessive use. this may evidence itself on coins produced with that die in a few indistinct letters or numerals or, in extreme cases, a loss of detail throughout the entire coin. some coins, especially certain nickel issues, have a fuzzy, indistinct appearance even on uncirculated examples.

environmental damage
corrosion-effect seen on a coin that has been exposed to the elements. this may be minor, such as toning that is nearly black, to major - a coin found in the ground or water which has severely pitted surfaces.

hairlines
minute lines on coins caused by light cleaning, polishing or light contact with plastic flips or plastic slides, typically on proof coins .

hub
minting term for the steel device from which a die is produced. the hub is produced with the aid of a portrait lathe or reducing machine and bears a "positive" image of the coin's design â€" that is, it shows the design as it will appear on the coin itself. the image on the die is "negative" â€" a mirror image of the design.

lettered edge
a coin edge that displays an inscription or other design elements, rather than being reeded or plain. the lettering can be either incuse (recessed below the surface) or raised. incuse lettering is applied before a coin is struck; the mint did this with a device called the casting machine. raised lettering is found on coins struck with segmented collars; the lettering is raised during the minting process, and when the coin is ejected from the dies, the collar "falls" apart, preventing the lettering from being sheared away. The edge of the coin is called the "third side" by some. The edge can be plain (smooth), reeded, ornamented, or have letters embossed into it. The edge is the side around the circumference of the coin, the edge is not the same as the rim, the coin rolls on its edge.



master die
the main die produced from the master hub. many working hubs are prepared from this single die.

open collar
its name notwithstanding, a closed collar that surrounded the anvil (or lower) die used in striking early . coins on planchets whose edges already had been lettered or reeded. an open collar was a restraining, or positioning, collar that made it easier to position a planchet atop the lower die, and also sometimes kept the planchet from expanding too far

overdate
this is a coin that has a numeral or two from a different year in it. this usually occurred if the mint was trying to use a working hub from the previous year. an example would be the 1943/2 Jefferson nickel.

patina surface film caused by oxidation mostly found on older silver, copper or bronze coins. it is usually green or brown.

reeded edge
term for the grooved notches on the edge of some coins. these were first imparted by the mint's edge machine, later in the minting process by the use of close collars - these sometimes called the third die or collar die. The edge of the coin is called the "third side" by some. The edge can be plain (smooth), reeded, ornamented, or have letters embossed into it. The edge is the side around the circumference of the coin, the edge is not the same as the rim, the coin rolls on its edge.



repunched date
if a date was punched into the die and then punched in again in a different position it is considered to be a repunched date. a dramatic example of the repunched date is the 1894/94 Indian cent, where the two dates are clear, bold and well separated. most repunched dates are more subtle, such as the 1887/6 Morgan dollar. such coins as the 1909/8 $20 gold piece or the 1942/1 Mercury dime are not repunched dates, but doubled dies, where the changes were made to the working die from a differently-dated working hub.

variety
a variation in the design of a particular coin. some dates have several die varieties.

weak strike
a term used to describe a coin that does not show intended detail because of improper striking pressure or improperly aligned dies

whizzing
term to describe the process of mechanically moving the metal of a lightly circulated coin to simulate luster. usually accomplished by using a wire brush attachment on a high-speed drill.
working hub
this is also called a hub. it is made from a master die and is used to make working dies.

working die
this is a die that is made from a working hub. these are the dies which produce the actual coins.

Dentils VS Beads
During the minting of the silver capped bust coinage, a significant change took place. "The introduction of the closed collar"
The "close collar," or more precisely a "collar die" was used, which confined the planchets at the time of striking and at the same instant reeded the edge of the coin.
This close collar produced a prominent rim and a beaded area similar to the dentiles.
Half Dime
The Capped Bust Half Dimes were produced using the close collar technology implemented by the Mint in the late 1820s.
The close collar also produced a raised protective rim around the beads or dentils along the circumference,
DIMES

Subsequent study of Capped Bust dimes has shown that even with the close collar the diameter of dimes produced during this period still varied, particularly through 1834, because not all collars were the same size.
Rather than size, the primary means of determining the type is the design of the rim details.
Dimes produced prior to the introduction of the close collar have dentils around the edge, a larger radial design that formed a complete circle even if the planchet was struck slightly off center.



The Small Size Capped Bust dimes have a raised rim, followed along the inside by small beads laid out in a pattern similar to that of the previous dentils.





