The Science of the Strike: The Metallurgy of the Small Medal Big Cameo Washington Lincoln

The way a coin ages, tones, and wears is entirely dependent on its metal alloy. Here is a scientific breakdown of this piece.

As a metallurgist who has spent decades examining early American numismatic items under magnification and through compositional analysis, I find the Small Medal Big Cameo Washington Lincoln medalet to be one of the most fascinating micro-studies in early American medallic art. This small piece — just 18.0 mm in diameter and weighing a mere 41.9 grains — packs an extraordinary amount of metallurgical intrigue into a tiny disc. From its alloy composition to the way the metal flowed during striking, every aspect of this medalet tells a story about its origin, its maker, and its age. In this analysis, I’ll walk you through exactly what the metal itself reveals about this remarkable piece.

Alloy Composition: What Is This Medalet Actually Made Of?

The first and most fundamental question any metallurgist asks when examining a piece like this is deceptively simple: what is it made of? For the Small Medal Big Cameo Washington Lincoln, the answer is not as straightforward as you might think.

The Gold Question

Several forum contributors have noted the distinctly golden appearance of examples still sealed in their original period suspension bezels. One collector observed, “There’s some chance this is gold. My guess is that it’s yellow-toned silver. I don’t know of any way to know for sure without taking the bezel apart, which isn’t going to happen.” This is a critically important observation. In my experience, many 18 mm Washington medalets of this era were struck in silver-copper alloys that, when sealed under glass in a bezel for decades or centuries, develop a rich golden toning that can be virtually indistinguishable to the naked eye from actual gold.

Without destructive testing — which, as the collector rightly notes, is out of the question for a piece of this quality and historical significance — we are left with indirect evidence. Let me walk you through the key indicators.

• Weight analysis: At 41.9 grains (approximately 2.71 grams) for an 18.0 mm diameter piece, the specific gravity is consistent with a silver-rich alloy. A gold piece of the same dimensions would weigh significantly more — roughly 55–58 grains depending on purity.
• Surface behavior: The “brilliant and absolutely choice” description with “visually striking unbroken frost on the motifs” is more consistent with a fine silver or high-silver alloy. Gold of the period, typically 13–15 karat for American medallic issues, tends to show a warmer, more satiny frost rather than the brilliant white frost described here.
• Toning patterns: The yellow tone observed in bezel-sealed examples is classic silver sulfide tarnishing accelerated by the micro-environment under glass, particularly when organic compounds (such as the adhesives and fabrics used in 19th-century bezel construction) are present.

Likely Alloy Profile

Based on the weight, visual characteristics, and known practices of the U.S. Mint for similar Washington medalets of the 1860s–1870s period, I would estimate the composition to be in the range of 85–90% silver with 10–15% copper. This is consistent with the alloy used for many of the Julian-listed Washington medalets (Julian WA-25 through WA-41 and related varieties) that were produced as part of the same medallic tradition. The copper content would provide the necessary hardness for a clean strike while maintaining enough silver purity to allow the brilliant, mirror-like fields that define the “Big Cameo” designation.

It is worth noting that if this piece were indeed a non-Mint issue — as some researchers have suggested — the alloy might differ from standard Mint compositions. Private mints and engravers of the period often used slightly different alloy ratios based on available stock metal, which could produce subtle differences in color, weight, and aging behavior. This is an area where further non-destructive testing, such as X-ray fluorescence (XRF) spectroscopy, could provide definitive answers without harming the piece.

Planchet Preparation: The Foundation of a Superior Strike

In my experience grading and analyzing early American medallic pieces, I have found that planchet preparation is the single most underestimated factor in determining final strike quality. The difference between a mediocre example and an “outrageously gorgeous” one — to borrow a forum member’s apt description — often comes down to what happened before the dies ever touched the metal.

