The Newsletter of Medal Collectors of America

Volume 8 Number 6 June 2005

From the Editor 2

The Society of Medallists (3rd Installment) (byDavid Alexander) 2

Medals of Conflict Medals of Conquest ((3rd installment by David Menchell) 12

Letters to The Editor 21

Important Dates

July 28th, 3:00 p.m., Membership Meeting at ANAConvention

July 27th-30th ANA Convention in San Francisco

Board MembersJohn W. Adams, PresidentJohn Kraljevich, Vice PresidentBarry D. Tayman, Secretary & TreasurerDavid T. AlexanderRobert F. FritschDavid MenchellScott MillerJohn SallayDonald Scarinci

John W. Adams, Editor99 High Street, 11th floorBoston, MA 02110jadams@adamsharkness.com

Barry Tayman, Secretary & Treasurer5424 Smooth Meadow WayColumbia, MD 21044Btayman@comcast,net

David Boitnott, Webmasterdboitnott@nc.rr.com

website: medalcollectors.org Editor of Collectors’ Guide, Dick Johnson (dick.johnson@snet.net)

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From the Editor

This issue contains the third and finalarticles for David Menchell’s opus on Frenchand Indian War medals and for DavidAlexander’s landmark descriptions of the SOMSERIES. Both articles are classics: we willreprint them in a standalone format if 10members (only ten!!) so request. There will beno charge for the reprints but we do want to becertain that they will be appreciated.

As MCA approaches its annual meetingin San Francisco, the state of our club ishealthy. Membership is growing, as is ourbank account. The MCA Advisory has posted21 consecutive monthly issues and, mostimportant the content has been of high quality.

One challenge for us is what to do next.Unlike other specialties, medals are nothomogeneous. Collectors of mint medals orSOM medals or Renaissance medals wouldseem to have very little in common. However,if one ponders the subject, there is morecommonality than one might suspect, witnesstopics such as medal-making, medalpreservation, research methodology, collectingmethodology, design tradition, rules governinglegends, etc. We would hope to attract morearticles for the Advisory on these subjects. Itwould be even better to get together atconventions to discuss our mutual medalmadness, as well as have the fun that comeswith talking to kindred spirits.

Changing the subject, ourcongratulations go to our distinguished memberDonald Scarinci. Don was invited to join theCitizens Coinage Advisory Committee hard onthe heels of the publication of his new book:“David Brearley and the Making of the unitedStates Constitution.” Hearty congratulationsfor a truly impressive pair of achievements.

George Kolbe’s auction of the secondinstallment of John Ford’s library containedlarge amounts of unique material. We hopethat lucky members who bought lots will sharetheir acquisitions with us, whether or not thematerial pertains to medals. Most collectors ofmedals also collect knowledge.

We note that the ANR auction of June30th contains a lovely example of the LibertasAmerica medal in silver. The piece, which isprovenanced to Harry Bass, has been gradedMS 65 by PCGS. Hopefully, encapsulation ofmedals will be a short-lived phenomenon.

The Society of Medalists (Part III)

The Art Medal Defined(by David T. Alexander)

1935 #11. LORADO TAFT. Ontario SendsGreetings to the Sea.

Obv Elegant woman facing r., two dolphinsmeld into field, ONTARIO SENDSGREETINGS TO THE SEA.

Rev Taft’s Fountain of the Great Lakes atthe Chicago Art Institute, inspired by theartist’s recollection of the Danaides, passingcrennulate shells of water fromONTARIO. MICHIGAN. HURON.SUPERIOR. ERIE. Signature raised L.T. ©lower r.

Taft wrote, ``As young boy I wasfascinated with the story of the Danaides,“those beautiful sisters who were eternallyoccupied in the hopeless task of carrying waterin a sieve, -- no, in 40 sieves. To my youthfulimagination, they made the most lovely groupsand it was unspeakably pathetic to think ofthem thus punished for killing their husbands –something that might happen in any family!’’

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Taft lamented his fountain’s use bystreet derelicts for bathing and less mentionablepurposes. The fountain had its birth as a projectfor a sculpture class, “…there came a glimpseof our American Danaides engaged throughoutall time in sending the sparkling waters of ourmighty inland seas on their never-ending round.The 49 daughters of Danaus are reduced to areasonable modern family of five and theircruel atonement has become a glad duty,cheerfully performed.”

Taft confessed to modifying geographyto fit his fountain onto the medal, Superior nowkneels to fit herself into its confines, andOntario stretches her hand not toward thedistant sea but toward St. Louis. This medal,like MacNeil’s Hopi Medal, lent itself to aremarkable range of distinctive patinas. Itremains one of the most graceful compositionsof the entire series.

EDGE AND PATINA VARIETIESOBSERVED:

1.THE SOCIETY OF MEDALISTSELEVENTH ISSUE. A. Deep reddish-brownwith hints of green around the reliefs.2. Ditto. Deep red-brown with a more lavishapplication of sea green.3. Ditto. B. Pale blue-green covers fields anddevices.4. Ditto. I. Very uniform pale sea green coversboth sides.

1935 #12. ANTHONY DeFRANCISCI. FiatVita.

Obv This planchet achieved a cloud-like effectby its irregular scalloping. The convex obversefeatures a hand wreathed in flame at the wrist,holding an somewhat insouciant infant beforeclouds and stylized lightning, FIAT – VITAflanking. Signature large double-circle©FRANCISCI •••

Rev Swirling gas clouds, stars and lightningsuggest the creation of the cosmos.

DeFrancisci, creator of the 1920 MaineStatehood and the 1921 Peace dollar, offered ascientific description of his concept. “Inchoosing the subject of `Creation’ for thismedal I tried to crystallize in a few inches ofspace the general belief held by astronomersthe world over that out of the gigantic massesof swirling matter, dotting various sections ofour visible firmament, worlds come generallyinto being.

The advent of life, either in itsrudimentary or complex organism, is based onthe hypothesis that life could evolve and endureof all planets receiving heat and light from acentral orb.”

During a long career, DeFranciscicreated many outstanding medals and works ofmonumental sculpture, including theIndependence Monument in New York’s UnionSquare. He received the J. Sanford SaltusMedal from ANS and the Lindsey MorrisAward from the National Sculpture Societybefore his innovative SOM medal. His RobertE. Lee medal saw release during the Civil WarCentennial.

EDGE AND PATINA VARIETIESOBSERVED:1. SOCIETY OF MEDALISTS TWELFTHISSUE. on two divided segments. A. Lightlyantiqued with little highlighting of the reliefs.2. SOCIETY OF MEDALISTS TWELFTHISSUE on one segment. A. Boldly antiquedwith brighter fields strongly highlighted bysteely toning outlining the reliefs.3. MACO/ .999 SILVER only. Telemarketerissue noted above.