QUARTERS

HALF DOLLARS


A brief Primer on Re-Marriages
200 years ago coin dies were expensive and hard to make. Back then when a die became damaged it would be pulled, repaired and placed back in service. Remember too that at times obverse dies with dates may have been used after the date on the coin. No sense throwing away a perfectly good obverse die just because it has last year's date on it!

Example:
Reverse E was first used in 1829 paired with the obverse 4 die which created the 1829 LM-6.1. At some point the obverse 4 die was pulled and replaced with an obverse 5 die (creating the LM-7 variety) and mintage continued. At some point the obverse 5 die was pulled and replaced by the obverse 4 die used earlier creating the LM-6.2. By this point the E reverse die was showing some degradation with the first diagonal of the N filling with a die chip. Also seen is a small Cud above M and a die crack forms from the rim through the top of E 3.










DIE PROGRESSION
I
The first picture shows the beginning of the Die crack from the T over to the D and from the D to the rim.



II
The second picture shows the beginning of a Cud






III






IV

Last picture is terminal.







DIE STATES


Die States, or, The Journey of a Die from First Strike to Terminal State
Die States, or The Journey of a Die â€" from First Strike to Terminal State
Every time a die strikes a coin, the metal flow of the coin wears on the die. Between two strikes, this change is imperceptible, but over time a great change occurs on the die. If you were to take every coin ever struck by a die, theoretically you would be able to line them up from the very first strike to the very last, just by examining the wear on the die.

Luckily, other things sometimes happen which give us a clue. Sometimes the dies come together without a planchet in the coining chamber, in which case the dies will transfer some of their design to the other die. This is known as a die clash. Sometimes, mint workers will take a bristled brush and polish the dies, leaving polish lines all over the surface of the die. Mint workers often do this when there is evidence of a clash. Sometimes, the die will begin to crack, even breaking off in places if the cracks get bad enough. Other things such as gouges and rust also occur to the dies. Each of these occurrences is unique, these die markers identify the die. Other things, such as doubled dies, repunched mintmarks, and hand placement of letters, numbers and devices on early coins also serve as unique die identifiers. As the die continues through its life, these things happen and change, and we can "watch" the progress of the life of a die through these die sates.

The die state is important because earlier strikes will be sharper, crisper, and have more details (sometimes, through an error in the die-making process, even the prime state of the die will have cracks). Remember, as the die wears, details become softened and eliminated..




Collectors use the die state of dies to determine an emission sequence â€" which order the dies were used in. This is important in series which are collected by die marriage â€" or a pairing of obverse and reverse die. Say Obverse Die #1 is initially paired with Reverse Die A, but sometime during the striking, Reverse Die A cracks and is replaced with Reverse Die B. Later, Obverse Die #1 completely disintegrates because it was improperly heat treated, or the steel was bad. Obverse Die #2 replaces it.

Now, imagine its 150 years later and some numismatist has three coins struck during this run, one from each die marriage. The first pairing, call it O-101, is from both fresh, new dies. After Reverse A cracks and is replaced by B, you have a new die marriage â€" O-102. When Obverse #1 shatters, the new marriage is O-103. But the first obverse die was used for the first two marriages, and the reverse die overlaps the last two marriages. By examining the die state, the careful numismatist can determine this sequence, and piece together what happened. It is the die state that lets us know the order was 101, 102, 103, and not the other way around â€" 103, 102, 101.

The die state is also important to some error collectors. As the die strikes coins, sometimes it will crack. Sometimes, these cracks will grow and progress, until pieces of the die break off. Some collectors like to get multiple examples of these cracks, and watch how the crack grew until the terminal die state., with pieces of the die missing (known as die breaks, or if it is at the edge it is called a Cud).














PARTS OF THE CAPPED BUST COIN

This coin diagram above shows all the parts or terms used in describing a coin.
Device - a design element on the coin such as a bust of a person, and eagle or any other element. Usually the devices are raised, but on some coins they are below the coin surface (incused).
Rim - A rim is where the edge and the obverse and reverse sides of the coin meet. On many coins there is a raised rim as shown above. The rim can be seen on both the reverse and obverse on this coin. The rim is used to help protect the coin from wear, by providing a raised surface right around the circumference of the coin.
Edge - The edge of the coin is called the "third side" by some. The edge can be plain (smooth), reeded, ornamented, or have letters embossed into it. The edge is the side around the circumference of the coin, the edge is not the same as the rim, the coin rolls on its edge.

