Can 18 mm Medalets from 1860–1885 Be Made Into Jewelry? A Coin Ring Artisan’s Guide to Silver Content, Hardness, and Crafting Potential

Not every coin belongs on a finger. Before you fire up the torch, let’s talk about what actually makes an 18 mm medallet from the 1860–1885 era a viable candidate for jewelry — and what makes it a candidate for the display case instead.

I’ve spent years turning historical medals and coins into wearable art, and I can tell you that 18 mm medalets from this period represent one of the most fascinating — and most commonly misunderstood — categories for ring making. When a fellow collector recently posted a forum thread hunting for examples of these tiny pieces struck by the US Mint, William Key, and George Soley, I was hooked immediately. Not just as a numismatist, but as someone who evaluates every coin and medal I encounter with one burning question: Can this become a ring?

The answer, like most things in this hobby, is complicated. Let me walk you through everything I’ve learned about these 18 mm medalets — their silver content, hardness, design characteristics, and overall crafting potential — so you can make smart decisions whether you’re a collector, a crafter, or both.

What Exactly Are 18 mm Medalets, and Why Should You Care?

A “medallet” is simply a small medal, typically under 20 mm in diameter. The 18 mm size hits a sweet spot for coin ring artisans. Most men’s rings are crafted from coins in the 16–20 mm range, and 18 mm pieces require minimal resizing — meaning less material loss and better structural integrity in the finished band.

According to the forum discussion that sparked this piece, the original poster has identified roughly 150 varieties of these 18 mm medalets, struck by three primary sources:

• The United States Mint — Official government-issued medalets, often carrying historical or commemorative significance that adds provenance and collectibility.
• William Key — A private minter whose work is less documented but highly sought after by specialists who appreciate the rarity of his output.
• George Soley — Another private minter whose dies were used in various combinations, creating a tangled web of varieties that keeps researchers busy.

The sheer number of die combinations makes this area a numismatist’s dream — and a cataloguer’s nightmare. As the collector put it, “This is a case where I don’t know what I don’t know.” For crafters, that complexity means no two medalets are guaranteed to share the same metal composition, and that variability directly affects whether a given piece is worth the effort.

Silver Content: The Foundation of Every Good Coin Ring

When I evaluate any coin or medal for ring making, metal composition is the first thing I check. Silver content is the single most important factor in determining whether a piece will yield a beautiful, durable ring — or a frustrating failure.

Why Silver Has Been the Gold Standard for Coin Rings

Silver has been the metal of choice for coin ring artisans for generations, and the reasons are practical as much as aesthetic:

• Malleability: Silver is soft enough to dome and shape without cracking, yet hard enough to hold its form once set.
• Workability: It responds beautifully to the folding and burnishing processes that give coin rings their distinctive rolled edges.
• Aesthetic warmth: Silver develops a rich patina over time that enhances the design details of historical pieces — something I find myself appreciating more with every year I spend at the bench.
• Hypoallergenic properties: Sterling silver (92.5% pure) is generally safe for sensitive skin, making it ideal for everyday wear.

What You’ll Find in 1860–1885 Medalets

Medalets from this era were struck in a wide range of compositions. Here’s what you’re most likely to encounter:

1. Silver (various purities): Some US Mint medalets from this period were struck in .900 fine silver, while others used lower silver content alloys. Private minters like Key and Soley may have used whatever silver was on hand, leading to inconsistencies that can catch you off guard.
2. Bronze: Many of the medalets referenced in the forum thread — including the Lincoln Broken Column medal discussed by several participants — were struck in bronze. Bronze can absolutely be crafted into rings, but it behaves very differently from silver, and I’ll get into that shortly.
3. Copper and copper alloys: Some pieces were struck in pure copper or brass, which presents its own set of challenges for jewelry making.
4. White metal and other alloys: Private minters sometimes used proprietary alloys that can be unpredictable during the crafting process — and occasionally downright hostile to your tools.

My strong recommendation: Before committing to any crafting project, verify the metal composition. A simple specific gravity test or XRF (X-ray fluorescence) analysis can save you hours of frustration. I’ve ruined more than one promising piece by assuming it was silver when it was actually a copper-nickel alloy. Learn from my mistakes.