1936 #13. R. TAIT McKENZIE. RejoiceYoung Man in Thy Youth.

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Obv Line of four runners, flying geeseoverhead, slim whippet racing below.Anepigraphic, this side is today often shownas the reverse.

Rev Nude athlete putting the shot, REJOICE/OH/ YOUNG – MAN IN/ THY – YOUTH.Angular ligate RTM upper l, 19 – 36 flanking

The medal appeared coincident with theOlympic Games in Berlin. Its design remindsus that while McKenzie was an acclaimedsculptor of war monuments for cities as diverseas Edinburgh, London, Cambridge, Ottawa,Philadelphia and Washington D.C., he is bestknown to medal collectors for his brilliantmedallic treatment of athletic subjects. Hisworks include several that were struck for yearsby MACO, notably The Joy of Effort, ThreePunters and the complex Shield of the Athletes.

McKenzie wrote in his Message: “Thelast fifty years has shown a revival and spreadof interest in competitive athletic sports andoutdoor life that has no parallel in the history ofthe world… As one who has followed this greatmovement from its inception to maturity, Ihave chosen two phases of it for the thirteenthmedal issued by the Society.”

The subject of speed on the obverse, theartist stated, is universal, but can be easilyidentified with the ancient Olympic Games.Putting the shot is an event that played aprominent part in the modern Olympics, whichbegan in 1896 under the leadership of BaronPierre de Coubertin.When McKenzie sculpted his medal, only fortyyears had elapsed, and the Games of the TenthOlympiad had just celebrated in Berlin. Theartist’s chosen inscription, “Rejoice, Oh YoungMan in Thy Youth” was taken from the Bookof Ecclesiastes (11:9).

Like Laura Gardin Fraser’s 1930 firstSOM medal, the McKenzie design is knownonly in varying shades of tan-gold.

EDGE AND PATINA VARIETIESOBSERVED:

1. THE SOCIETY OF MEDALISTSTHIRTEENTH ISSUE. A. Tan-gold.2. Ditto. F. Distinctly more golden.

1936. #14. ALBERT STEWART.SAVAGERY OF WAR – PEACE.

Obv Man leaning on plow gazes right towarda military cemetery, .MAN. - .SEEKS./ .TO.TURN – FROM. THE./ .SAVAGERY - .OF.WAR. .1936/.© in exergue, raised A.S. belowbase r.

Rev Winged figure in flight over mountains,holding olive branch,. PEACE. in exergue.

In comparison to earlier artists,Stewart’s Sculptor’s Message was an exercisein brevity. “In arriving at the subject matter fora contemporary medal, I was guided by thebelief that man’s voice of protest against war isgrowing from an inaudible whisper to aresounding concordance, which may bring`between all men peace and good fellowship.’”

There was certainly a groundswell ofsentiment for peace throughout the world in themid-1930’s, from the Oxford Pledge to MoralRearmament. Nonetheless, 1936 was notablefor its violence. Making headlines were theItalian conquest of Ethiopia, the Spanish CivilWar, Stalin’s purges in the Soviet Union,expansion of Japanese aggression in China, theArab revolt against the British in Palestine andthe consolidation of the Hitler dictatorship inGermany.

At the time of his SOM medal release,Stewart was a recognized creator of sculpturalfriezes, doors and panels, sculpture in the roundand especially garden sculpture. His list ofhonors was extensive, though he was only 36,including the Silver Medal of the Beaux ArtsInstitute of Design, the Ellin P. Speyer Prize ofthe National Academy of Design, and the

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Avery Prize of the 1932 Architectural LeagueExhibition.

EDGE AND PATINA VARIETIESOBSERVED:

1. THE SOCIETY OF MEDALISTSFOURTEENTH ISSUE. B, BRONZE on sameline as MEDALLIC ART CO. N.Y. Rich deepreddish brown.2. Ditto. B, word BRONZE is placed a linehigher than MEDALLIC ART CO. N.Y.,arguing two separate punches.

1937. #15. ROBERT I. AITKEN. OmniaVincit Amor.

Obv Artfully draped couple embracing, womanin foreground, Latin OMNIA/ VINCIT –AMOR, Love Conquers All. Winged Scarab inexergue.

Rev Same couple seen from the other side, manin foreground (Concordant design), upper r.ALL/ MAN-/ KIND/ LOVE A/ LOVER.Winged scarab is now an oval enclosingreversed incuse AI/ TK/ EN.

Aitken’s commentary included asplendid linking of all the elements of an artmedal. “In making a medal or medallion themain problem is to add, if possible, to itsmetallic alloy the one ingredient which makesbronze imperishable – Beauty – Beauty inthought and execution. For Beauty inspiresLove – Love creates Beauty.

With the above in mind this Medallionbegan to enfold a symbolic group of twofigures, interwoven into a composition whichappears to penetrate the bronze so that one sideis the completion of the other. To inject thethought that `Love is immortal’ the wingedscarab, symbol of immortality, which alsoseems to be embedded in the bronze, wasadded.”

By 1937, Aitken was already pastpresident of the National Sculpture Society,

past vice president of the National Academy ofDesign and the Architectural League of NewYork. He designed the Panama-PacificExposition $50 gold pieces that are a highlightof U.S. commemorative coinage.

EDGE AND PATINA VARIETIESOBSERVED:

1, THE SOCIETY OF MEDALISTSFIFTEENTH ISSUE. B. Light red-gold.2. Ditto. Brighter gold, a later strike purchasedfrom SOM.

1937. #16. CHESTER BEACH. FATHERS& SONS, PEACE & WAR

Obv Five nude youths bear father’s bier,youngest carries laurel wreath, oak spray lieson body, .IN PEACE SONS BURY THEIRFATHERS. BEACH/ © 1937 at lower l.

Rev Gaunt, wolfish father bears son’s corpsefrom battlefield as vultures swoop at l., .INWAR THE FATHERS BURY THEIRSONS.

Sculptor Beach stated, “The thought ofthe medal is a simple, universal one when menpause to think straight; for that reason I havedesigned the medal as of no particular period.The Greeks probably put it most tersely, `InPeace the Sons bury the Fathers, in War theFathers bury the sons.’

Are our young men to be buried almostbefore mature manhood, under long rows ofstone crosses, or are they to round out theirlives and in turn be buried in reverence by theirsons in peace? A thought to keep well beforeour vision as present war clouds again surroundus.”