Obverse - The face or front of a coin. "Heads." Usually has a person, date on this side, but not always.
Reverse - The back of the coin. "Tails." Usually has secondary design elements, the denomination, and other inscriptions. But not always.
Date - The year of the mintage is shown on most coins.
Fields - The open areas of the design, usually they serve as the background and surround the devices. Clean fields are desired in rare coins. Fields that do not have bag marks and are mirror smooth can raise the grade of a coin.
Denomination - The monetary value of the coin.
Mint mark - the mint that produced the coin usually stamps a mint mark for the coin. This shows what mint struck the coin.
Most common in the U.S. are
S â€"SAN FRANSISCO
P- PHILIDELPHIA
D- DENVER
CC- CARSON CITY
O- NEW ORLEANS .
Legend - The words on a coin are the legend or inscription.
Motto - an inscription that has special meaning in the country, such as "In God We Trust" -- the motto of the U.S.
Exergue - The area set off from the design for the date. Many times this can be delineated with a line or depressed area. (See the Buffalo nickel.)


Dentils (aka Dentiles) - the small serrated edge around the rim (tooth-like design around the circumference of the rim). Sometimes small dots can be used, but often, just a gear-like design.



GRADING SCALE
Grade Description
PO-1 Identifiable date and type
FR-2 Mostly worn, though some detail is visible
AG-3 Worn rims but most lettering is readable though worn
G-4 Slightly worn rims, flat detail, peripheral lettering nearly full
G-6 Rims complete with flat detail, peripheral lettering full
VG-8 Design worn with slight detail
VG-10 Design worn with slight detail, slightly clearer
F-12 Some deeply recessed areas with detail, all lettering sharp
F-15 Slightly more detail in the recessed areas, all lettering sharp
VF-20 Some definition of detail, all lettering full and sharp
VF-25 Slightly more definition in the detail and lettering
VF-30 Almost complete detail with flat areas
VF-35 Detail is complete but worn with high points flat
EF-40 Detail is complete with most high points slightly flat
EF-45 Detail is complete with some high points flat
EF-45+ Detail is complete with a few high points flat. Superior eye appeal.
AU-50 Full detail with friction over most of the surface, slight flatness on high points
AU-50+ Full detail with friction over most of the surface, very slight flatness on high points. Good eye appeal.
AU-53 Full detail with friction over 1/2 or more of surface, very slight flatness on high points
AU-53+ Full detail with friction on only 1/2 of surface, extremely slight flatness on high points. Positive eye appeal.
AU-55 Full detail with friction on less than 1/2 surface, mainly on high points
AU-55+ Full detail with slight friction on less than 1/2 of surface, on high points. Eye appeal is good.
AU-58 Full detail with only slight friction on the high points
AU-58+ Full detail with the barest trace of friction on the highest points. Superior eye appeal.
MS/PR-60 No wear. May have many heavy marks/hairlines, strike may not be full
MS/PR-61 No wear. Multiple heavy marks/hairlines, strike may not be full
MS/PR-62 No wear. Slightly less marks/hairlines, strike may not be full
MS/PR-62+ No wear. Still slightly above number of marks/hairlines, strike may not be full. Attractive eye appeal for grade.
MS/PR-63 Moderate number/size marks/hairlines, strike may not be full
MS/PR-63+ Average number of marks/hairlines, strike will be close to average. Good eye appeal for grade.
MS/PR-64 Few marks/hairlines or a couple of severe ones, strike should be average or above
MS/PR-64+ Very few marks/hairlines or a couple of heavier ones, strike should be average or above. Superior eye appeal.

MS/PR-65 Minor marks/hairlines though none in focal areas, above average strike
MS/PR-65+ Very minor marks/hairlines though none in focal areas, above average strike and eye appeal
MS/PR-66 Few minor marks/hairlines not in focal areas, good strike
MS/PR-66+ Very few minor marks/hairlines not in focal areas, very good strike with superior eye appeal
MS/PR-67 Virtually as struck with minor imperfections, very well struck
MS/PR-67+ Virtually as struck with very minor imperfections, very well struck with attractive eye appeal
MS/PR-68 Virtually as struck with slight imperfections, slightest weakness of strike allowed
MS/PR-68+ Virtually as struck with very slight imperfections, the strike must be virtually full. Eye appeal must be very good.
MS/PR-69 Virtually as struck with minuscule imperfections, near full strike necessary


