A Hoard of 'Porcupine' Sceattas / D.M. Metcalf

THE
AMERICAN
NUMISMATIC
MUSEUM
THE
AMERICAN
SOCIETY
NOTES
NUMISMATIC
SOCIETY
NEW YORK
1969
This content downloaded from 83.85.134.3 on Sat, 23 Jan 2016 05:21:14 UTC
All use subject to JSTOR Terms and Conditions
CONTENTS
GREEK
Hyla A. Troxell and William F. Spengler. A Hoard of
I
Early Greek Coins fromAfghanistan
Nancy M. Waggoner. The Early Alexander Coinage at Seleucia
on the Tigris
21
Jennifer Warren. The Earliest Triobols of Megalopolis
31
ROMANAND BYZANTINE
Richard E. Mitchell. The Fourth Century Origin of Roman
Didrachms
R.
J.
Jones. Vettienus Monetalis
Joan M. Fagerlie. Roman and Byzantine Medallions in the
Collection of the American Numismatic Society
Eugene Dwyer. An Alexander/MacedoniaContorniate
Arthur F. Johnson. A New AnonymousBronze ofConstantineX
41
73
77
93
97
MEDIAEVAL
D. M. Metcalf. A Hoard of "Porcupine" Sceattas
101
ORIENTAL
Richard W. Bulliet. A MuctaziliteCoin of Mahmd of Ghazna 119
Paul Z. Bedoukian. The Copper of the Later Kings of Cilician
Armenia
131
L. N. Kukuranov. The "Urd" Issues of Emperor Akbar
137
iii
A HOARD
OF
"PORCUPINE"
SCEATTAS
D. M. Metcalf
(Plates XX-XXI)
In the period between ca. 675 and ca. 750 the currencyof Frisia
and southern England consisted of "sceattas" - silver coins of a
characteristic small, dumpy fabric, which replaced the earlier gold
trientesand which were themselveseventually replaced by the larger
and thinner denarii of Pepin and Offa. The "sceattas" are mostly
anepigraphic, or inscribed only with a few half-understoodletters.
There are upwards of seventy differentvarieties in the series. Of
'
'
'
'
these, the most plentifulis the 'wolf-standard' or 'porcupine' sceat.
Its obverse, which has been variously interpreted,has an abstract
design of a central curve, bristles, straight lines, crosses, and other
Fig. i
symbols; its reverseis occupied by a square standard with a degraded
copy of the inscription VOT /XX, or with a pattern or group of
symbolsto replace the letters.The obverse can be seen as a porcupine,
but the name is purely a conventional one. The minor variations in
the basic design are seemingly endless. A survey shows, however,
that there are a half-dozen common versions, in each of which the
details of the obverse and of the reverse and (significantly)of the
reverseborder are consistentand regular.1The Franeker hoard helps
to demonstrate that the common versions were substantial issues.
The general impression they give, taken overall, is that there were
several mints or centers of production, each with its familiar and
'
acceptable version of the 'porcupine" design. Most of the coins were
struck in Frisia, but some are English, as can be seen by comparing
1 This summarizes
the argumentin D. M. Metcalf,"A StylisticAnalysisof
to numerous
the'Porcupine'Sceattas,"NC 1966,pp. 179-205,wherereferences
earlierstudieswillbe found.
IOI
102
D. M. METCALF
the relative proportionsof the main variants among the Dutch and
'
the English hoards and stray finds.The 'plumed bird" version, for
example, is English. It has its own characteristicreversedesigns; and
the systemby which particular patterns of reversewere accepted as
"belonging with" particular obverses spilled over to include other
contemporarytypes of sceattas, both in England and on the continent. These relationshipsare expressed in concise formin figure2.
The "porcupines" are not as tidy a series as figure2 mightsuggest.
Large numbersof specimensdo not fitinto any of the main categories.