Peace and war would provide more thanone medalist with inspiration throughout thecareer of the Society. Here is a stark, sombermessage in sculptural firm, far more realistic

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than Albert Stewart’s 1936 Peace Medal. Thismedal was released with a distinctly brass-goldcoloration, and its patina variations are lessdramatic yet distinct.

Beach designed the 1923-S MonroeDoctrine Centennial half-dollar; he modeled the1928 Hawaiian half dollar and designed the1935 Hudson, N.Y. commemorative half dollar.

EDGE AND PATINA VARIETIESOBSERVED:

1. THE SOCIETY OF MEDALISTSSIXTEENTH ISSUE CHESTER BEACHSCULPTOR. B. BRONZE distant. Olive-tan.4mm thick.2. Ditto, tan-gold. B.3. Ditto, G. Bright gold, 5mm thick.

1938 #15. A. STIRLING CALDER. DANCEOF LIFE

Obv Nude mother holds spirited infant withball. THE DANCE OF LIFE STARTSEARLY, AND GOES ON. Roughly texturedfields, sans-serif lettering.

Rev Nude male pulled, pushed by Pleasure andPain, WITH PLEASURE – PAIN AND THEPROTAGONIST. Signature A – S – Cbetween legs.

Calder wrote a profoundlyphilosophical message From the Artist. “It hasbeen a privilege to design a medal with asubject of the kind that has always fascinatedme, and the conception of LIFE AS A DANCE,into which one is launched early, and heldthroughout life is one of these and has beenvery compelling.

``I conceive of our introduction to thedance as beginning with the first infantileresponse to the unconscious urge of the electricsurge of life. Then, as life goes on, our dance

continues subject to the experiences of thecosmic rhythms that compel some sort ofwilling or reluctant acceptance. For this is notthe sort of dance to which one my refuse torespond to Nature’s piping – and still live. Ouracceptance of life imposes the dance.

And, as all our experiences are eitherpleasant or painful, and as each one of us is thechief actor in his or her little drama, I havemade the protagonist dancing between pleasureand pain. A gay dance, a grave dance, a wearydance, a furious dance, but always persistent isthis dance of life, where the better dancers leadthe better lives and inspire the laggards.”

The artist was 68 years of age when hedesigned this medal, and had an exceptionallydistinguished career including leading artisticroles at the 1900 Pan American Exposition,1903 Louisiana Purchase Exposition, 1909Alaska-Yukon-Pacific Exposition, 1915Panama-Pacific Exposition. His monumentalsculptures were exhibited from New York toMiami, San Francisco to Valley Forge. A majoroverseas commission was his Leif Ericssonstatue at Reykjavik, hailing the Millennium ofIceland’s historic parliament, the Althing.

Here is one of the most distinctivetreatments of the medallic field thus far createdin the series. The goldplate allowed forminimal variation of patina.

EDGE AND PATINA VARIETIESOBSERVED:

1. THE SOCIETY OF MEDALISTSSEVENTEENTH ISSUE A. STIRLINGCALDER. B. Subdued goldplate.2. Ditto. Bright goldplate.

1938 #18. GERTRUDE LATHROP.CONSERVE WILDLIFE.

Obv Wood Duck preening, new fern frondsuncurling in background, CONSERVE

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WILD . LIFE. Signature raised G.K.LATHROP/ ©

Rev Pronghorn (traditionally called“Antelope”) with barrel cactus, anepigraphic.

Famous as a wildlife sculptor, GertrudeLathrop’s extensive commentary From theArtist could have been written by anypassionately committed 21st century ecologist.In her timeless message, she praisedconservation-minded sportsmen, denouncedignorant predator-killing farmers, inhumaneanimal traps, the use of furs in ladies’ fashions,indiscriminate use of poisons and recklessslaughter of species after species of birds andanimals.

She chose the Wood Duck because itpersonified the species endangered by heedlessdraining of wetlands, the pronghorn because in1938 it survived almost wholly on reservations.Fortunately, many of the birds and animals shelisted as on the cusp of extinction haveflourished in the following years.

“The way to save them is to attempt toprovide them with conditions under which theywill thrive, and not to kill them. There aremany of us who will fight for them, that wemay see them, not only behind glass, butrunning, walking, flying and swimming as theyfulfill the mission for which they werecreated.”

Lathrop’s animal sculptures werewidely acclaimed, and her artistic integritymade her a valued SOM board member formany years. Her 1936 Albany and 1938 NewRochelle half-dollars brought her distinctiveanimal nature art to U.S. commemorativecoinage. Albany’s beaver gnawing a maplebranch and the resplendent figure of John Pell,Lord of the Manor of Pelham receiving his“one fatted calfe” from New Rochelle’sHuguenot settlers are among the finest designfeatures of the 1892-1954 series.

EDGE AND PATINA VARIETIESOBSERVED:

1. THE SOCIETY OF MEDALISTSEIGHTEENTH ISSUE 1938 – GERTRUDEK.LATHROP, SCULPTOR. B. Tan-gold, hintof olive. Rims sharply squared.2. Ditto. B. Clear gold. Squared rim.3. Ditto. D. Subtly rounded rims.1939 #19. EDWARD McCARTAN. OldWorld – New World.

Obv Kneeling mother with child cowers beforeFour Horsemen of the Apocalypse in skyabove, serpent-like gas mask at her knee,castle, and ancient ruin in background. ExergueTHE OLD WORLD/ 1939. E. McCARTAN/ ©.

Rev Radiant sun, Mother in 1930’s dress, childwith book, basket of flowers, skyscrapers left,forest right, all under radiant sun. Exergue THENEW WORLD/ 1939.

McCartan sounded a concept that wasshared by millions of Americans during the1930’s. Disillusioned by the post-World War Isettlements, most Americans wanted no furtheroverseas military adventures. In From theArtist, he stated “The broad Atlantic Oceanthankfully isolates us from forces whichdestroy life and liberty and which impede thenormal pursuit of happiness.

I have attempted to portray the fortunateposition of the American home makercontrasted with her European sister who livesfrom day to day in a paralysis of fear and hateand regimentation. The Four Horsemen of theApocalypse – Pestilence, Death, Famine, War –are riding high across the Eastern Hemisphere.

I hope that in design and execution themedal has merit not only because it symbolizesthe social forces which influence the lives ofthe Old World peoples and the New Worldpeoples but also because it is a permanent,artistic record of rapid fire events in 1939."

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The “broad Atlantic” and broaderPacific were no longer the effective barrierMcCartan envisioned in his message. OnDecember 7, 1941, America’s isolation wasended forever. His medal’s specific symbolismremained accurate, however. American motherswere still free from the direct attack suggestedon this medal’s reverse until the coming of theAtomic Age.

