end of which is an iron box secured to the table. In this are fastened
two perpendicular steel cylinders, firmly supported in a bed, to prevent
their bending or turning around, and presenting but a small portion of
their circumference to the strip. These are exactly at the same distance
apart that the thickness of the strip is required to be. One end of the
strip is somewhat thinner than the rest, to allow it to pass easily
between the cylinders. When through, this end is put between the jaws
of a powerful pair of tongs, or pincers, fastened to a little carriage
running on the table. The carriage to the further bench is up close to
the cylinders, ready to receive a strip, which is inserted edgewise.
When the end is between the pincers, the operator touches a foot pedal
which closes the pincers firmly on the strip, and pressing another
pedal, forces down a strong hook at the left end of the carriage, which
catches in a link of the moving chain. This draws the carriage away from
the cylinders, and the strip being connected with it has to follow.
It is drawn between the cylinders, which operating on the thick part
of the strip with greater power than upon the thin, reduces the whole
to an equal thickness. When the strip is through, the strain on the
tongs instantly ceases, which allows a spring to open them and drop the
strip. At the same time another spring raises the hook and disengages
the carriage from the chain. A cord fastened to the carriage runs back
over the wheel near the head of the table, and then up to a couple of
combination weights on the wall beyond, which draw the carriage back to
the starting place, ready for another strip.
[Illustration: DRAWING BENCH.]
THE CUTTING MACHINES.
After being thoroughly washed, the strips are consigned to the cutting
machines. These are in the rear of the rolling mills, and are several in
number, each when in active operation cutting two hundred and twenty-five
planchets per minute. The press now used, consists of a vertical steel
punch, which works in a round hole or matrix, cut in a solid steel plate.
The action of the punch is obtained by an eccentric wheel. For instance,
in an ordinary carriage wheel, the axis is in the centre, and the wheel
revolves evenly around it. But if the axis is placed, say four inches
from the centre, then it would revolve with a kind of hobble. From this
peculiar motion its name is derived. Suppose the tire of the wheel is
arranged, not to revolve with, but to slip easily around the wheel, and a
rod is fastened to one side of the tire which prevents its turning. Now
as the wheel revolves and brings the _long side nearest the rod_, it will
push forward the rod, and when the long side of the wheel is _away from
the rod_, it draws the rod with it.
[Illustration: CUTTING MACHINE.]
[Illustration: STRIP FROM WHICH PLANCHETS ARE CUT.]
The upper shaft, on which are seen the three large wheels, has also
fastened to it, over each press, an eccentric wheel. In the first
illustration will be seen three upright rods running from near the table
to the top. The middle one is connected with a tire around the eccentric
wheel, and rises and falls with each revolution. The eccentric power
gives great rapidity of motion with but little jerking.
The operator places one end of a strip of metal in the immense jaws of
the press, and cuts out a couple of planchets, which are a fraction
larger than the coin to be struck. As the strips are of uniform
thickness, if these two are of the right weight, all cut from that strip
will be the same. They are therefore weighed accurately. If right, or a
little heavy, they are allowed to pass, as the extra weight can be filed
off. If too light, the whole strip has to be re-melted. As fast as cut
the planchets fall into a box below, and the perforated strips are folded
into convenient lengths to be re-melted. From a strip worth say eleven
hundred dollars, eight hundred dollars of planchets will be cut.
ADJUSTING ROOM.
[Illustration: DELICATE SCALES.]
The planchets are then removed to the adjusting room, where they are
adjusted. This work is performed by ladies. After inspection they are
weighed on very accurate scales. If a planchet is too heavy, but near
the weight, it is filed off at the edges; if too heavy for filing, it is
thrown aside with the light ones, to be re-melted. To adjust coin so
accurately requires great delicacy and skill, as a too free use of the
file would make it too light. Yet by long practice, so accustomed do the
operators become, that they work with apparent unconcern, scarce glancing
at either planchets or scales, and guided as it were by unerring touch.
The exceedingly delicate scales were made under the direction of Mr.
Peale, who greatly improved on the old ones in use. So precise and
sensitive are they that the slightest breath of air affects their
accuracy, rendering it necessary to exclude every draft from the room.
PROGRESS IN COINING.