Some of them are straightforward
forgeries,coins with silveringover
a copper core, which have been found for example on the beach at
Domburg. Others are of better quality, although the silver may be
quite heavily alloyed with copper. They are generally based on the
standard designs, but they usually borrow, and combine, elements
derivingfrommore than one source. The Cimiez hoard contains some
good examples of such "imitations." The date of deposit of Cimiez
has generally been set at 737. It is important as a terminus: if an
imitative"porcupine" in the hoard exhibitselementsclearlyborrowed
from one of the substantive versions, that version must antedate
the hoard. But there is little prospect of studying the imitations
throughtheir chronology.Among the "porcupines," as among other
early types of sceattas, attractive designs seem to have been copied
promptlyand far afield.
The difficultyof studying the derivative coins (which this article
is about) lies in the fact that there is no orderlysystem to be uncovered. One cannot hope to arrive at conclusions which will confirm
and commend themselves as plausible. Almost by definition,the
imitations are opportunist,or at least uninspiredby respect for the
conventional scheme. It is even harder to say just where they were
struck than it is to date them closely. One cannot even be sure that
much political controlwas exercised over the strikingof sceattas in
Frisia evenwhenitwas at itsmostorderly,althoughthelargequantities
and consistent style in which varieties E and F were produced (see
Fig. 2) suggest regularityand some kind of planning, as do the very
accurate weights of the best "porcupines."
A small proportionof coins which are in a coarse or stiffstyle are
obviouslythe resultsofprivate enterprise;but many of the imitations
HOARD
OF "PORCUPINE"
SCEATTAS
103
are, both in theirgeneral style and in the techniques of manufacture,

perfectlypresentable. It is thus quite likely that they should have
been struckat the regular mintsor centers,although in that case one
'
'
would have to envisage a second phase in the issue of 'porcupines/
when confidencein the sceattas was already declining. Somewhere
between these two categories,thereis a group of ratherundisciplined
copies, which show a lack of insight into the governingideas of the
"porcupine" design. They are plentifulon the eastern fringeof the
Fig. 2
circulation area: the German grave-findsof Galgenberg, Roisdorf,
and Bonn might be cited as examples. The Cimiez hoard, again,
illustrates several palpable imitations, mingled with Merovingian
and English coins which had been carried to the south of France.
The English findsare, on the whole, coins of good quality.
It is undoubtedlyin Frisia that the more problematic"imitations"
of the best quality were struck and used. The die links between the
Groningen, Lutje Saaksum, and Kloster Barte hoards offersome
104
D- M. METCALF
support for the theory that they are an east Frisian currencycontemporarywith regularvarieties issued in the politicallymore settled
area of western Frisia; the scarcity of "imitations" at Dorestad
perhaps points to the same conclusion. But they are very plentiful
also among the findsfromDomburg, the emporium at the heart of
the "porcupine" country. They are present, along with other types
of sceattas, in the hoards from Hallum and Franeker. The former
was concealed (to judge fromits English element) early in the 730%
and Franeker may be even earlier. Thus, the derivative coins were
already being struckby ca. 730, at a date when the debasement of the
English sceatta series had barely begun. Some, of course, may have
been issued appreciably later; this is a point which detailed research
may be expected to clarify,by definingthe scope and extent of the
known varieties, by grouping the coins together as far as possible
into little blocks fromrelated dies, and then by seeing how far the
blocks can be "tied in" to the specimens which are dated by a hoardcontext. In an effortto classify the "imitations" in more detail,
there are various lines of enquiry to be followed.
1) Analyses of the metal contentsof the coins will show the relative
finenessof the different
varieties. Dirks describesall the "porcupines"
fromFraneker, but especially varieties E and F, as being of "very
pure silver;" and he also quotes an analysis of another coin published
by Rethaan Macare, which contained 53% silver. More recent
analyses have shown that certain English varieties of "porcupine,"
includingthe "plumed bird" and "VOIC" varieties,contain upwards
of 95% silver.2A forthcomingstudy,3based on a larger number of
analyses, will show that the Frisian imitations (including several of
those catalogued below) usually contain 70-85% silver, but sometimes less. It is not yet known whetherthis is appreciably lower than
the alloy of the regularFrisian varieties, or even whetherthey themselves were of a closely controlledcomposition; but at least the figures
offeran explanation for the scarcity of the "imitations" during the
primaryphase of sceattas in England.