McCartan was 60 years of age in 1939.He had been a student of Herbert Adams,Hermon MacNeil and George Gray Barnard.He was an Academician of the NationalAcademy of Design as well as a leader of theNational Sculpture Society, New YorkArchitectural League and Beaux Arts Instituteand recipient of most major American sculptureawards by 1939.

EDGE AND PATINA VARIETIESOBSERVED:

1. THE SOCIETY OF MEDALISTSNINETEENTH ISSUE 1939 EDWARDMcCARTAN SCULPTOR. B. Tan-gold.2. Ditto. H. Smooth gold with hint of olive.

1939 #20. JOHN GREGORY. CeresBlessing.

Obv Smoothly stylized wheat-crowned bustr., rising from lower field, wreathed in cloud.Sans serif legend CERES’ BLESSING SO ISON YOU, large raised signature JG © 39below.

Rev Full-blown rose, rose buds with beesflying at left, SCARCITY AND WANTSHALL SHUN YOU.

In his eloquent message From theArtist, Gregory called this “A BetrothalMedal,” inspired by the fourth act ofShakespeare’s The Tempest. “In thedevelopment of the scene, after the betrothal of

Ferdinand and Miranda, Prospero wouldbestow upon the eyes of the young couple somevanity of his art.” His industrious servant Arieland his own supernatural machinery produce“A Masque,” assisted by Iris, Ceres and Juno.

Ceres’ then sings a song of blessingupon the “blessed lovers.”

Earth’s increase, foison plenty,Barns and Garners never empty;Vines, with clust’ring bunches growing;Plants with goodly burden bowing;

Spring come to you at the farthestIn the very end of harvest!Scarcity and want shall shun you;Ceres’ blessing so is on you.

Without its descriptive brochure,Gregory’s medal fails to connect throughdesign alone the bold Shakespearean origins ofthe artist’s thought. By itself, it suggests only akind of generic paen to the goddess ofagriculture.

The English-born Gregory had studiedat the Art Students League in New York,London’s Lambeth School and Paris’ Ecole desBeaux Arts. Unlike McCartan (who was bornin the same year) Gregory published adecidedly terse listing of professional honorslimited to four paragraphs.

EDGE AND PATINA VARIETIESOBSERVED:

1. THE SOCIETY OF MEDALISTSTWENTIETH ISSUE JOHN GREGORY –SCULPTOR. A. plus GOLD PLATED.2. Ditto, but no sculptor’s name. G. Smoothgold-bronze, without actual gold plating.

1940 #21. EDMOND AMATEIS. Aesop’sFables

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Obv A crowned hawk cries out defiantly whilegripping a slain dove. THE DOVES ELECT AHAWK THEIR KING.

Rev A dog with food in its mouth greedilywatches his own reflection in water, gettingready to drop the real food to snap at thereflection. LOSE NOT THE SUBSTANCEFOR THE SHADOW. Raised signature E.AMATEIS ©

Amateis, working in his studio-home inBrewster, N.Y., was inspired by Sir Rogerl’Estrang’s translation of Aesop’s Fables. In hisFrom the Artist, he noted “I selected them fortheir enduring timeliness, but leave theirinterpretation to the beholder, as best suits hissociological, political or economic inclinations.

THE KITE, HAWK AND PIGEONS.The Pigeons, finding themselves persecuted bythe Kite, made choice of the Hawk for theirGuardian. “The Hawk set up for their Protector,but under the countenance of that Authority,makes more havoc in the Dovehouse than theKite could have done in twice as many months.

THE MORAL. `Tis a dangerous thingfor People to call in a powerful and ambitiousMan for their Protector: and upon the clamourof here and there a private Person, to hazardthe whole Community.

A DOG AND A SHADOW. As a Dogwas crossing a River with a morsel of Food inhis Mouth, he saw (as he thought) another Dogunder the water, upon the very same adventure.He never consider’d that the one was only theImage of the other, but out of Greediness to getboth, he chops at the Shadow, and loses theSubstance.

THE MORAL. All covet, all lose;which may serve for Reproof to those thatgovern their lives by Fancy and Appetite,without consulting the Honour and Justice ofthe Case.”

The Hawk and Dove fable were aproposof the world of 1940, with outstandingexamples of “powerful and ambitious” men at

the helm in Berlin, Rome and Moscow, toname a few. The dog and reflection has echoesthroughout an increasingly materialisticconsumer society 60 years later, then “I want itall” is a cry heard at every turn.

Amateis was a well-establishedmonumental and sculptural relief artist in 1940,trained at the Beaux-Arts Institute of Design,Academie Julien in Paris and the AmericanAcademy in Rome. He was an active memberof the National Sculpture Society, theArchitectural League of New York, theNational Academy of Design and the ArtistsFellowship.

EDGE & PATINA VARIETIES OBSERVED:

1. THE SOCIETY OF MEDALISTSTWENTY FIRST ISSUE 1940 EDMONDAMATEIS SCULPTOR. A. plus SILVERPLATED. Silver surfaces with little contrastingantiquing.2. Ditto, no Sculptor’s name. B. (BRONZE,nothing about plating).Boldly contrastingantiquing.3. Ditto, plus Sculptor. G. Boldly contrastingantiquing.4. Ditto, plus Sculptor’s name. G. Withoutplating, bright brassy-gold.

1940 #22. WALKER HANCOCK. OTHERTOWERS

Obv Muscular nudes raining fluted pillar,THERE WILL BE OTHER TOWERS, exerguewith roundel date (19) FOR THEE TO/ BUILD(40). © HANCOCK at left.

Rev Shattered oak stump with two hardy well-leafed shoots growing under brilliant sun,anepigraphic.

Hancock was 39 when he designed thismagnificently optimistic medal. In From the

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Artist he stated, “The theme of this medal isthe Victory of Man and Nature over the Powersof destruction. As the earth renews itself afterthe ruin of storm, so man must rebuild histowers – material and spiritual – after the reachof war.

The inscription on the obverse is takenfrom Longfellow’s Castle Builder. If aninscription had been required for the reversenone more appropriate could have been foundthan the following lines from In Time ofMistrust by Robert Hillyer:

And in this shattered forest which Ithought

Destroyed beyond the hope of futuresprings,

The lonely guard against oblivionwrought

Its dream of new leaves and returningwings.

As in a shattered world, the lonely fewFrom the old wisdom must create the

new.

Hancock led a long and illustriouscareer beginning with study at the St. LouisSchool of Fine Arts, Pennsylvania Academy ofFine Arts and the American Academy in Rome.His work was widely acclaimed in the diversefields of monumental sculpture, portraitstatuary, the medal and such decorations as theMarine Corps Expeditionary Corps Medal andU.S. Air Mail Flyers Medal of Honor. He was along-time backer and board member of SOM.He created the Eisenhower Inaugural Medal of1953 and the Eisenhower-Nixon InauguralMedal in 1957.