How coins were minted

By their very nature, coins are highly durable, convenient, mobile and accurate modes of payment and investments. In order to meet these specifications, minting techniques have traditionally been highly precise and guarded functions commissioned and governed by a country's reigning authorities and a few hand selected mints in the world. From the outset, minting techniques consisted of two main areas of work - the production of suitable blanks of a defined composition and exact weight; and the production of the tools for striking the coins.
Principally, nothing has changed in this regard from the earliest minting techniques till today. Only the methods have improved with industrialization and technical progress. Even from the earliest times, coins were struck with 2 coining dies - a lower die depicting the coin in a negative form, and a similar upper die. The coin blank was then placed between these two dies and the upper die struck with a heavy hammer, thus rendering a positive image on the blank. The hammer method was used a long way into the Middle Ages. Even now we occasionally speak of coins being struck.
A historical approach
It is believed that the first coins were struck during the 7th century BC by the Lydians in Asia Minor. These were made from coin blanks of a consistent composition of gold/silver alloy called electrum. For this purpose, molten electrum was poured into suitable forms. Although they started with simple moulds, later on there was a transition to more complicated ones which made the production of a larger number at any one time possible. For many centuries, this kind of production of round coin blanks remained basically unaltered until the growing economy in Europe during the 16th century saw a dramatic increase in demand for coins. Minting techniques therefore were industrialized to meet this demand.
Coining by hammer
During the XVI century, a hammer was used to reduce the thickness of a sheet of metal, in which the blanks are cut out by shears, then filed and hammered to reach the desired weight and thickness. As it is depicted in the stained-glass window showing a coin workshop in Strasbourg, the coin maker carries out the so-called striking according to the following process:

• The workman puts the blank on the fixed die
• The mobile die is held above by hand
• The workman strikes several blows with a hammer
Coining by screw press (since about 1550)
The early modern period witnessed probably the most dramatic change in methods of coin production. Around 1550, the German silversmith Marx Schwab invented coining with the screw press. The novelty was that two heavy iron screws pressed the coin metal to the desired thickness. The preparation of blanks was aided by roller-mills with produced uniformly thick strips from which the blanks could be cut with metal punches. Henri II (1547-1559) imported the new machines: rolling mill, punch and screw press. 8 to 12 men took over from each other every quarter of an hour to manoeuvre the arms driving the screw which struck the medals. Henri II came up against hostility on the part of the coin makers, so the process was only to be used for coins of small value, medals and tokens. In 1645 it came into general use for minting coins.

There were a number of ways in which the actual coin-striking process itself could be mechanised. One involved the use of dies with curved faces either striking individual blanks (the rockerpress), or striking onto strips of metal passed between paired rollers each engraved with several dies (the rotary press). From small hand driven presses, the development passed via falling hammer presses and water driven hammer works to spindle presses. In the Tirol city of Hall the first horse-powered coin-striking machine was developed and as early as 1600, Nicolo Grosso used a spindle press in Florence, with which he punched coin blanks from rolled sheets of precious metals. This technique is still in use today, albeit with high capacity punching presses which produce large numbers of blanks with one stroke. The permanent refinement of analysis and measuring techniques, the accuracy of weight and alloy composition were vastly improved.
The coin press (since 1830)
The start of the Industrial Age (late 18th - early 19th century) brought a plethora of various minting machinery which culminated when around 1830 Diedrich Uhlhorn, a German mechanic invented the coin press which bears his name. The "Uhlhorn Presse" or "toggle press" substitutes the pressure from the screw of the screw press by pressure exerted by a lever and is now exhibited at a museum. Later on, the Thonnelier press, set up in Paris in 1845, was swiftly driven by steam then by electricity. The principle of the "toggle press" which allows several hundred circulation coins to be produced per minute lives on in today's modern mechanical mint, although the pace of modern presses nowadays is extremely quick.





THE COIN MINTING PROCESS





In the study of mint errors and varieties, a basic knowledge of the minting process is vital. If one does not understand how an error or variety occurred, they will not be able to determine if it is genuine. knowledge of the minting process is vital to fully understand mint errors and varieties.
The P-D-S System
There are four basic areas of production, and it is within these four areas that all errors and varieties occur.
1. DESIGN AREA
where the coin is designed and a model is engraved.
2. DIE MAKING PROCESS
where the design is transferred to a die steel to strike the coin.
3. PRODUCTION OF PLANCHETS
where coin blanks are produced and transformed into planchets for striking
4. THE STRIKING PROCESS
where the planchets are struck and made into coins.

The last three areas; planchet, die, and striking are where errors occur. Die varieties can occur during the design and engraving area, and within the die making process.