The methods of coining money have varied with the progress in mechanic
arts, and are but indefinitely traced from the beginning; the primitive
mode, being by the casting of the piece in sand, the impression being
made with a hammer and punch. In the middle ages the metal was hammered
into sheets of the required thickness, cut with shears into shape, and
then stamped by hand with the design. The mill and screw, by which
greater increase in power, with finer finish was gained, dates back to
the Sixteenth Century. This process, with various modifications and
improvements, continued in use in the Philadelphia Mint until 1836.
[Illustration: ANCIENT COINING PRESS.]
The first steam coining press was invented by M. Thonnelier, of France,
in 1833, and was first used in the United States Mint in 1836. It was
remodeled and rebuilt in 1858, but in 1874 was superseded by the one now
in operation, the very perfection of mechanism, in which the vibration
and unsteady bearing of the former press were entirely obviated, and
precision attained by the solid stroke with a saving of over seventy-five
per cent. in the wearing and breaking of the dies.
[Illustration: STEAM COINING PRESS.]
DIES.
[Illustration: DIES.]
The dies for coining are prepared by engravers, especially employed
at the Mint for that purpose. The process of engraving them consists
in cutting the devices and legends in soft steel, those parts being
depressed which, in the coin, appear in relief. This, having been
finished and hardened, constitutes an “_original die_,” which, being
the result of a tedious and difficult task, is deemed too precious to
be directly employed in striking coins; but it is used for multiplying
dies. It is first used to impress another piece of soft steel, which
then presents the appearance of a coin, and is called a _hub_. This hub,
being hardened, is used to impress other pieces of steel in like manner
which, being like the original die, are hardened and used for striking
the coins. A pair of these will, on an average, perform two weeks’ work.
TRANSFER LATHE.
[Illustration]
The transfer lathe, a very complicated piece of machinery, is used in
making dies, for coins and medals. By it, from a large cast, the design
can be transferred and engraved in smaller size, in perfect proportion to
the original.
THE COINING AND MILLING ROOMS.
This department, the most interesting to the general visitor, occupies
the larger portion of the first floor on the east side of the building.
The rooms are divided by an iron railing, which separates the visitors,
on either side, from the machinery, etc., but allows everything to be
seen.
[Illustration: MILLING MACHINE.]
The planchets, after being adjusted, are received here, and, in order to
protect the surface of the coin, are passed through the milling-machine.
The planchets are fed to this machine through an upright tube, and, as
they descend from the lower aperture, they are caught upon the edge of
a revolving wheel and carried about a quarter of a revolution, during
which the edge is compressed and forced up—the space between the wheel
and the rim being a little less than the diameter of the planchet.
This apparatus moves so nimbly that five hundred and sixty half-dimes
can be milled in a minute; but, for large pieces, the average is about
one hundred and twenty. In this room are the milling machines, and the
massive, but delicate, coining presses, ten in number. Each of these is
capable of coining from eighty to one hundred pieces a minute. Only the
largest are used in making coins of large denominations.
[Illustration: PERFECTED COINING PRESS.]
[Illustration: COINING PRESS.]
The arch is a solid piece of cast iron, weighing several tons, and unites
with its beauty great strength. The table is also of iron, brightly
polished and very heavy. In the interior of the arch is a nearly round
plate of brass, called a triangle. It is fastened to a lever above by
two steel bands, termed stirrups, one of which can be seen to the right
of the arch. The stout arm above it, looking so dark in the picture, is
also connected with the triangle by a ball-and-socket joint, and it is
this arm which forces down the triangle. The arm is connected with the
end of the lever above by a joint somewhat like that of the knee. One end
of the lever can be seen reaching behind the arch to a crank near the
large fly-wheel. When the triangle is _raised_, the arm and near end of
the lever extends outward. When the crank lifts the further end of the
lever it draws in the knee and forces down the arm until it is perfectly
straight. By that time the crank has revolved and is lowering the lever,
which forces out the knee again and raises the arm. As the triangle is
fastened to the arm it has to follow all its movements.