EDGE & PATINA VARIETIES OBSERVED:

1. THE SOCIETY OF MEDALISTSTWENTY SECOND ISSUE 1940 –WALKERHANCOCK SCULPTOR. A. Deep glossyhematite red.

2. Ditto. A, wide space between NYBRONZE. Light reddish brown.3. Ditto. A. Light graphite brown, knife-sharpsquared rims.4. Ditto. A. Dark graphite brown, squared rims.

MEDALS OF CONFLICT, MEDALSOF CONQUEST:

THE NUMISMATIC LEGACY OF THEFRENCH AND INDIAN WAR – Part 3(By David Menchell)

The War in the Caribbean

As England and France vied forterritorial domination in North America and theIndian subcontinent, the conflict eventuallygrew to encompass their colonial possessions inthe Caribbean. The great wealth of the sugar-producing islands of the Caribbean made themimportant prizes during the colonial wars.While the island authorities had erected fortsfor defense of their ports, the islands remainedextremely vulnerable to attack. Unlike thesettlements on the mainland, very few regulartroops were stationed on the islands, since theplanters refused to contribute toward their payduring peacetime. Local island militias weresmall and poorly trained. The main defense ofthe islands was provided by the British andFrench navies. While the French sent fleetsfrom Europe for specific purposes in the WestIndies, the British maintained permanentsquadrons in the region. This often gaveEngland a tactical advantage, as the Frenchfleet was often delayed and unable to respondto British attacks on French possessions.

No major battles occurred in the WestIndies until 1759, when a British naval forceunsuccessfully attacked Port Royal inMartinique. The squadron, under CommodoreJohn Moore, then turned against Guadeloupe,

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seizing the port of Basse-Terre and besiegingother French positions on the island. Duringthe siege, over half the British troops became illfrom tropical diseases and the Britishcommander died. His successor, BrigadierGeneral John Barrington, decided on a war ofattrition, attacking and plundering outlyingplantations rather than the main Frenchpositions. Many of the French militia desertedand the island surrendered on May 1st. AFrench fleet arrived several days after, too lateto rescue the island.

Following the conquest of Canada in1760, the British were able to concentrate theirefforts on the West Indian campaign. Troopssent from Canada took Dominica in June 1761.In November, Admiral George Rodney arrivedin Barbados with 13,000 British soldiers.Joining with General Monckton and additionalCanadian troops, British forces sailed toMartinique in January 1762, taking Port Royalafter only three weeks of siege. Again, aFrench squadron reached Martinique after theisland had fallen to the English. WithMartinique gone, the British quickly subduedSaint Lucia and Grenada.

Fearing British domination of theCaribbean, Spain entered into a secret pact withFrance on August 15th, 1761, obligating Spainto enter the war against England by thefollowing May. England, however, declaredwar with Spain on January 4th, 1762, and beganarranging for an assault on Cuba. AdmiralGeorge Pocock, commander of the Havanafleet, transported 15,000 British soldiers underthe command of George Keppel, Duke ofAlbemarle. Pocock surprised the Spanish,traveling north of the island through thedangerous Old Bermuda Channel and landingeast of Havana on June 7th. After a two-monthsiege, the fortress of Morro Castle fell inAugust 1762. Some 5,000 troops died of feverand dysentery; only 500 died in battle. TheBritish profited from the enormous amount of

captured booty, which included 12 Spanishships of the line and over 100 merchant vessels.The conquest of Havana was the last majorengagement of the Seven Years’ War.

The British officers, Barrington andMoore, are honored on a medal issued for thevictory at Guadeloupe. The island conquestsand victorious commanders are listed on theGeorge III Victories medal of 1762. A Spanishmedal honors the two Spanish commanders atMorro, Don Luis Vicente de Velasco andVincentio Gonzalez, both killed in the finalassault. The naval bombardment of Port Royalin Martinique was used to illustrate brasstobacco boxes produced in Germany, as wereother important events of the Seven Years’War, including the subsequent peacenegotiations.

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A map of French possessions in the Caribbean capturedby the British during the latter part of the Seven Years’War.

Guadeloupe Surrenders

Another in the series of medalssponsored by the Society for Promoting Artsand Commerce, the devices on this medal arealso fashioned after Classical Greek andRoman models. The standing figure ofBritannia helps a kneeling woman holdingsugar cane, the prized commodity of this WestIndian island. The reverse depicts a standingPallas Athena holding a trident and standards,symbols of the navy and army forces, with onefoot on the prow of a ship and the other onland, also symbolic of the dual assaults by land

and sea. Named on the reverse are JohnMoore, Commodore of the Naval Fleet, andMajor General Samuel Barrington, whocommanded the Army. The silver medals werelikely awarded to officers who distinguishedthemselves during the campaign. An examplein silver with the edge lettered WILLIAM PITTADMINISTRING honors the wartime PrimeMinister whose policies were largelyresponsible for Britain’s military success. It isknown that Society founder Thomas Hollispresented similarly lettered specimens of theGoree Taken and Quebec Taken medals to Pitthimself.

Guadeloupe Surrenders, 1759Betts 417Thomas Pingo, engraverStruck in silver (very rare) and copper (rare).

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Shown in silver – 40.0 mm, 407.6 grains Also in silver with edge engraved: WILLIAMPITT ADMINISTRING (Extremely rare.)

Obverse: GVADALVPE •SVRRENDERS In exergue, MAY • I •MDCCLIX Britannia stands leaning upon herspear, facing left; on her right side a shield withthe British crosses; with her right hand sheraises a kneeling female figure, who holds acluster of sugar canes.

Reverse: MOORE on the left,BARRINGTON on the right, in perpendicularlines, reading upward. In exergue, SOC •PROM • ARTS |AND • COMMERCE Pallashelmeted, facing to left, with a trident in herright and an antique standard in her left hand;her right foot upon the prow of a galley.

Tobacco Box : The Glorious Conquestof Martinique

Following the introduction of tobacco toEurope, boxes were created to store and carrythe valuable commodity. By the 18th century,tobacco boxes were being produced in theGerman States and the Netherlands in brass andsilver and sold all over Europe and theAmericas. They were often decorated withscenes of noteworthy contemporary events andpersonalities. The two German-made tobaccoboxes shown below have die-struck images oftwo important events of 1762 relating to thewar in America. A vignette common to bothboxes is the bombardment and capture of

Martinique from the French by the English,which is pictured on the lid of the first box andthe box of the second. The legend, DERENGELANDER GLORIEUSE EROBE RUNGMARTINIQUE D. 4 FBRUARY 1762 (TheGlorious conquest of Martinique by theEnglish, February 4, 1762), reflects the pro-English sentiments of the German engraver,J.H. Hamer. The bottom of this box shows aportrait of Frederick the Great with battlescenes at Prague and Lowositz.