The design process
Sculptors and engravers are employed by the mint to design coins, and to sculpt and engrave other designs into workable subjects for coining. These highly trained specialists take a design from a drawing, painting, or other two-dimensional object and transform the design onto a plaster model (approximately 15" diameter) that will eventually be transferred to a coin. The designs are always in relief, or positive, just as it will appear on the finished coin. This plaster sculpture, after slight changes and improvements, will be coated with epoxy resins to act as a preservative and a hardener. The epoxy coated plaster sculpture is now called a galvano.
The die making process
Since the galvano is usually many times larger than the actual coin to be produced (usually 15" in diameter), this epoxy mould is mounted onto a reducing machine called a pantograph which traces the exact contour of the mould onto an engraved master die bearing the same diameter as the coin to be struck. From this master die, another working master die or master punch is made using a matrix die. From here onwards, the process of reducing and transforming the design to the actual size onto tool steel begins. It involves running the araldite mould onto the reducing machine, with the design traced on tool steel. This process is called 'reduction punch'. The reduction punch will go through a few cycles untill the master die is formed. From master die, several 'coining dies' will be produced.This machine will trace the design on the galvano, and using the principle of the fulcrum, will carve the design onto the end of a piece of steel bar the actual size of the coin to be produced. This is called the reducing stage of die production. This finished piece of steel is called the master hub (sometimes called hob). When the master hub has been produced, it will be heated to extreme temperatures, then quenched (cooled) quickly in a vat of oil. This heating and cooling process, called tempering or annealing will harden the steel even further.




The master hub will have the design in the same, relief configuration as on the galvano, and as it will appear on the finished coin. It will them be placed into a hydraulic hubbing press, opposite a piece of die steel which is about 4 inches long. When each is seated into the press, hydraulic force will bring the two together, transferring the image from the master hub onto the end of the die steel. When complete, this will be called the master die, with the design incused, (mirror image) of the finished coin.
The above operation, known as hubbing, will usually take several impressions to bring the design to the depth specifications required. After each hubbing, the die will be annealed (as described above) so that the steel will become even more hardened. If the die was to receive the image deep enough in the first hubbing, stress on the die steel would result, and very likely create cracks, or at best, would weaken the die. Strength and durability are stringent requirements.



Master and coining dies
The master punch is used to produce a number of working dies which are the actual dies used to strike the Coins. The tremendous pressure applied to strike a coin means that the working die will wear off after a certain number of strikes. They have to be replaced by new dies before more coins are struck. Thus the number of these working dies required depends on the mintage of the coins. Two sets of dies are needed to strike a coin - one for the obverse, the other for the reverse of the coin. The 'coining dies' is installed onto the minting machines according to the required denomination. Then, blanks are fed onto the 'Feeding Hopper'. Each blank is minted with 100 to 150 tonnes pressure.

All dies are made in the Philadelphia Mint. Until 1987, the dies were produced without mintmarks. The mintmarks were added by hand with punches, and then shipped to the branch minting facilities for production. However, beginning in 1987, the mintmark was added to the master die, and later (about 1990) added to the original plaster sculpture. Subsequently, the mintmark will be transferred to the master hub, and on down the die production chain. Beginning in 1996, the Denver Mint will produce dies for the Denver Mint and the San Francisco production facility.
Remember that the plaster sculptings, the galvano, master hubs and working hubs have the image of the coin in a positive, or just as the finished coin will appear. Master dies and working dies will have the image of the coin in negative, or a mirror image of the finished coin.
So, to review...one epoxy makes a few master hubs, which make dozens of master dies, which make dozens of working hubs. Each working hub makes dozens of working dies, which mint half a million or so coins each...the copies of the original design spread like a pyramid from top to bottom with each step, because each piece of each step is used to make dozens of copies for the next step.

It's inside these steps where sub-types, varieties, and die varieties occur. Every sub-type or variety requires a new epoxy design and new master hubs...because the design actually changes. Take a star-less design and add stars, you need a new design. Take a date that's too small and make it bigger, you need a new design.
The difference between the starless to with stars design change and the small to large date change is this:
The stars would be added to enhance the design or to tell the public something changed about the coins...like the addition of arrows onto the dimes, quarters, and half dollars of 1853 to tell the public that the composition (silver content) of the metal changed. They actually changed the weight of the coins. THIS is a sub-type.