2 D. M. Metcalf,J.M. Merrick,
and L. K. Hamblin,Studiesin theComposition
Handbooks
, No. 3) (NewcastleofEarlyMedievalCoins(MinervaNumismatic
8 By MissHamblinand thewriter.
1968),p. 22.
upon-Tyne,
HOARD OF "PORCUPINE"
SCEATTAS
105
Secondly, the minor constituents of the alloy, particularly the

1-1.5% gld the coins contain, and the residual amounts of lead and
traces of zinc, may serve to indicate differentsources of bullion, and
varying technical standards of manufacture.
2) Metrologymay contributesomething,if the weights of enough
well-preservedspecimenscan be put on record. Griersonhas remarked
how exactly two die-linkedgroups of sceattas, of which he was able
to publish the weights, averaged 20 grains, no doubt their full
theoretical weight. The 35 coins from the hoard published below,
which are almost all in extremelyfreshcondition,average 18.8 grains.
Only 4 of them exceed 20.5 grains. As well as differencesin the mean
average, differentpatterns of distributionaround the mean may be
of significance,revealingdifferencesin mintpractice in how carefully
the weights of the flanswere adjusted.
3) Die axis is another technical aspect of the manufactureof the
coins, in which differentpatterns of die alignmentmay indicate that
groups of coins are fromdifferentworkshops or alternatively from
separate phases in the production of the series. As a criterion,die
alignment (like metrology)can be kept partly independent of considerationsof style,and it can, therefore,serve to distinguishbetween
the cuttingof the dies and their actual use- a question which might
arise,forexample,ifitinerantdie cutterswereproducingdies fortheuse
oflocal workmen.Lafauriehas demonstratedfortheMerovingianseries
that the functionsofthedie cuttersand themoneyersweredissociated.
There is reason to think that most, but not all, of the coins in our
hoard were (like the betterEnglish sceattas) struckfromdies adjusted
in one of the fourregularpositions. The difficulty
of being precise lies
in deciding exactly which way the obverse design should be viewed,
and whether it is as well centered on the flan as the reverse. The
problem of recording accurate informationhere has been met by
using arrows to indicate the four positions and by mounting the
illustrationsto correspondas closely as possible with the given indication. Where regularityprevailed in a sequence of dies, one may
hope in this way to discover how the eighth-centuryworkmenthemselves saw the balance of the strange "porcupine" design.
4) An analysis of the style and detail of the coins should gradually
consolidate a view ofthe whole seriesof dies fromwhichthe derivative
io6
D. M. METCALF
"porcupines" were struck. Near-duplicate traits will firmlyassociate

coins by the same hand, and may thus link obverses or reverses on
which there are formal differencesof detail. The comparison of
closely related coins will help to show what the die cutters thought
of as the essential, and the inessential, elements of the design. Thus,
nos. 18-19 below share an obverse die, which links two slightly
differentreverses; and no. 20, where the reverse is clearly by the
same hand as those of nos. 18-19, serves to connect another obverse
die whichcould nototherwisehave been associated closelywiththefirst.
Similarly,the obverses of nos. 27-8 are doubtless by the same hand,
and they link reverseswith differentdesigns. The obverses of nos. 29
and 30 link very differentreverses.
All these are long-termlines of enquiry,calling forthe evidence of
large numbers of coins. "Porcupines" have always been the least
esteemed variety of sceat, and they have not often been illustrated
in sale catalogues, which favoredthe more sought-afterand the more
pictorial types. It is not possible, therefore,to build up a photo-file
from numerous scattered sources, and there is still a need for the
publication of as much new material as possible. The hoard which is
offeredhere as a small contributionto that project was acquired,
froma collector who was understood to have had it for a long time
and to have hoped to make it the basis of some research,by M. Franceschi of Brussels. The coins figuredin his 1966 list. Part of the hoard
was bought by Mr. Carl Subak of Chicago, who very kindlylent it to
the writerin the summer of 1968 for purposes of study and publication, in the desire that it should not be dispersed without a proper
record; 24 of the coins that are catalogued were made available
through his generosity.4The Ashmolean Museum had previously
bought 5 coins fromthe hoard throughan intermediary,and a further
6 specimens had been obtained directlyfromM. Franceschi by the
writer. There may be other coins from the hoard, in the hands of
collectors who obtained them from M. Franceschi, and if so, information would be very welcome, in the interestsof securing as com4 I wouldlike to recordmywarmappreciationof the veryfriendly
way in
whichMr. Subak agreedto lendthecoins.