A contemporary illustration of the Morro Castleprotecting the entrance to Havana harbor.

Capture of Morro Castle

Unique in the series of medals producedto commemorate the American campaigns ofthe Seven Years’ War, this piece was struck bythe defeated Spanish rather than the victoriousBritish. Issued by the Spanish Academy ofArts, with the authority of Charles III in 1763,the obverse of the medal honors the memory ofthe royal governor Don Luis de Velasco andcommander Vincentio Gonzalez, both killedvaliantly defending the Castle against theBritish. The reverse graphically illustrates thefinal attack and fateful explosion of the powdermagazine which would allow the British troopsaccess to the Castle. The Morro Castleprotected the port of Havana since itsconstruction in 1580 and was felt to beimpervious to attack. The Spanish defenderswere able to resist the repeated British land and

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naval assaults for four months starting in March1762 until its fall on July 30, 1762. This highlydetailed medal was done by little-knownengraver Don Tomas Francisco Prieto underthe supervision of the Academy of Arts.

Capture of Morro Castle, 1762Betts 443Don Tomas Francisco Prieto, EngraverStruck in silver and copper (very rare)Shown in silver – 49.35 mm, 863.1 grains

Obverse: LVDOVICO DE (inmonogram) VELASCO ET VINCENTIOGONZALEZ Accolated busts in profile toright, of the two Spanish officers named in thelegend. They are dressed in coats havingstraight lapels, ruffled shirts, mantles thrownback, etc. Velasco wears a wig tied with a

ribbon behind, and locks flowing on hisshoulder; Gonzalez wears a medal on his breastwhich bears a small cross. Under the drapery atthe right, PRIETO.

Reverse: IN • MORRO • VIT • GLOR •FVNCT • (They ended their lives in glory in theMorro Castle.) In exergue, in four lines,ARTIVM ACADEMIA | CAROLO REGECATHOL | ANNVENTE CONS • | AMDCCLXIII (The Academy of Arts, Charlesthe Catholic King consenting, has consecratedthis [to their memory] in the year 1763.) Viewfrom the harbor of the final assault on theMorro Castle, Havana, and the explosion of themagazine, which carries into the air the bodiesof its defenders; at the left are three large men-of-war; at the right, another sinking; a smallboat is leaving it, and a larger one is rowed tothe right; the British soldiers are storming abreach in the walls, and bodies of troops areseen in the background at the left, and the cityand a small vessel in the distance at the right.

Negotiations and Peace: 1763

Soon after the fall of Havana, Englandsought a peaceful resolution of the war.George III, new to the throne and anxious toend the conflict, was concerned about thepower of the wartime Prime Minister WilliamPitt. Replacing Pitt with the conciliatory Earlof Bute, George was willing to return somerecently captured territories in exchange for asettlement, much to the chagrin of anexasperated English public. The Treaty ofParis was signed at Versailles on February 10,1763 between England, France, Spain, andPortugal. Five days after, the companionTreaty of Hubertusburg was signed by theremaining allies involved in the Seven YearsWar, including Prussia, Austria, and Saxony.

According to the terms of the treaty,France surrendered all its territories east of theMississippi to Great Britain, with the exception

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of New Orleans. France then ceded NewOrleans and land west of the Mississippi toSpain to compensate Spain’s loss of Florida tothe English. Control of Havana and Cubawould revert to Spain; France would keep thevaluable fishing sites of St. Pierre andMiquelon Islands in the Gulf of St. Lawrence.The Caribbean islands of Martinique, St. Lucia,and Guadeloupe were returned to France, butGrenada was retained by Great Britain.

As a result of the treaty, Britainemerged as the world’s leading colonial power,but the war would have other importantramifications for England and her Atlanticcolonies. Shortly after the signing of the Treatyof Paris, a large-scale Indian uprising hadbroken out on the American frontier. TheBritish army was able to quell the revolt afteran extended campaign. The need for protectionagainst Indian attacks along the frontier anddistrust of the British military convinced manycolonists that they had to assume responsibilityfor their own security. The provincial militiaswhich played an important role in the war werefurther expanded. Parliament, faced with thefinancial burden of the war and continuing needfor a military presence in the colonies,approved several measures including a series oftaxes on the Thirteen Colonies. The colonistsdid not feel it was their responsibility to pay forthe war and protested these actions to anunsympathetic English government. With thepassage of the Quebec Act of 1774, theadministration of the western territoriesclaimed by the Atlantic colonies was given tothe recently acquired colony of Quebec,particularly frustrating Pennsylvania andVirginia’s plans for westward expansion andproducing greater animosity between Colonialand English authorities. Shortly thereafter, thealienated colonists would resort to armedinsurrection against the English, leading to theWar for Independence.

Satirical cartoon ridiculing the unscrupulous negotiationspreceding the signing of the Treaty of Paris. On the tablebeing bartered are North America, the West Indies, andManillas [Manila].

Dutch Hope for Peace, 1762

Engraved by prominent Dutch medalist,John George Holtzhey, this medal expresses thedesires of the Netherlands for peace in Europe,and concerns that continuing hostilitiesbetween England and France in America woulddelay that peace. The obverse of this medalpresents an Indian, representing America,supporting a cupid crowning a column with thefigure of Peace. The column displays theImperial Eagle of Germany with the shields ofEngland and France at its base. On the reverse,Mercury is seated on the Belgian lion, symbolicof the United Netherlands, with boxes, shipsand other items of commerce in thebackground. Dutch fears would be put to restwith the signing of a peace accord thefollowing year.

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Dutch Hopes for Peace, 1762

Betts 442John George Holtzhey, EngraverStruck in silver; rare44.4 mm, 414.2 grains

Obverse: EVROPAE ALMAM NETARDET PACEM. In exergue,MDCCLXII. (May it not delay the fair peaceof Europe). An Indian with bow and quiversupporting a cupid who is placing a figure ofPeace on a column which bears the ImperialEagle of Germany, and on its breast a shieldwith the fir cone of Augsburg; at base rest theshields of England and France and an anchor.

Reverse: DVRET VSQVE ADEXTREMVM. (May it endure forever). Inexergue, BELG. FOED. (The United

Netherlands). Mercury seated upon the Belgianlion who supports in right paw a staff withbundle of arrows and cap of liberty; boxes,cornucopia, etc.; in background on the right avessel, and on the left the ocean, ships, etc. Onsockel (or line separating the exergue), J. G.HOLTZHEY. FEC.