Rolling and Blanking

The 18.0 mm diameter of this medalet indicates it was blanked from a rolled strip of the silver alloy described above. For a piece of this size and era, the rolling process needed to achieve a uniform thickness of approximately 1.0–1.2 mm. Any variation in thickness would result in uneven strike pressure, incomplete design transfer, or visible flow defects.

The fact that the original example under discussion shows “almost no handling” and “visually striking unbroken frost” suggests an exceptionally well-prepared planchet. Specifically:

• Uniform thickness: The evenness of the frost across both motifs and fields indicates the planchet was of consistent thickness across its entire surface. Any thin spots would have resulted in areas of incomplete luster or premature wear.
• Smooth, defect-free surface: The absence of laminations, pits, or surface striations on the finished piece tells us the rolled strip was carefully inspected before blanking. Surface defects on the planchet would be permanently frozen into the struck piece.
• Proper annealing: The planchet would have been annealed (heated and slowly cooled) before striking to soften the metal and allow it to flow into the die cavities. Under-annealed planchets produce weak strikes with poor detail; over-annealed planchets develop a grainy, matte surface texture. The brilliant fields and sharp frost on this piece suggest the annealing was done correctly.

The Upsetting Stage

Before striking, the blank planchet would have been upset — its edges slightly raised and smoothed — to create a clean, uniform rim. This step is critical for medalets of this size because it ensures the metal flows evenly outward during striking rather than buckling or folding at the edges. The superb condition of the piece, with no mention of edge defects or rim irregularities, confirms that the upsetting was performed with precision.

Strike Pressure: The Force Behind the Cameo

This is where the metallurgy becomes truly exciting. The “Big Cameo” designation — the defining characteristic of this variety — is entirely a product of strike pressure and die preparation. Let me explain the physics at work.

Understanding Cameo Contrast

A cameo effect on a struck medal or coin occurs when the raised design elements (the motifs — in this case, the portraits of Washington and Lincoln) exhibit a frosted, matte texture while the recessed fields are mirror-like. This contrast is created during the striking process itself:

1. The dies are prepared differently: The field areas of the dies are polished to a mirror finish, while the design elements are either left with a rough texture or intentionally frosted (through acid treatment, sandblasting, or laser texturing in modern terms — in the 19th century, acid frosting was the standard method).
2. Under high pressure, the soft, annealed planchet metal is forced into every microscopic crevice of the die. The polished die fields transfer their mirror finish to the planchet surface. The frosted die areas transfer their matte texture.
3. The result is a piece with two distinct surface textures existing on the same plane — frost on the high points, mirrors in the low points — creating the dramatic visual contrast that defines a cameo.

Pressure Requirements

For an 18.0 mm medalet struck in a silver-copper alloy, achieving full design transfer and complete cameo contrast would require a strike pressure in the range of 80–120 tons per square inch, depending on the exact alloy hardness and the depth of the die engraving. This is significantly higher than the pressure required for a standard circulation strike, and it explains why cameo pieces of this era are so much scarcer than their non-cameo counterparts.

The fact that the piece shows “visually striking unbroken frost on the motifs and deeply mirrored fields” tells me three things immediately:

• The dies were in excellent condition at the time of striking — no significant wear or polishing that would have reduced the frost contrast.
• The press operator used sufficient pressure to fully fill the die cavities and transfer both the frost and mirror textures completely.
• The planchet was properly positioned and seated in the collar before the strike, preventing any rotation or misalignment that would have blurred the cameo effect.

Die Spalling: A Window into the Process

The auction description notes “patches of light die spalling have left faint marks in the fields and are as made.” This is a critically important metallurgical detail. Die spalling occurs when small fragments of the hardened steel die surface break away due to the extreme pressures involved in striking. These fragments become embedded in or impressed into the planchet surface, leaving small, irregular marks.