Metal Hardness: The Factor That Makes or Breaks Your Project

Hardness determines how a coin or medal will respond to the intense physical manipulation that ring making demands. The process involves doming (shaping the flat disc into a bowl), folding (rolling the edges inward), and burnishing (smoothing and polishing the surface). Each step puts enormous stress on the metal, and not every alloy survives gracefully.

A Quick Hardness Reference for Common Medalet Metals

Here’s what you’re working with on the Mohs scale:

• Pure silver (999 fine): 2.5–3 on the Mohs scale — very soft, easy to work, but potentially too soft for a ring that will see daily wear.
• Sterling silver (925): ~3 on the Mohs scale — the ideal balance of workability and durability for coin rings, in my experience.
• Bronze: 3–4 on the Mohs scale — harder than silver, requires more force to dome and fold, but produces a very durable finished ring.
• Copper: ~3 on the Mohs scale — similar to silver in workability, but prone to oxidation and the dreaded green finger.
• Nickel alloys: 4–5 on the Mohs scale — very difficult to work with hand tools, and a common cause of skin irritation. Avoid these for jewelry if you can.

The Bronze Problem: Lessons from the Lincoln Broken Column Medal

The forum discussion offers a perfect case study. One collector shared images of a Lincoln Broken Column medal, identified as a 20th-century restrike in bronze (Julian PR-38). While this particular piece isn’t an 18 mm medallet, the conversation around it delivers valuable lessons for anyone considering bronze as a crafting material.

Bronze medalets from the 1860–1885 era present specific challenges you need to plan for:

• Work-hardening: Bronze hardens rapidly as it’s worked. You may need to anneal — heat and slowly cool — the metal multiple times during crafting to prevent cracking. Skip this step and you’ll hear the snap that tells you the piece is ruined.
• Surface texture: As noted in the forum, restrikes often have matte or “pebbly” fields rather than the reflective, proof-like surfaces of originals. This texture can be either a feature or a flaw in the finished ring, depending on your aesthetic goals and the eye appeal you’re after.
• Color and patina: Bronze develops a distinctive patina ranging from golden-brown to deep chocolate. Some crafters love this look; others find it less appealing than silver’s bright luster. It’s a matter of personal taste, but worth considering before you start.

Pro tip from the bench: If you’re working with a bronze medallet, anneal it before you begin doming. Heat the piece evenly with a propane torch until it glows a dull red, then let it cool slowly. This softens the metal dramatically and makes it far more cooperative during shaping. I wouldn’t attempt bronze without this step.

Design Details: What Makes a Medalet Ring-Worthy?

Beyond metal composition and hardness, design is what ultimately determines a medallet’s aesthetic appeal as a ring. In my experience, the best coin rings are those where the design elements align naturally with the circular band shape — where the art and the artifact become one.

Evaluating the Obverse

When I examine the obverse of an 18 mm medallet for ring making, here’s what catches my eye:

• Central portrait or bust: A well-centered portrait — like the Lincoln bust mentioned in the forum thread — creates a striking focal point when worn as a ring. The face becomes the “stone,” drawing the eye naturally. A rare variety with a particularly sharp strike can elevate the entire piece.
• Lettering placement: Inscriptions running along the perimeter will wrap around the band, creating an elegant border effect. But if the lettering sits too close to the edge, it may be lost during folding — and that can destroy the eye appeal you were counting on.
• Relief height: Higher relief designs create dramatic shadows and visual interest, but they also require more aggressive doming, which can thin the metal excessively. It’s a trade-off I weigh carefully with every piece.

Evaluating the Reverse

The reverse becomes the inside of the ring, but don’t dismiss it. Here’s why it matters:

• Hidden details: Some collectors and wearers treasure knowing a beautiful design exists on the inside of their ring, visible only to them. The “Broken Column” reverse discussed in the forum is a perfect example — it carries deep symbolic meaning (a life cut short) that adds emotional resonance no amount of silver content can provide.
• Texture transfer: Heavy texture or incuse (sunken) design elements on the reverse can transfer through to the obverse during doming, creating unwanted marks on the visible surface. I always check both sides before committing.
• Smooth reverses are ideal: Medalets with relatively smooth reverses — a simple wreath, shield, or plain field — tend to produce the cleanest, most professional-looking rings.