HOARD
OF "PORCUPINE"
SCEATTAS
107
plete an account as possible of the hoard.5 Nothing is known of its

provenance. There were one or two sceattas in the collection that
were manifestlynot fromthe same source (as they had a corrosion
patina), but the rest were very uniformin appearance, and, as has
been mentioned, virtually fleur-de-coin.They might include one or
two strays from other sources, but there is no positive reason to
suspect contamination.
The hoard, then, so far as is known, consisted exclusively of
'
'
'porcupines/ In this, as in other ways, it is like the Groningen,
Lutje Saaksum, and Kloster Barte finds, and the early Hanover
hoard, ofwhichthe threepublished specimensare reproducedas Fig. 3.
Fig. 3
One cannot exclude the possibility that it is a parcel from one of
these hoards. The coins have been listed under the headings of the
'
'
main varieties, but most of them are 'derivative/ They are very
varied in style,no. 32 being particularlycrude. Nos. 1-5 are probably
regular coins of variety A, among which one can detect a consistent
obverse style. No. 15 may be a regular coin of variety C. No. 13 is a
"VOIC" coin in the best style- deriving its design fromvariety B,
but with the status of a regular variety. Die similaritiessuggest that
it is an English coin, and it is likely to be of very pure silver, if
analyses of other "VOIC" specimens are a guide. If so, it may help to
put a relatively early date on the hoard. The die-linked coins, nos.
18-19, togetherwith no. 20, may be the best pointer to its origin.
5The writerwouldbe pleasedto hearfromanyonewhoboughtcoinsfromthe
hoard.Lettersmaybe addressed"AshmoleanMuseum,Oxford."
io8
D. M. METCALF
CATALOGUE
Illustrationsof comparative material are cited by the plate numbers,

as follows:
Dirks - Plates A to G in Revue de la num. belge1870.
Hill - Plate X in JaarboekvoorMunt- en Penningkunde1955.
Lockett - Photographs of the collection, made available by the
British Numismatic Society. Each lot is numbereda, b, c, etc.
here in the order in which the coins appear page-wise on the
photographs.
Man - Plates I- II in TijdschriftvoorMunt- en Penningkunde1895.
NC - Plates XVI-XVII in Numismatic Chronicle1966.
RN - Plates III-IV in Revue Numismatique 1938
SC BI - Various parts of the Sylloge of Coins of the British Isles,
particularlyCopenhagen I (1964) and Hunterian I (1961).
Stephanik - Cabinet de monnaies Joh. W Stephanik (sale-cat.,
F. Muller, Amsterdam, 12 Dec. 1904). Plate II.
Van der Chijs - Plates I-VI in P. O. van der Chijs, De munten
derfrankischeen duitschnederlandschevorsten
, 1866.
Variety A
i. Obv. : Beneath the curve there are 5 lines, of approximatelyequal
length, and rectangular alignment. The right-handline is partly
joined to the curve. There is a bold dot (part of a cross ?) beneath,
and another symbol partly offthe flan to the left. The inner tips
of the "quills" extend beyond the terminal dots. The quills
toward the tail are slightlythinnerand closer together.Stephanik
63 is in the same general style; it has 6 lines beneath the curve.
There were only 3 specimensin the Stephanik collection (nos. 6062) which, like this coin, had as many as 5 lines. Lockett 218c is
extremelysimilar in style, and is combined with a slightly differentrev. design.
Rev.: The design of variety A, with a bold design added at
6 o'clock. Bold dots for serifs.The irregularslope of the firstT
is matched on Dirks, C, 7 (Hallum). Cross visible in lower border.
1.18 gr./i8.2 grains,
SCEATTAS
109
2. Obv.: Five lines beneath curve; similar general style to no. 1. At

'
'
least 13 'quills.' Two straightrows of very small dots have been
added to the design, 3 dots vertically and 6 or 7 horizontally
(cf. no. 4A below). There is a narrow "neck" between the curve
and its terminaldot.