Now the change from small to large date could be nothing more than a decision to change them because they were difficult to read. It could also be that the dies were breaking too easily because the stress points of the design were wrong. The minor changes were something the Mint did to prolong the life of the die or to make the coins look better, but these changes didn't 'tell' the public anything. It could also be as simple as a mintmark punch breaking, and its replacement looked a little different. There was no public reason for changing the deisgns, thus they went unannounced and mintage figures were not kept regarding the changes. THIS Is a variety.


Planchet making
Raw metal, after being melted, will be rolled into long sheets until it is the proper thickness for the intended coin. These long sheets are then coiled for storage, shipping, and eventual use. The coils will be fed into a blanking press, which is nothing more than a series of punches which will punch blanks out of the metal coils.

Notice that the word blank was used instead of planchet. Technically speaking, a blank is a disc of metal which has not been prepared for striking, and a planchet is a blank which has been prepared for striking.
Once the blanks are produced, they will pass through what is known as a riddler, which will remove the imperfect blanks. This is done by passing the blanks over a three tier vibrating screen, with holes in the first tier slightly larger than the intended blank. The blanks of proper diameter or smaller will drop through, and blanks too large will be maintained on the upper tier and carried to a scrap bin. The second tier screen has holes slightly smaller than the proper size blank. Blanks which are too small will pass through these holes, and those will be carried away to a scrap bin. Those blanks remaining on the second tier are presumed to be of accurate size, and will be forwarded to the next process.
At this point, the blanks must be annealed and cleaned. The annealing process will soften the blanks to improve striking and reduce wear on the dies. After annealing, they are passed through a wash, to be cleaned. Once cleaned, they are fed through a dryer to remove any water or soap which might cause spots. At this point, the blanks are ready for the next process.
After the blanks have passed through the annealing and wash process, they are passed on to the upset mill. The upset mill is a machine with two primary components; a stationary die with "V" shaped grooves, and a rotating die in the center also with grooves. Blanks are fed into one end of the upset mill, fitting into the grooves. As the center die rotates, the blanks pass around between the outer stationary die and the inner rotating die. As the blanks go through the mill, the spacing between the two dies is gradually reduced, forcing the metal on the edge of the blank to be forced around the edges of the blank. When the disc of metal exits the upset mill, it will have raised metal all around the edge, and will be considered a planchet.
The purpose of the raised edges on planchets before striking is that it greatly helps in coin production. This helps to force the metal, during striking, toward the center of the coin, and then into the crevices of the die. Additionally, these edges or rim, help the coins stack neatly after they are struck
The blanks are called "type I" blanks, and planchets are called "type II" planchets. There are times when these will be referred to as "type I" planchets and "type II" planchets. This will probably be the norm rather than the exception
So the "blank" is a raw disc as it is cut from the strip and the "planchet" is the result of that blank being milled in preparation for striking.

To accomplish this, the planchets are fed into a furnace. This furnace is much like a long dryer, with the planchets being fed in one end and tumble as they travel through the furnace. When the planchets exit the furnace, they are washed in a chemical bath and tumble dried, slowly.
The striking process
Generally, the reverse die is the lower (or anvil) die while the obverse die is the upper (or hammer) die; however, there are exceptions, and on some presses, the dies are mounted horizontally so that they move parallel to the floor. Still, the terms anvil die and hammer die are appropriate.

The collar is a metal ring which will retain the metal during the strike, preventing the metal from expanding outside the desired diameter. The collar will also serve as a third die, creating the reeding on coins with a reeded edge.
Planchets are fed by gravity from a basin attached to the press through a cylindrical tube. This tube stacks 20 or so planchets. From this stack the bottom planchet is fed into the press by one of several feed devices. One device is called the feed fingers: two parallel pieces of metal joined in such a way that they can open and close; on one end of the two pieces is a covered recessed slot and in the center is a hole. A second device is a dial feeder: a circular piece slotted with holes which transport the planchets to the coining chamber and then transport the newly struck coin from the dies.
No matter which feed device is used, the coining process is the same. The anvil die at this point is stationary. As the hammer die moves toward the anvil die it impresses the designs of both sides into the planchet and then completes its cycle by moving upward to its original position. On presses using the dial feeder, the dial remains stationary so that the hole transporting the planchet remains centered over the anvil die, with the hammer die passing through the hole to strike the coin. Now the anvil die starts to move above the collar, actuated by an eccentric cam, raising the struck coin out of the coining chamber. Presses fed by dial feeders have sensors that automatically stop the press if a planchet is mispositioned, of the wrong size or incomplete, or is completely missing. The Denver Mint especially has good use of this feature to largely eliminate many of the error coins that entice collectors.
Proof blanks are manually fed by hand into automatic presses which can strike almost 100 commemorative coins per hour. The high quality required for proof coins does not allow any mass production.


