However, it was this third model which finally went into circulation, except that he reduced the relief of it much lower than my model.īetween all these events I examined the reduction of my model, which seemed to me very poor, Mr. Barbour rejected it again, saying it was still too high in relief. I now thought I had surely covered the ground as far as experiments could go. So, I returned to the studio with my documents - meaning casts of the various stampings from die of first model, and decided to make a third model, the relief of which was lower than the impression I had on the cast of the first stamping.
Up to this point the Mint had two models of the $20 gold piece. I do not know of any more being struck, as we had finished with that die. Gaudens, who in turn sent it to the President, and I think Mrs. The coin was again placed on the die for another strike and again it showed a little more of the modeling, and so it went, on and on until the ninth strike, when the coin showed up in every detail. I had them make a cast of this for my guidance. However, we went to the press room to see how the experimental die (the first model) would work out so a circular disc of gold was placed in the die and by hydraulic pressure of 172 tons, I think it was, we had our first stamping, and the impression showed a little more than one half of the modeling. Barbour it was no more practical than the first model and he refused to have anything to do with it. I immediately went to Philadelphia carrying the second and revised model with me. I had about finished with the second model when the Mint informed me that the die of the first model was ready for experiment. In the meantime, I returned to the studio and made another model much lower in relief. After considerable discussion he finally decided to make the die. I told him my reasons for doing it and that we would have to experiment. When he saw the plaster model of the $20 gold piece, which was about nine inches in diameter, he rejected it and said it was impossible for any mint to coin it. I took the model to the Philadelphia Mint and was introduced by the Director to Mr. I proceeded to make a model in very high relief, knowing perfectly well they could not stamp it in one strike, my object being to have a die made of this model and then have strikes made in order to see the various results. Consequently, I was in charge of the work and engineered the proceedings at the Philadelphia Mint. Gaudens’ ill health I executed both coins under his direction, from his designs. By doing so he created a bad feeling among the officials of the Mint because up to this time no outsider had ever designed a coin for the government.
It was the latter’s “pet crime” (as he called it) to issue a coin which would compare in beauty and relief with the old Greek coins and he asked St. Augustus Saint-Gaudens had with President Theodore Roosevelt at the White House. The issuing of the $20 and $10 gold coins was the outcome of a dinner engagement Mr. HISTORY OF THE $10 AND $20 GOLD COINS OF 1907 ISSUE This account provides a unique perspective on one of Saint-Gaudens’ final pieces and one of the most celebrated coins in American history. Hering describes his work on the design of the 1907 Gold Coinage at the request of Augustus Saint-Gaudens. Among the collection of Saint-Gaudens National Historical Park is this first-hand account by Henry Hering, sculptor and studio assistant.
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