Rev. : Design of variety A, with a pyramid of 3 small dots added
to the right,and 2 dots similarlyto the left.The borderis marked,
apparently on 2 sides, VI (cf. the related coin with VOI in the
border,NC 10).
1.40 gr./2i.5 grains. /
3. Obv.: Four lines and an annulet beneath the curve. Some of the
terminaldots on the lines are erratic,and othersare spade-shaped
(cf. the rev.). Traces of 18 "quills;" those toward the tail are very
small and close together. Two dots and (part of) a large cross
beneath. For the cross, cf. SCBI Hunterian 32 and 35, which are
similarin general style. The shape of the curve and of the pattern
of lines are comparable with those on nos. 1-2.
Rev. : VarietyA; crosses on all 4 sides of the border.Characteristic
bold, dotted style. The serifsof the lettersT appear to be spadeshaped, although this may be merely the effectof punching the
dots firstand then cuttingthe line that joins them; cf., however,
the extremely similar rev. of RN 42 (Cimiez)- note the nearof the second I, the lines runningout fromthe
duplicate seriffing
cornerof the square, and also the pronouncedspade-shaped serifs
and the annulet on the obv.
4. Obv.: The curve is less balanced in shape, but there are still,
apparently,4 lines beneath it, and traces of 15 or more "quills."
Rev.: Variety A, with crosses (probably) on all 4 sides; lines
running outward from the corners of the square. An extra annulet appears in the border. The letters T, T, I, I are carefully
with square ends to the strokes; but the cross in
pseudo-seriffed,
the border has dotted ends.
1.18 gr./i8.3 grains, f. Collection of D. M. Metcalf.
Cf. another coin (illustrated as 4A) with reverse letteringinter-
no
D. M. METCALF
mediate in style, and with an obverse that is close in style to
nos. 1-4: note that there is a long cross on the obv., and a rowof
small dots. Collection of J. D. A. Thompson.
1.00 gr./i5.5 grains. -
5. Obv. : Three lines and 2 (or 3 ?) dots beneath the curve; 15 "quills."
The lines are stepped downward to the left. Beneath, A + T.
Generally very similar to RN 41 (Cimiez), of which the reverse,
however,has dotted serifson the letters T, T.
Rev. : Variety A, to which a pyramid of 4 dots has been added.
Small, neat letters,with pseudo-serifs,as on no. 4. In the border
the crosses, too, are square-cut. L-shaped elements are carried
around the two lower corners.
1.25 gr./ig.3 grains, f
6 .Obv.: Curve with 4 lines beneath; 12 "quills." The symbols
beneath are perhaps A A X X. Note that there is no dot at the
tip of the curve; this suggests strongly that the coin is not a
regular specimen of variety A. Two minute "ears" part way
along the curve may be an echo fromthe design of variety F.
Rev. : Design of varietyA, dotted style. In the border are crosses,
with dots to (each?) side; and a line runs outward from the
cornerof the square. Very similar to no. 1.
1.15 gr./i77 grains
Cf. Dirks, C, 9 (Hallum).
7. Obv.: Curve without a dot at the tip. A finedotted line runs most
of the way round the curve, but not around the tip (cf.variety F).
Four lines, of which the fourth is small and thin. An annulet
beneath, and traces, perhaps, of another annulet to the left of
the first.The "quills" are bolder and more widely spaced, but
: there are
they are distributedaround more of the circumference
traces of 13.
Rev. : Design of variety A, with dots added at 3, 6, and 9 o'clock.
Dots (part of crosses?) in the border above and to the left; a line
with a dot superimposed,to the right.
1.23 gr./ig.o grains. ->
HOARD
OF "PORCUPINE"
SCEATTAS
hi
Cf. Dirks, C, 2, 3, and 9 (Hallum), which do not, however, offer

an exact parallel.
8. Obv.: Curve with a dot at the tip; a line of finedots followingthe
inner edge of the curve; 3 lines and a large dot beneath; in the
field,an annulet and (?) A. Eleven "quills" with large dots.
Rev.: Design of variety A, but "1 replaces the second T. The
letters are dotted, but the dots can barely be distinguishedfrom
the strokes. Cross in border to left; traces of crosses on the other
3 sides.