The presence of die spalling marks tells us several things:

• The dies were nearing the end of their useful life or had developed microscopic stress fractures from repeated high-pressure use.
• The striking pressure was at the upper end of the range, which is consistent with the effort needed to achieve full cameo contrast.
• The piece is authentic. Die spalling marks are extremely difficult to counterfeit convincingly because they are random in position and character. Their presence, especially when they match known die states of other examples, is strong evidence of genuine production.

Metal Flow Lines: Reading the Story in the Grain

One of the most underappreciated aspects of medallic metallurgy is the study of metal flow lines — the microscopic patterns in the metal grain that reveal how the planchet deformed during striking. When examined under magnification, these flow lines are like a fingerprint of the striking process.

How Flow Lines Form

When a planchet is struck, the metal does not simply compress uniformly. Instead, it flows outward from the center of the die contact point toward the edges, following the path of least resistance. This flow creates parallel lines in the metal’s crystalline structure that radiate outward from the highest points of the design.

For the Small Medal Big Cameo Washington Lincoln, I would expect to see the following flow line patterns under magnification:

• Radial flow from the portrait centers: The highest relief points on the Washington and Lincoln portraits would have experienced the most metal displacement, creating strong radial flow lines extending outward from the nose, brow, and cheek areas toward the fields.
• Circumferential flow at the rim: As the metal reached the collar (the ring that defines the medalet’s edge), it would have been redirected, creating a secondary set of flow lines running parallel to the rim.
• Convergence zones: Where flow lines from different parts of the design meet, small areas of metal stress can occur. These convergence zones are often where you’ll find the first signs of wear or cracking on heavily circulated examples — though this piece, being “absolutely choice,” shows none of these issues.

What Flow Lines Reveal About Authenticity

In my experience, metal flow lines are one of the most reliable indicators of authenticity for early American medalets. Here’s why:

• Struck pieces show organized flow: The flow lines follow the die design in a predictable, symmetrical pattern that reflects the geometry of the engraved die.
• Cast pieces show chaotic flow: Cast or replica pieces lack the organized flow pattern because the metal was poured into a mold rather than compressed between dies. Under magnification, cast pieces show random, swirling grain patterns with no relationship to the design.
• Electrotypes show no flow: Electrotype reproductions, which were common in the 19th century and are still encountered today, show a completely different grain structure because they were grown electrochemically rather than mechanically worked.

The piece under discussion, described as having “unbroken frost” and “deeply mirrored fields,” almost certainly exhibits textbook flow line patterns consistent with a genuine high-pressure strike. This is yet another piece of metallurgical evidence supporting its authenticity and contributing to its exceptional numismatic value.

The Bezel Factor: How Housing Affects Metallurgical Preservation

Several forum contributors have noted that the finest known examples of this medalet were found sealed in their original period suspension bezels under glass. One collector’s piece was described as having been “long sealed in its original period suspension bezel, covered in glass, explaining the superb quality that is obviously better than the assigned grade indicates.” This is a metallurgically significant observation that directly impacts both preservation and eye appeal.

The Micro-Environment Under Glass

When a silver alloy medalet is sealed in a glass-covered bezel, it is effectively placed in a controlled micro-environment that dramatically slows the natural aging process:

• Reduced oxygen exposure: The sealed environment limits the amount of oxygen available to react with the silver surface, slowing the formation of silver sulfide (tarnish).
• Limited sulfur contact: Atmospheric sulfur compounds, which cause dark toning on silver, are largely excluded from the sealed bezel environment.
• Stable humidity: The glass cover maintains a relatively constant humidity level around the medalet, preventing the cyclic wetting and drying that accelerates corrosion.
• Organic vapor exposure: However, the organic materials used in 19th-century bezel construction (fabrics, adhesives, lacquers) can release volatile compounds that actually accelerate certain types of toning — particularly the golden yellow tone observed in many bezel-sealed examples. This is a double-edged sword: the bezel protects against some forms of damage while creating others.