Under the triangle, buried in the lower part of the arch, is a steel
cup, or, technically, a “die stake.” Into this is fastened the reverse
die. The die stake is arranged to rise one-eighth of an inch; when down
it rests firmly on the solid foundation of the arch. Over the die stake
is a steel collar or plate, in which is a hole large enough to allow a
planchet to drop upon the die. In the triangle above, the obverse die is
fastened, which moves with the triangle; when the knee is straightened
the die fits into the collar and presses down upon the reverse die.
Just in front of the triangle will be seen an upright tube made of brass,
and of the size to hold the planchets to be coined. These are placed in
this tube. As they reach the bottom they are seized singly by a pair of
steel feeders, in motion as similar to that of the finger and thumb as is
possible in machinery, and carried over the collar and deposited between
the dies, and, while the fingers are expanding and returning for another
planchet, the dies close on the one within the collar, and by a rotary
motion are made to impress it silently but powerfully. The fingers, as
they again close upon a planchet at the mouth of the tube, also seize
the coin, and, while conveying a second planchet on to the die, carry
the coin off, dropping it into a box provided for that purpose, and the
operation is continued _ad infinitum_. These presses are attended by
ladies, and do their work in a perfect manner. The engine that drives the
machinery is of one hundred and sixty horse-power.
After being stamped the coins are taken to the Coiner’s room, and placed
on a long table—the double eagles in piles of ten each. It will be
remembered that, in the Adjusting Room, a difference of one-half a grain
was made in the weight of some of the double eagles. The light and heavy
ones are kept separate in coining, and when delivered to the treasurer,
they are mixed together in such proportions as to give him full weight
in every delivery. By law the deviation from the standard weight, in
delivering to him, must not exceed three pennyweights in one thousand
double eagles. The gold coins—as small as quarter eagles being counted
and weighed to verify the count—are put up in bags of $5,000 each. The
three-dollar pieces are put up in bags of $3,000, and one-dollar pieces
in $1,000 bags. The silver pieces, and sometimes small gold, are counted
on a very ingenious contrivance called a “counting-board.”
[Illustration: COUNTING BOARD.]
By this process twenty-five dollars in five-cent pieces can be counted
in less than a minute. The “boards” are a simple flat surface of wood,
with copper partitions, the height and size of the coin to be counted,
rising from the surface at regular intervals, and running parallel with
each other from top to bottom. They somewhat resemble a common household
“washing board,” with the grooves running parallel with the sides but
much larger. The boards are worked by hand, over a box, and as the pieces
are counted they slide into a drawer prepared to receive them. They are
then put into bags and are ready for shipment.[8]
THE CABINET.
The room in the Mint used for the Cabinet is on the second floor. It was
formerly a suite of three apartments connected by folding-doors, but the
doors have been removed, and it is now a pleasant saloon fifty-four feet
long by sixteen wide. The eastern and western sections are of the same
proportions, each with a broad window. The central section is lighted
from the dome, which is supported by four columns. There is an open space
immediately under the dome, to give light to the hall below, which is the
main entrance to the Mint. Around this space is a railing and a circular
case for coins. The Cabinet of Coins was established in 1838, by Dr. R.
M. Patterson, then Director of the Mint. Anticipating such a demand,
reserves had been made for many years by Adam Eckfeldt,[9] the Coiner,
of the “master coins” of the Mint; a term used to signify first pieces
from new dies, bearing a high polish and struck with extra care. These
are now more commonly called “proof pieces.” With this nucleus, and a
few other valuable pieces from Mr. Eckfeldt, the business was committed
to the Assay Department, and especially to Mr. Du Bois, Assistant
Assayer. The collection grew, year by year, by making exchanges to supply
deficiencies, by purchases, by adding our own coin, and by saving foreign
coins from the melting-pot—a large part in this way, at a cost of not
more than their bullion value, though demanding great care, appreciation,
and study. Valuable donations were also made by travelers, consuls, and
missionaries. In 1839, Congress appropriated the sum of $1,000 for the
purchase of “specimens of ores and coins to be preserved at the Mint.”