1.12 gr./i7.3 grains ' Ashmolean Museum.
9. Obv. : There are apparently 4 lines, of which the right-handone
joins the curve. Some of the terminal dots are approximately
square. There is a small dot between the curve and the right-hand
line. Cf. NC 41.
Rev.: Design of variety A, with central dot in annulet. Large,
boldly dotted crosses in border; (?) curve around upper left
corner.
1.24 gr./ 19.i grains f Ashmolean Museum.
10. Obv.: Curve with 2 dots, one at the tip and the other part way
along. Three lines, and 2 dots (unjoined, but intended fora fourth
line ?) ; 3 small dots above. Traces of 16 "quills," whichare curved,
but which do not slope back to the left as on most specimens.
Rev.: T///J around annulet. The border, on at least two sides,
is empty.
1.23 gr./ig.o grains ->
11. Obv.: Thin curve; widely-spaced "quills" and lines. Dotted line
(part of cross?) beneath.
Rev.: T "1/- ' around central annulet, with dot added below.
Border with crosses,
i. ii gn/17.2 grains. |
12. Obv.: Small curve, leaving room forlonger "quills." Three lines;
OA* and part of ( ?) cross beneath. The tips of some of the quills
extend beyond the dots.
112
D. M. METCALF
Rev.: Small square; I l/<< around annulet, with dot added

below. Border with zig-zag line and dots above, 1 to left,and T
at upper left corner.
i. io gr./i6.9 grains f Ashmolean Museum.
"VOIC" Variety {ElementsderivedfromvarietyB)
13. Obv.: The two lines to the leftwithinthe curve are joined together
taking the formof an"H"; the line to the rightis joined to the
final dot of the curve; beneath, there are two triangles. These
three details are characteristicof the "VOIC" variety: NC 6 is a
near-duplicate die. Note that the final "quill" to the right is
joined by a line at rightangles, which is perhaps part of a cross.
Rev. : Bold style: all the elements in the design correspondwith
those of NC 5. In the border, part of a (?) triangle (cf. NC i)
flanked by 2 dots. This again may be an element of the design
derived fromvariety B. Two dots are visible in the lower border,
cf. the joined row of 3 dots on other "VOIC" coins. Extremely
similar to Van der Chijs 17.
1-33 gr./20-5grains ->
14. Obv.: Details which are unexpected on a "VOIC" coin are (i) the
bold annulet in the lower field,where there should be a triangle;
(ii) the dot on the tail-end of the curve; (iii) the 11 or 12 minute
dots which partly outline the curve.
Rev. : The "VOIC" design,includingthe two bold dots in the field,
but with L forC, and H forT. The H lacks terminaldots (serifs).
In the border, a cross to the right,and L-shaped pieces around
each right-handcorner. Perhaps a row of 3 joined dots above,
i. 31 gr./20.2grains. <- Ashmolean Museum.
Variety C
15. Obv.: Beneath the curve there are 3 lines, and a fourth small
symbolwhich may be a line or a blundered X; the curve is joined
to the right-handline; annulet beneath.
HOARD
OF "PORCUPINE"
SCEATTAS
113
Rev. : There are traces of a cross in one side of the border. If this
side is placed at the top, the symbols in the square are Hl/X"
around an annulet. Under the 2 dots are 5 faint dots forming
an L; the die cutterperhaps changed his mind afterroughingout
the pattern. In the left border, .r'. . In the lower border, a zigzag line(?).
1.00 gr./i54 grains |
16. Obv.: Curve with dot part way along. Beneath, XIII; two large
dots and an annulet. The curve and "quills" are of rough workmanship.
Rev. : Small square with ["/ around an annulet. Unusually
elaborate border: 5 or 6 "quills" to left; H :T/ below.
1.17 gr./i8.i grains. <- D. M. Metcalf.
Cf. Dirks A, 5 (Franeker). The reverses of SCBI Hunterian 44
and Man 25 are comparable, but theirobverses are very different.
Van der Chijs 10 also has "quills" in the rev. border.
17. Obv.: Widely spaced design. Curve with dot at end; 3 lines; A
beneath.