Tobacco Box: The Preliminaries to Peace

The negotiations between Great Britain,France, Spain and Portugal producing thepreliminary articles that led to the 1763 Peaceof Paris are depicted on the lid of this secondbox. The articles were signed at Fontainebleauon November 3, 1762, this date appearing onthis box above the four negotiators. The twogroups of opponents flank the opposite ends ofthe box - England, allied with Portugal(vignettes of Londen [London] and Lisabon[Lisbon] as stated on the box), on the left, andSpain and France (Paris and Madrit [Madrid])united by the Bourbon Family compact on theright. It expresses the hope that now that peaceis concluded for one part of the Seven YearsWar, the part that affects Germany (the conflictof Prussia with Austria and Russia) will endsoon as well. One of the legends expresses thehope that peace between these four participantswill also bring peace to their neighbors inEurope WAS NUN DIESE VIERBESCHLIESSEN KAN DER NACHBARAVCH GENIESSEN (What now these fourdecide, the neighbor can also enjoy)

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The Peace of Paris, 1763

On this medal, the obverse portrait ofLouis VX was engraved by the prolific Frenchengraver, Pierre Simon Benjamin Du Vivier.The reverse allegorical scene of Peace holdingan olive branch over a captive seated ondiscarded armaments was done by Holtzhey.Although the British were able to dominate thepeace negotiations at Versailles, the Frenchmanaged to retain control of a substantialportion of her territories in the Caribbean andfishing rights off Newfoundland, as well asports in India. Lost were Canada and theAmerican territories east of the Mississippi toBritain, with the region to the west going toSpain. It is interesting that the victoriousBritish did not issue a similar official medal tocommemorate the peace.

The Peace of Paris, 1763Betts 444Pierre Simon Benjamin Duvivier, J.H.Holtzhey, EngraversStruck in gold and silver (very rare), andcopperShown in copper41.5 mm, 494.6 grains/41.5 mm, 569.9 grains

Obverse varieties with old bust, andyoung bust by Marteau

Obverse: LUDOVICUS XV REXCHRISTIANISS. (Louis XV Most ChristianKing) Laureated bust of the King to right,

undraped. B. DUVIVIER F. on edge ofdecollation.

Reverse: PAX UBIQUE VICTRIX Inexergue, GALLORUM ET BRITANNORUM |CONCORDIA | MDCCLXIII. (Peaceeverywhere triumphant. Harmony [or peacedeclared] between France and Great Britain,1763.) At the left near the edge, J.C.H. (forHoltzhey.) Peace standing, holding in her righthand, extended an olive branch, and in her lefta caduceus. At her feet on the left a nude malefigure is seated on a battering ram, with flagsand implements of ancient warfare.

Germany at Peace, 1763

This medal celebrates the signing of theTreaty of Hubertsburg on February 15, 1763 bythe European allies of England and France.During the period of the Seven Years’ War inEurope, Prussia was allied with Englandagainst France, Austria and Saxony.Considered a companion document to theTreaty of Paris, the treaty closes hostilities inEurope with the return of Silesia from Austriato Prussia, increasing Prussian power andprestige.

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The Treaty of Hubertsburg, 1763Betts 446Johann Leonhard Oexlein, EngraverStruck in silver44.4 mm, 338.5 grains

Obverse: NUNCIA PACIS (Themessenger of Peace.) In exergue, D . 15 .FEBR . MDCCLXIII (The 15th day ofFebruary, 1763), and below, OEXLEIN. Viewof the State house; Peace flying above withtrumpets.

Reverse: IAM REDIRE AUDIT. Inexergue, GERMANIA PACATA. (Now shedares return. Germany at peace). Peacestanding, holding a scepter and a spear ofwheat; a landscape in the background and aman plowing.

Betts 447Daniel Loos, EngraverStruck in silver; rare22.4 mm, 39.6 grains

Obverse: Same design as Betts 446,except engraver’s name, LOOS.

Reverse: Same legends and design as446, except head of Peace encircled by clouds,with signs of Leo and Virgo above

Bibliography

Betts, C. Wyllys, American Colonial HistoryIllustrated by Contemporary Medals. ScottStamp and Coin Co., New York, 1894

Bowers, Q. David et al., The Cabinet of LucienLaRiviere, Part II, March 15-17, 2001.Bowers & Merena Galleries, Wolfeboro, NH,2001

Bowers, Q. David et al., The Cabinet of LucienLaRiviere, Part III, May 21, 2001. Bowers &Merena Galleries, Wolfeboro, NH 2001

Chartrand, René. Louisbourg 1758, Wolfe’sFirst Siege. Osprey Publishing Ltd. Oxford,UK 2000

Corbett, Julian S. The Seven Years War, TheFolio Society, London 2001Galley, Alan, Editor, Colonial Wars of NorthAmerica, 1512-1763, An Encyclopedia.Garland Publishing, Inc., New York & London,1996

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Julian, R. W., Medals of the United States Mint,The First Century 1792-1892. The Token andMedal Society, El Cajon, CA 1977

Kleeburg, John, former Curator of ModernCoinage, American Numismatic Society.Personal communication. April 2004

Marston, Daniel, The French-Indian War 1754-1760. Osprey Publishing Ltd. Oxford, UK2002

Reid, Stuart, Quebec 1759, The battle that wonCanada. Osprey Publishing Ltd. Oxford, UK2003

Rogozinski, Jan, A Brief History of theCaribbean. Penguin Putman Inc. New York,NY 1999

Schwartz, Seymour I., The French and IndianWar 1754-1763. Castle Books, Simon &Schuster, New York, NY 1994

Letters to the Editor

Dear Mr. Adams:

While enjoying the latest MCAAdvisory, I saw something in the last article,"Striking Similarities", that I thought neededcorrection or clarification, particularly ifreaders had not seen it originally in CoinWorld, as is the case with me. The Lyndon B.Johnson medal shown on page 23, while indeedsculpted by Ralph J. Menconi, is not theinaugural medal that the caption wouldindicate, nor is it the medal referred to on page25. Rather, this medal is from the PresidentialArts Medals series that Menconi is justly notedfor. Johnson's true official inaugural medalwas sculpted by Felix deWeldon in 1965, notby Ralph Menconi. Mr. Menconi is also noted,however, for designing the 1969 officialinaugural medal for Richard M. Nixon. Thatmedal's reverse design, by the way, was basedon a crewelwork rendering of the Great Seal of

the United States done by Julie NixonEisenhower. Apart from my comments above,it was a very fine article by Mr. Alexander.