Annually, since, the sum of $300 has been appropriated by the Government
for this object. More has not been asked or desired, for the officers of
the Mint have not sought to vie with the long established collections of
the national cabinets of the old world, or even to equal the extravagance
of some private numismatists; but they have admirably succeeded in their
purpose to secure such coins as would interest all, from the schoolboy to
the most enthusiastic archæologist. The economic principle upon which the
collection has been gathered is a lesson to all governmental departments
in frugality, as well as a restraint upon the natural tendency to
extravagance which has heretofore distinguished those who have a passion
for old coins. There are thousands of coin collectors in the United
States, and fortunes have been accumulated in this strange way. More than
one authenticated instance has been known in this country where a man
has lived in penury, and died from want, yet possessed of affluence in
time-defaced coins.
RELICS.
Having referred to the portraits of the Directors of the Mint, we will
cite other interesting subjects of observation, before describing the
coins.
The first object in the Cabinet attracting attention is a framed copy of
the law of Congress establishing the Mint, with its quaint phraseology
with the signature of Thomas Jefferson. (See fac simile on page 11.)
In the first section, near the western window, is the assorting machine,
the invention of a Frenchman, Baron Seguier, and which is now in use in
the Mint at Paris.
The planchets for coinage are liable to be a little too heavy or too
light; it is therefore necessary, at least in the case of gold, to assort
them by weighing. This machine is designed to enable one person to do
the work of many. “The planchets are thrown into the hopper at the rear,
and, being arranged by the action of the wheel, slide down balances. By
machinery beneath they are carried one by one to the nearest platforms to
be weighed. If too heavy, the tall needle of the beam leans to the right
and lifts a pallet-wire, which connects with an apparatus under the table
by which the planchet is pushed off and slides into one of the brass pans
in front. If the piece be light, the needle is drawn over to the left,
and touches the other pallet, which makes a passage to another brass
pan. If the piece be of true weight, or near enough, the needle stands
perpendicular between the pallets, and the piece finds its way into the
third brass pan.”
On the opposite wall is a fine cast of Cromwell, a duplicate of one
taken shortly after his death. It was placed here by Mr. W. E. Du Bois,
who received it from H. W. Field, Esq., late Assayer of the Royal Mint,
London, who is a descendant of the great Protector. Below the cast of
Cromwell is a case showing progressive “alloys of gold.” The plates
comprise gold alloyed with copper, gold alloyed with silver, and gold
fine.
In the eastern section are the Standard Test Scales, used to test the
weights sent to all the mints and assay offices in the United States, and
are so delicate as to weigh the _twenty-thousandth_ part of an ounce.
These scales were manufactured by employees of the Mint, and have been
in use more than a quarter of a century. The beam is hollow, and filled
with Spanish cedar to guard against the effect of dampness; the bearings
are edges of knife-blades, which impinge on a surface of agate plate.
These scales are tested by the Annual Assay Committee, which meets on the
second Tuesday in February of every year.
CURIOSITIES AND MINERALS.
The most interesting objects of this curious display are three golden
images from graves in the Island of Chiriqui, off Central America. They
were dug up in 1858, and sent to the Mint as bullion, to be melted. They
are of pure gold, but the workmanship is very crude. The images are in
the forms of a reptile, a bird, and a man with symbols of power in his
hands, not unlike those designating Jupiter. There are also, in the first
section, two large cases with choice selections of mineral specimens,
carefully classified and labeled. These are from well selected results of
years of patient collecting, and are deserving of more study than can be
devoted to them by casual visitors. They are chiefly from different parts
of the United States, and are an “index book” to the vast mineral wealth
of the nation.
Near the exit door of the Cabinet, in a large glass case, is a
magnificent American eagle, which is worthy of the visitor’s attention.
It is superbly mounted, with grand breadth of wing and wondrous piercing
eyes. The portrait of this “pet” can be recognized on Reverse of the
“Pattern” Silver Dollars of 1836, 1838, and 1839, and on the Obverse of
the first nickel cent pieces coined in 1856.
“PETER,”
the name which the noble bird recognized, was an inhabitant of the Mint
six years. He would fly about the city, but no one interfered with the
going or coming of the “Mint bird,” and he never failed to return from
his daily exercise before the time for closing the building. In an evil
hour he unfortunately perched upon a large fly wheel, and getting caught
in the machinery, received a fatal injury to his wing, and this ended
rather an unusual career for an eagle.
EASTERN CORRIDOR.