Why 18 mm Hits the Sweet Spot

At 18 mm, these medalets are slightly smaller than a modern US quarter (24.26 mm) but larger than a dime (17.91 mm). This size matters for several practical reasons:

1. Finger fit: An 18 mm medallet, once domed and folded, typically produces a ring in the US size 7–9 range — covering the most common men’s sizes.
2. Design visibility: At 18 mm, fine details like the incuse “P” on Lincoln’s truncation mentioned in the Julian listings remain visible and legible in the finished ring. Smaller, and you lose that crispness.
3. Structural integrity: The smaller diameter means less material lost during folding, resulting in a thicker, more substantial band that holds up to daily wear.

Aesthetic Appeal: Transforming Historical Artifacts into Wearable Art

There’s something deeply satisfying about wearing a piece of history on your finger. The aesthetic appeal of a coin ring made from an 1860–1885 medallet goes far beyond decoration — it’s a conversation piece, a connection to the past, and a work of art all at once.

The Patina Factor

Patina might be the single most important aesthetic consideration. As the forum discussion revealed, original medalets from this era were “much darker” than their 20th-century restrikes, which tend toward a lighter “beige” tone. For ring making, this distinction matters enormously:

• Dark, original patina: Pieces with deep, even patina have a rich, antique character that simply cannot be replicated artificially. When crafted into a ring, the patina settles into recessed design areas, creating beautiful contrast that highlights every detail. This is eye appeal at its finest.
• Light or no patina: Restrikes and cleaned pieces lack this depth. They can still make attractive rings, but they often require artificial toning or antiquing to achieve comparable visual impact.
• Proof-like surfaces: Originals with reflective, proof-like fields — as opposed to the matte surfaces of restrikes — produce rings with a stunning interplay of light and shadow. The contrast between mirror-like fields and frosted design elements is one of the most coveted looks in coin jewelry, and it speaks to the quality of the original strike.

Historical Resonance

The 1860–1885 period covers some of the most dramatic years in American history — the Civil War, Reconstruction, and the dawn of the Gilded Age. Medalets from this era often commemorate events, individuals, and ideals that still resonate today. When you wear a ring made from one of these pieces, you’re carrying a tangible connection to that history.

The Lincoln Broken Column medal discussed in the forum is a poignant example. Struck to commemorate the assassinated president, its imagery — a broken column symbolizing a life cut short — carries emotional weight that transcends its numismatic value. As a ring, it becomes a memorial worn close to the body, a private tribute to one of America’s greatest leaders. That kind of provenance and meaning is something no modern piece of jewelry can replicate.

Original vs. Restrike: Does It Matter for Crafting?

This question came up repeatedly in the forum thread, and it’s one I hear constantly from collectors considering jewelry conversion. The honest answer: it depends entirely on your goals.

The Case for Using Originals

• Historical authenticity: An original medallet from the 1860s carries genuine historical significance — a provenance that no restrike can replicate.
• Superior aesthetics: As I’ve discussed, originals typically display darker patina and more attractive surfaces with better luster and strike quality.
• The value question: Here’s the hard truth — crafting an original into a ring destroys its numismatic value as a collectible. If the piece is rare or valuable in mint condition, you need to think very carefully before altering it. Once it’s a ring, there’s no going back.

The Case for Using Restrikes

• Lower financial risk: If the crafting process goes wrong — and sometimes it does, even for experienced artisans — you haven’t lost a valuable original.
• Availability: Restrikes are often easier to obtain and come in better condition than originals, which may have survived 150 years of handling, environmental exposure, and questionable storage.
• Ethical considerations: Some collectors feel that crafting a restrike is more ethically sound than altering an original historical artifact. It’s a perspective I respect, even when I disagree.

My personal approach: I always have an honest conversation with the owner before beginning any project. If the piece is a rare original with significant numismatic value and strong collectibility, I’ll often recommend against crafting it. But if it’s a restrike, a common variety, or a piece that’s already damaged, transforming it into a ring can give it new life and new purpose — and that’s a beautiful thing.