The minting process
The final and actual minting stage is the transfer of the design to the metal coin blanks to be struck. As in days of yore, modern coin presses consist of two important components - one working die for the obverse and another for the reverse, and a collar. Coining presses are designed for any denomination of coin. Dies and collars are interchangeable and striking pressures are adjustable for the various denominations and metals.

The collar is a circular piece of hardened steel which acts as the wall of the coining chamber, which provides the impression for the uniform circular outline around the coin. As its name implies, the collar prevents the striking pressure from spreading onto the flange. Apart from preventing imperfect strikes, the impression on the coin's edge (either as a recess or raised inscription) deters forgery or clipping (an illegal paring of metal from the circumference of the coin). The dies impress the various designs and devices on the obverse and reverse for the coin while the collar forms the edge of the coin. The collar, which is five-thousandths of an inch larger in diameter than the dies, is mounted on springs which allow slight vertical movement.

REVIEW
One epoxy makes a few master hubs, which make dozens of master dies, which make dozens of working hubs. Each working hub makes dozens of working dies, which mint half a million or so coins each...the copies of the original design spread like a pyramid from top to bottom with each step, because each piece of each step is used to make dozens of copies for the next step. "one epoxy makes a master hub which makes a few master dies, which makes dozens of working hubs. Each working hub makes dozens of working dies, which mint half a million or so coins each".



Error and Variety

It's inside these steps where sub-types, varieties, and die varieties occur. Every sub-type or variety requires a new epoxy design and new master hubs...because the design actually changes. Take a star-less design and add stars, you need a new design. Take a date that's too small and make it bigger, you need a new design.

The difference between the starless to with stars design change and the small to large date change is this:

The stars would be added to enhance the design or to tell the public something changed about the coins...like the addition of arrows onto the dimes, quarters, and half dollars of 1853 to tell the public that the composition (silver content) of the metal changed. They actually changed the weight of the coins. THIS is a sub-type.

Now the change from small to large date could be nothing more than a decision to change them because they were difficult to read. It could also be that the dies were breaking too easily because the stress points of the design were wrong. At any rate, the minor changes were something the Mint did to prolong the life of the die or to make the coins look better, but these changes didn't 'tell' the public anything. It could also be as simple as a mintmark punch breaking, and its replacement looked a little different. There was no public reason for changing the deisgns, thus they went unannounced and mintage figures were not kept regarding the changes. THIS is a variety.
Okay, so we've explained the planchet making process, and have gotten most of the way through die making, and why sub-types and varieties come about...now for die varieties:

When the master hub is used to make master dies, and the master dies are used to make working hubs, and the working hubs are used to make working dies, similar processes take place for each of these steps. In order to press the design into each subsequent step of the process, the receiving end of the design has to be heater just right to accept the design. In the past, the design was pressed into the receiving end a number of times to completely fill out the design features. At any point in this process if the receiver wasn't aligned perfectly with the giver, doubling would result...a doubled die. Depending on how far up the process this happened, we could end up with dozens or even hundreds of dies with the same doubling...because if the doubled piece were a master die, it would be used to make dozens of working hubs with the doubling showing, and they would be used to make dozens each of the working dies, further reproducing the same doubling.

Mintmarks were added to each individual working die by hand until 1990. This allowed each individual die to sport its own unique problems with how the mintmark was applied. This is where repunched and over mintmarks happen. In 1990 they went to a new process where the mintmark was included in the master die making process, which removed the need to punch the mintmark into individual dies. The process of adding the mintmark to the master die was watched VERY closely so doubling would not occur, and this effectively removed any future chance of repunched mintmarks and over mintmarks.

Over dates and repunched dates operated in much the same way, but ended in the very early 1900s when the entire date was included in the process BEFORE the working die stage, so that every working die was hubbed with the entire date intact. Repunched dates and over dates occurred because the large design reduced to the small design did not have the entire date on it. It was used from year to year in order to save money. At the end of the die making process, you could see hundreds of dies without a complete date. Punches were used to complete the date on each die by hand. Because the human hand was involved, these punches could bounce, be out of place, etc. allowing for wrong digits, doubled digits, etc. Up until sometime in the late 1800s the date was punched into individual dies - thus allowing room for fault in punching the digits, thus repunched and over dates.