Opening into the eastern corridor are the rooms of the Superintendent,
the Chief Clerk, and the library of Historical and Scientific Works,
including many valuable books upon the art of coinage. Passing out
upon the gallery, we enter the Machinists’ and Engravers’ rooms.
Here are engraved and finished the dies used in this Mint and in all
the branch mints. Visitors are not ordinarily allowed access to these
rooms, or to the assay office, or to the cellar. (In the latter are a
number of immense vaults, and in the main cellar are engines, which
supply the power and light used throughout the building.) Here are also
blacksmith, carpenter, and paint shops; and in the rear, west side, is
the medal-striking room, where medals are struck by a screw press, worked
by hand. The cellar also contains the “sweep” grinding rooms. Near this
room are the wells, which are receptacles for the water used in washing
the precious metals. These wells are cleaned out every few years and the
deposit is then treated in the same way as the sweepings.
The little wooden building in the court was formerly the cent-room, where
copper cents were exchanged for nickels;[10] it is now the office of the
agent of the Adams Express Company, who brings to the Philadelphia Mint
millions of dollars worth of precious metals in the shape of bullion
from the far west, to be converted into American Coin, when it is
again transported by the same company to various points to be put into
circulation.
COINS.
The ancient coins are chiefly arranged in upright cases against the
walls in the doorways and the middle section of the saloon. The modern
coins are placed in nearly level cases at either end of the room and
in the circular or central cases. Of antique coins the portion labeled
Cabinet Nos. 97, 98, 99, “Massilia,” are interesting as belonging to a
Greek colony which settled about six hundred years before Christ upon the
coast of Gaul, on the spot now known as Marseilles. This little colony
fled their native country and the rule of a governor placed over it by a
Persian monarch. They were distinguished for their civilization, and the
work upon these small coins is the most palpable witness of that fact in
existence to-day.
GREEK COINS.
Their surfaces, of gold, silver, and bronze, bristle with lance and
spear, helmet and shield. On one of these coins Jove is seated and
bearing an eagle, defying Alexander of Macedon, while on the obverse the
same mighty conqueror impersonates Hercules. The oldest coin here is
supposed to date back to 550 B.C. It is well to mention the fact that
coins were never dated until the fifteenth century; and previous to
that time the ages of coins can only be determined by the legends upon
them, as answering to the page of corroborative history and the art era
to which they belonged. No. 9 bears on the obverse the Macedonian horse,
a favorite animal, which the then war-loving Greeks are said to have
deified. At this period the haughty royal families began to chronicle in
coin their line of descent. The kings of Macedon claimed Hercules for
an ancestor, and in proof thereof the lion’s skin was a royal insignia.
An old historian says, “The kings of Macedon, instead of the crown, the
diadem, the purple, bear upon their effigy the skin of a lion.” Several
pieces of money in this case, upon which are heads of Alexander, have
rings in them, and were worn by gracious dames as ornaments. The value
of this series of coins is priceless, as furnishing portraits of the
heroes of that period which can be received without question as accurate,
for the art patronage of the kingdom was regulated by the strictest
laws. Alexander was especially jealous of how the future nations should
regard his physique, allowing only three artists, during his reign,
the privilege of drawing, painting, or modeling his head.[11] To such
royal guardianship may be attributed the perfection to which Greek art
attained; and it may well be a matter of regret that the same firmness in
this regard was not universal. The last coin of this series is a small
bronze coin, and was issued by Perseus, the last king of Macedon.
PERSIAN.
In this case is a collection of Persian coins, very choice, and of no
mean workmanship, and, of course, portraying the faith and rites of the
fire-worshippers. One era is distinctly Greek in style, and marks the
period of Greek supremacy. The oldest gold coin known to the collector is
the gold Daric of King Darius, with the head of the king in bold relief;
and all Persian coins are so called in remembrance of this monarch. Their
money was very fine, so the word _Daric_ has become incorporated into
numismatic terminology to designate any pure gold coin. Nos. 58 to 67,
inclusive, of this series, are silver coins of the Sassanian kings.
EGYPT
is also represented in this case, as is proper, for that nation had no
coinage until it was taught the art when conquered by Alexander. Here
are some very attractive data of Egyptian history, and from these coins
are obtained the only portraits of Arsinoe, Cleopatra, and others.
THE SYRIAN COINS