Practical Tips for Crafters Working with 1860–1885 Medalets

If you’re planning to craft a ring from one of these medalets, here are my top recommendations — hard-won lessons from years at the bench:

1. Verify the metal composition before you start. Use a specific gravity test, magnet test, or ideally XRF analysis. Don’t assume — know. This single step will save you more heartbreak than any other.
2. Anneal bronze and copper pieces without exception. These metals work-harden quickly and will crack if you try to dome them without proper heat treatment. I cannot stress this enough.
3. Start with a restrike or common variety. Practice your technique on a piece you can afford to lose before attempting a rare original. Your hands need the muscle memory, and your tools need the calibration time.
4. Preserve the patina whenever possible. If the medallet has attractive original patina, use techniques that protect it rather than polishing it away. A light coat of Renaissance Wax can shield the surface without altering its appearance — and that patina is often what gives the piece its character.
5. Consider design orientation carefully. Before you begin doming, decide which side faces outward. Rotate the piece to find the most visually appealing orientation — sometimes a slight rotation makes a dramatic difference in the finished ring’s eye appeal.
6. Invest in proper tools. A quality coin ring mandrel, doming block, and folding tools are essential. Cheap tools produce cheap results and dramatically increase your risk of damaging the piece. This is not the place to cut corners.
7. Document everything. Photograph the medallet from every angle before you begin. This documentation serves insurance purposes and preserves the numismatic record — important considerations for pieces with historical significance.

The Collector’s Perspective: Building a Reference Library Together

One of the most valuable aspects of the forum thread that inspired this article is the collaborative spirit of the collecting community. The original poster’s project — cataloguing 18 mm medalets from the US Mint, William Key, and George Soley — is exactly the kind of research that benefits everyone, crafters included.

As of the discussion, approximately 150 varieties have been identified, but the collector readily acknowledges that many more likely exist. The complexity of die combinations — particularly those involving George Soley’s dies — means new discoveries are still being made. Every collector who examines their holdings carefully could contribute to this effort.

For crafters, this ongoing research is invaluable. Knowing the specific variety of your medallet can help you:

• Determine rarity and collectibility: Rare varieties should generally be preserved rather than crafted. Destroying a scarce piece for a ring is a loss to the entire community.
• Identify metal composition: Certain varieties are known to have been struck in specific metals, potentially saving you the trouble of testing.
• Understand historical context: Knowing the story behind your medallet adds depth and meaning to the finished ring — and gives you something compelling to tell every time someone asks about it.

I encourage anyone who owns 18 mm medalets from this era to contribute to the ongoing research. Share your photographs, compare your pieces with known varieties, and help build the comprehensive reference this field desperately needs. The more we know, the better decisions we can all make — whether that means preserving a rare variety in mint condition or giving a common restrike new life as a ring.

Conclusion: The Enduring Allure of Historical Medalets as Jewelry

The 18 mm medalets of the 1860–1885 era occupy a remarkable space at the intersection of numismatic history and wearable art. Struck by the US Mint and private minters like William Key and George Soley, these tiny pieces carry the weight of American history in a form that fits perfectly on the hand.

From a crafting standpoint, their 18 mm diameter is nearly ideal for ring making, and their varied metal compositions — silver, bronze, copper, and beyond — offer a wide range of aesthetic possibilities. The key is understanding what you’re working with: verifying the metal composition, assessing the hardness, evaluating the design details, and making an informed decision about whether a particular piece is better preserved as a collectible or transformed into jewelry.

As the forum discussion makes clear, the world of 18 mm medalets is still being explored. With roughly 150 varieties identified and many more waiting to be discovered, this is a field that rewards curiosity, collaboration, and careful study. Whether you’re a collector documenting these pieces, a crafter searching for your next project, or simply someone who appreciates the beauty of historical artifacts, these medalets have something genuine to offer.

In my years as a coin ring artisan, I’ve learned that the best pieces are the ones that tell a story. And the 18 mm medalets of the 1860–1885 era — born in a time of war, reconstruction, and transformation — have stories worth telling. Whether those stories live in a display case or on a finger, they deserve to be shared.

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