The Mourning Connection

The forum description notes “the lovely bezel, with black borders indicative of mourning.” Black-bezeled jewelry and medallions were commonly produced in the 1860s as mourning pieces following the assassination of President Lincoln. The metallurgical significance here is that mourning bezels were often constructed with different materials than standard bezels — including black enamel, gutta-percha, and jet — which could create distinct micro-environments with different effects on the enclosed medalet’s surface chemistry. The provenance implications are equally important: a mourning bezel places this piece squarely in its historical context and adds a layer of collectibility that extends beyond the medalet itself.

Rarity and Population: What the Numbers Tell Us

The forum discussion reveals that this is an exceptionally rare piece. Only two examples have been graded by the major services, with this being the top pop. For a medalet of this quality and historical significance, a population of just two graded examples underscores how few specimens have survived in collectible condition.

The fact that “none of the medalets from this period are common” is consistent with what we know about 19th-century American medallic production. These small medalets were produced in limited quantities, often as personal mementos or political tokens, and the vast majority were lost, melted, or worn to oblivion through pocket wear and handling. The survival of even a handful of examples in choice condition is remarkable from a metallurgical standpoint — it means the alloy was stable enough and the strike was hard enough to resist the normal degradation that destroys most small silver pieces within a few decades of circulation.

Actionable Takeaways for Buyers and Sellers

Based on my metallurgical analysis, here are the key factors to consider when evaluating a Small Medal Big Cameo Washington Lincoln — whether you are assessing one for purchase, sale, or authentication:

• Check the weight: A genuine example should weigh approximately 41–43 grains for the 18.0 mm version. Significantly lighter weights may indicate a base metal alloy or a later strike from worn dies.
• Examine the cameo contrast under magnification: Genuine examples will show clean, unbroken frost on the motifs with sharp boundaries between frost and mirror. Weak or patchy frost may indicate a weak strike, a later die state, or a non-genuine piece.
• Look for die spalling marks: These small, irregular marks in the fields are a hallmark of authentic production and are extremely difficult to fake convincingly.
• Assess the bezel: If the medalet is still in its original bezel, the bezel itself can provide important provenance information. Black-bordered bezels consistent with 1860s mourning jewelry support the historical dating and may indicate U.S. Mint production, as most bezel-enclosed medalets are Julian-listed Mint products.
• Request XRF testing if possible: Non-destructive X-ray fluorescence analysis can definitively determine the alloy composition without damaging the piece. This is particularly important for resolving the gold-versus-silver question and confirming the piece’s metallurgical profile.
• Compare to known die states: The die spalling patterns and flow line characteristics should match those of other authenticated examples. Building a die state census is one of the most valuable contributions a collector can make to the study of these rare pieces.

Conclusion: A Masterpiece of Early American Medallic Metallurgy

The Small Medal Big Cameo Washington Lincoln stands as a remarkable testament to the skill and precision of early American medal production. Whether struck at the U.S. Mint or by a private engraver of exceptional talent, this 18.0 mm medalet represents the pinnacle of what could be achieved with 19th-century striking technology. Its alloy composition, planchet preparation, strike pressure, and metal flow characteristics all point to a piece that was made with extraordinary care and expertise.

The fact that so few examples survive in choice condition — with only two graded by the major services and this piece representing the top of the population — makes this one of the most significant early American medalets available to collectors today. Its combination of historical importance (honoring both Washington and Lincoln, likely as a mourning piece from the 1860s), metallurgical excellence (full cameo contrast, brilliant fields, unbroken frost), and extreme rarity place it in a category that few other American medallic items can match.

For collectors, historians, and investors alike, this piece represents not just a numismatic collectible but a physical artifact of American metallurgical history. Every detail of its surface — from the golden toning of its bezel-sealed sister examples to the microscopic flow lines frozen in its silver alloy — tells a story of craftsmanship, chemistry, and the passage of time. It is, as one forum member so perfectly put it, “outrageously gorgeous” — and the science behind why it looks the way it does is every bit as beautiful as the medalet itself.

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