A LIBERTY FOR ALL
In the 18th century, only monarchs put their likenesses on coins. George Washington believed the American Republic should emphasize ideals, not individuals. Therefore, after heated debate, the 1792 Coinage Act mandated an “impression of liberty” on coins. Mint Director, Robert Scot, fashioned a personification of Liberty, debuting his interpretation on the 1793 “Flowing Hair” large cent. However, her wild locks led to public outcry. Though a modified design quickly tamed her unruly tresses, the free-spirited Liberty was replaced by the more demure “Draped Bust” dollar of 1795. Like Liberty herself, hairstyles and sensibilities evolved, her liberty cap supplanted with a clearly labeled tiara.
In 1836, Gobrecht’s dollar reimagined Liberty as a powerful Roman lady clutching a shield and flag. George Morgan’s interpretation followed, reclaiming Liberty as an American woman with a “perfect” profile. The turbulent 20th century brought art nouveau and Liberty at her most risqué. Standing between two pillars, one breast exposed, the 1916 quarter laid Liberty bare, though public censure quickly cloaked her in a timely suit of armor. Following WWI, Anthony de Francisci’s “Peace” dollar crowned the allegorical goddess like the Statue of Liberty, symbolizing freedom and hope.
Gradually, Liberty’s image was replaced by American heroes, departing where she began on the cent in 1909 and vanishing entirely by the 1946 Roosevelt dime. However, time revitalized Liberty’s feminine allegory with the 1979 Susan B. Anthony dollar, followed by Sacagawea at the dawn of the 21st century. Today, a proud African-American Liberty, crowned with stars, commemorates 225 years of Independence and progress.
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AUDIO COMPANION
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RENAISSANCE OF AMERICAN COINAGE
At the turn of the 20th century, President Theodore Roosevelt eloquently described American coins as “atrocious hideousness.” Determined to create a majestic coinage worthy of this great nation, the ambitious President began a correspondence with renowned sculptor, Augustus Saint-Gaudens. Together, they envisioned a “Renaissance of American Coinage” that would revive the beauty and power of ancient Greek coins through a modern artistic lens.
Inspired, Saint-Gaudens manifested Roosevelt’s vision in his eagle and double eagle designs. Considered one of the most beautiful U.S. coins ever struck, the Saint-Gaudens’ double eagle features Liberty on the obverse, emerging from the dawn, while the reverse eagle soars above the rising sun. Though beautifully symbolic, the sculptural design proved difficult to produce. Twenty-four “Ultra High Relief ” patterns of the original design were struck, requiring nine strikes each. Confronted with the Mint’s mechanical limitations, Saint-Gaudens observed, “It is no trifling matter to make Greek art conform with modern numismatics.” Before the ailing sculptor and the Mint reached a compromise, he died, leaving Roosevelt to push the program forward. The pragmatic engraver, Charles Barber, smugly modified Saint-Gauden’s design, lowering the coin’s relief (and artistic impact) to allow for just one strike.
Roosevelt and Saint-Gauden’s collaboration generated momentum and created an artistic legacy. Every designer of American coins from 1907 to 1921, except Victor David Brenner, was a student, assistant, or disciple of the sculptor. Bela Pratt’s Indian head quarter eagle, James Earl Fraser’s Buffalo Nickel, and Anthony de Francisi’s Peace Dollar breathed new life into American numismatic art under Saint-Gaudens’ visionary influence.