Beginning with the 20th century types, the date was included in its entirety somewhere in the hubbing process so that by the time the working dies were hubbed, the entire date was placed into the die by machine, not by hand. This removed all possibility for repunching date digits, henceforth removing the possibility of repunched and over dates.

ALL 20th century coins exhibiting two different dates on one coin are doubled dies, NOT over dates. This includes the 1918/7D nickel, both 1942/1 dimes, the 1943/2 Jefferson nickel, and others. These are the result of hubbing two different designs into a die (a class 3 design hub doubled die), instead of the result of erroneously punching the wrong date into a die (an over date). ALL series of coins that started during the 20th century had the dates completed in the epoxy stage, so there IS NO SUCH THING as an overdate or a repunched date on Buffalo nickels, Lincoln cents, Mercury dimes, Standing Liberty quarters, Walking Liberty half dollars, Peace dollars, or any coin that came out after those.
Okay, so now we've covered planchet making and planchet errors, die making and sub-types, varieties, and die varieties (all problems that occur during die making), but we still have to cover die errors and striking errors.

Once the dies and planchets are completed, we dump the planchets into hoppers, set the dies into place on the minting presses, and begin making coins. From this point forward, sub-types, varieties, and die varieties are already in place and do not 'become'...ALL of these terms are used for the design that is ALREADY in the die that's being used. So...if a die being used has doubling on it, ALL of the coins minted by that die will take on the doubling, and be discovered and cataloged as doubled dies. If a die being used has stars on it where another did not, ALL of the coins minted by this die will have stars on them and be called the 'with stars' sub-type. If a die being used is a small date, ALL of the coins minted by this die will be small dates, and will be categorized as small date variety coins.

From this point forward, only striking these deisgns into the coins is left. If a planchet had a clip in it when this process started, it will go through the process and come out the other end with the clip. If a planchet started out weakly bonded it could split during the striking process, but still--that planchet was flawed before it entered the striking chamber. If it splits while it is being struck, it's STILL a planchet error because the problem that caused the split was created in the sheets of metal that were cut into blanks. You see, this is the process of deducing WHERE the problem STARTED....not the result. If a planchet started out fine, it will come out the other end fine. Planchet errors CANNOT occur as a result of the striking process.

So...what CAN occur during the striking process. Well, the dies can break. Any coins minted with a broken die will show a huge raised area on the resulting coins due to the cavity in the die caused by the break. Important to note here is that the die started out whole, and broke during the striking of coins, so the first coin struck was NORMAL. The die broke THEN minted error coins. THIS is the fundamental definition of a die error.

The machines can malfunction, mis-striking coins. Any mis-struck coin is a striking error. If the reverse die does not sink properly into the collar before receiving a planchet, and the coin is struck without the retaining collar around it, we get a broad struck coin. If the broad strike is not centered on the die, it's called an off-center strike. If a coin sticks to the upper die and strikes other coins while stuck to the upper die, we end up with a 'struck through capped die' error. ALL errors that do not fit into the planchet error or die error parts DO fit into the striking error part.

A with stars die that is a variety because the stars had to be moved farther from the rim could be a sub type and a variety. If the hub with the sub type and variety end up doubling the image on a working die, we end up with a coin that exhibits a sub type with a variety that's a doubled die. If the mintmark was placed into the doubled die incorrectly and it is doubled, we end up with a coin that's a sub type, variety, doubled die, and repunched mintmark. All this is ON THE DIE. Every coin struck with this die will end up showing all these characteristics.

Now...if this die is hung on the press and a clipped planchet comes through and is struck, we now have all the above WITH a planchet error - a clip.

If the clip causes a problem with the feeder finger that shoved it into the striking chamber and doesn't seat itself properly for the strike, we could end up with a sub-type, variety, doubled die, repunched mintmark that is an off-center struck clipped planchet...a striking AND planchet error.

You see, any of these processes can happen at any time, but are completely independent of one another. Die errors occur to the die once it's on the press, but this is completely independent of the problematic sheet of metal that ended up being blanks that are going to split open after they are struck...we end up with a clashed die coin that split after strike - a die error AND a planchet error all on one coin.

Error versus variety
There is some disagreement as to whether a certain coin is an error or a variety. Generally speaking, most specialists consider an error as an occurrence which does not repeat exactly, and a variety is an occurrence which does repeat exactly. An off center strike therefore would be considered an error. True, some do look very similar, but generally speaking, each off center strike will be different. However, a doubled die will repeat exactly with each strike, and is considered to be a variety.