Regards,

Bryce Doxzon

To the Editor:

The letter regarding the medal forCaptain Thomas Truxtun (not Truxton),transcribed in the last number of The MCAAdvisory, does provide an interesting glimpseinto circumstances surrounding this fascinatingmedal, the first made in the United States torecognize Naval gallantry. The June 15, 1808letter was actually from Thomas Jefferson toNavy Secretary Robert Smith, not JacobCrowninshield, as revealed by the originalscript version (Smith’s tenure as NavySecretary was from 1801 to 1809, whileBenjamin W. (not Jacob) Crowninshield’s wasfrom 1815 to 1818).

MCA readers may be interested toknow that we are just now completing aresearch project on this medal using originaland secondary sources. The Truxtun medal wasof special interest to the late Stewart Witham,who uncovered some intriguing aspects of itshistory. However, we have found that the fullstory takes unanticipated turns that would havesurprised even Stew. We ask readers for theirpatience as we write up our findings; we thinkthe story is an interesting one and hope to haveit ready for prime time shortly.

In that vein, we are looking for aspecimen of the Truxtun medal with the largeobverse cud that we may photograph toillustrate the article. Anyone who can help us inthis way will, of course, receive full credit.

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Jefferson’s disinclination to have newdies made can be explained by severalcircumstances, but we note that he distrustedmilitary power, even America’s own, as apotential instrument of tyranny, and the cost ofmaintaining a military dismayed him. With hisfellow Republicans, Jefferson answered Britishdepredations on the high seas during hisadministration with trade embargoes. While heauthorized enough naval power to defeat theBarbary Corsairs in the Mediterranean, theChesapeake-Leopard incident reinforcedJefferson’s belief that navies could drawnations into dangerous and unwanted conflicts.

Chris NeuzilLenny VaccaroTodd Creekman

Dear Mr. Adams,

Thanks to Mr. Barry Tayman, I havesubscribed to the MCA Advosory. I find this amost rewarding publication, one of specialinterest since I have for some time formed acollection of the medals and coinage struck forPresident John F. Kennedy. My collectionnumbers abut 125 pieces.

I hope to present a discussion in theMCA Advisory including a color photograph ofa German gold medal honoring John F.Kennedy “Welcome in Germany” designed byProfessor Albert Holl struck by StaatlicheMunze of Karlsruhe, 1963. I lack informationon Albert Holl and with my too limitedknowledge of the language am loath to contackKarlsruhe Mint. If you have any knowledge ofHerr Holl I should be much obliged. If not, Iwill proceed with other aspects of thisinteresting medal.

The medal is cited with briefdescription in two books in my library,

Medallic Portraits of John F. Kennedy byEdward C. Rochette and The world’s Tribute toJohn F. Kennedy in Medallic Art.

Therefore I seek your cooperation, ofcourse, in submitting this material for yourinteresting publication.

Further I note in “From the Editor” ofVolume 8 Number 5 issue of MCA Advisoryyour statement—“We hope to see many of youat the ANA convention in San Francisco.” As Iam not a member of ANA and at this timewould like to attend the convention, SanFrancisco is twenty miles across San FranciscoBay from my home, I would appreciatelearning about this convention. Is it open tonon-members of ANA?

Continued success to you with theMCA Advisory.

-Thomas F. Gates

Dear Mr. Gates,

Thank you for your most interestingletter. I look forward eagerly to yourdiscussion of JFK medals about which youmust be the world’s leading expert.

You might ask the ANS for referenceson Albert Holl. Frank Campbell, the headlibrarian, is a most obliging fellow who readsGerman as well as other languages. However,don’t give up on writing Karlsruhe Mint—theyall are bi-lingual over there.

As for the ANA Convention, a modestregistration fee gets you into a huge bourse aswell as the meeting rooms where our event willbe held. I recommend that you set aside at leastone whole day and preferably more.

Sincerely,

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-John W. Adams

Dear John,

I was most interested in DavidAlexander’s article on The Society of Medalistsas I have a complete set. My first intereststarted with a visit with William Louth at thefactory in New York. We were both membersof Lions International and worked to have a50th anniversity issue by MACO. This did notwork as their price was too high. All of myissues are bronze except ten issues in sterlingwhen they were first issued in sterling (limitedto 700). When the price went up I revertedback to bronze.

I have been with Balfour for 58 years.At one time Bill Louth approached C.R. Yeagerto have Balfour represent MACO but he turnedMACO down.

Balfour has made a limited number ofmedallions.

Keep up the good work with thenewsletter. I am not interested in the oldissues.

Sincerely,

-Charles G. Motley

John,

Have now received my May newsletterand see that an MCA meeting is set for 7/28 at3:00. I'll try to make arrangements to attend.

For the record, kudos to DavidAlexander for his Society of Medallists articlesin the last two issues of the Advisory--anexcellent job. Also, as a fan of the Comitia

Americana series, you might want to take alook at Jeff Starck's article in the 6/6 issue ofCoin World--a nice overview with a fewinteresting points not covered in Clain-Stefanelli.

-Alan HarlanJohn:

Thank you for all your trouble inexamining your Kittanning Medal to answermy perplexing question. I have adjusted myCOAC text accordingly. Again, Thank You!

Question: Will you hold a MCA boardof directors meeting at ANA in San Francisco?

If so, may I make an appeal for a grantto create my M-Chart for measuring medals?This could be a vital tool for medal collectors,particularly those who are catloging medals forany variety of reasons--for research, forauctions, for one's own collection. It would bean ideal project for MCA to support, as one ofthese could be mailed to every member,perhaps along with one of your MCA Advisoryissues.

I have made all the calculations for thetable for this, and written most of the text. Thenext step is to have an artist design and preparethe "mechanical" for a printer. I will underwritethe cost of printing, but am seeking a grant forthe art work (estimated $500-$800). Whatbetter project for something permanent forevery existing member, future members, andperhaps many others in the numismatic field. Isee it as a useful tool which certinly wouldencourage cataloging medals. (And, as youknow, medals are the most undercataloged fieldin numismatics!)

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I would send you a prototype for you toshow board members of what I have in mind.

-Dick Johnson

(Subject to seeing a design of Dick’s device,MCA’s Board is enthusiastic about supportingit. If we proceed, you lucky members willreceive a free copy with some future issue ofthe Advisory—ed.)

John:

I read the May issue at lunch today.Put me down as a member whowould be interested in an offprint of DavidMenchell's French andIndian War medals article. Also, I noticed atypo on p. 19, in the entryfor the 1932 #6 SOM medal by Flanagan. Atthe very end, the copyright date is listed as1993 - shouldn't that be 1933?

-Wayne Homren