Rev. : The beading of the square consists of dots spaced out along
the lines; TO/CX around annulet, with a dot above and below.
to right. Cf. Lockett
Zig-zag border above; opposed curves
217i.
1.10 gr./i7.o grains.
Ashmolean Museum.
Variety E
18. Obv.: Two small dots on the curve close to eitherside of the point
where the triangle joins it. The other two angles of the triangle
are marked by small dots. Beneath, XA; 2 very small dots in the
field.
Rev.: Small square, erraticallydotted; TO/
around annulet.
VIIw around lower left cornerof border.
1.31 gr./20.i grains. <- D. M. Metcalf.
SCBI Hunterian 41 is perhaps related.
8
D- M- METCALF
114
19. Obv.: From the same die as no. 18.

Rev. : Square ofsimilarshape and size to that of no. 18, dotted in
around annulet. Border with rectangular
the same style; TI/
shape above (borrowed from the obverse of variety E), line
below, and V-l.
1.25 gr./i9.3 grains.
20. Obv.: Cross to left of triangle,as on Dirks B, 24 (Franeker). The
symbols beneath are obscure, perhaps OAO.
Rev. : By the same hand as nos. 18-19. Border empty above and
to right; zig-zag line below.
1.28 gr./i9.7 grains. ->
Cf. Hill 14 (Lutje Saaksum).
21. Obv.: Deeply-cut curve, more in the style of variety E; 0+ to
left; an extra rowofsmall dots between the curve and the "quills."
Rev.: Bold square with T'/- I around annulet. Border with
Vlv-to left,r around upper left corner, .1. above, and L- below.
1.25 gr./i9-2grains '
22. Obv.: Curve with inconspicuous terminal dot and a very slight
line across the curve, part way along, equivalent to the dot of
variety F. The trianglehas degenerated into an L (cf. variety G,
but the curve here is clearly derived from E), and there is a
similar, very slight line superimposed on it near where it joins
the curve; a large dot inside the "triangle" and a smaller one to
the left; OX close together; *0 below.
Rev.: Bold square with P //X_/around annulet. Border pattern
AV on two sides, with I or + at corner? Cf. the style of the rev.
of no. 21.
1.29 gr./i9-9grains. /
23. Obv.: Small curve, and triangle of the same thickness of line;
annulet to left; numerous large dots and symbols beneath.
Rev.: Linear square with only a few dots superimposed on the
lines (one at each cornerand 2 more on each side?), very similar
to NC 41. If the cross (+) on one side of the border is placed as
SCEATTAS
115
the top of the design, thereis an annulet at the upper leftcorner,

and a zig-zag line to the left.The central patternis rotatingrather
than symmetrical: this again seems to match NC 41: I- /Ll
around annulet.
1.21 gr./i8.6 grains. <24. Obv.: Crowded,bold design. Tip of curve extends beyond triangle
and is prominentlydotted. There is apparently a large dot joined
to the tail-end of the curve as well. Boldly-dotted cross, with 2
extra dots almost touchingit. Beneath, the symbols AOAO, with
a large dot below the second A.
Rev. : Neat style,more lightlycut than the obv. Design of variety
A, with pyramid of 3 dots added below; crosses in the border to
the rightand below, and also at the lower rightcorner.
1.30 gr./20.i grains. ->
Cf.SCBI Hunterian 45 and Hill 3 (Groningen),whichare however
much more like each other than they are like this coin.
25. Obv.: Crude work: the "quills" are not dotted, and the triangle
is not joined to thecurve.Two or 3 lines to the leftofthe triangle( !)
Rev.: Neat style, variety A. Large square, well centered, with
traces of (?) curves on each side.
0.99 gn/15.3 grains. ->
Variety F
26. Obv.: Fat curve, with small dot superimposed; complete outline
of small dots. Reversed "quills." Dot, 3 lines, and ringed dot
below.
Rev.: Cruciformpattern; the central dot is ringed with minute
dots. Border with ( ?) cross above, 3 ( ?) quills to the right,( ?) an
annulet to the left,and a zig-zag line below.
D. M. Metcalf.
1.28 gr./ig.7 grains.
From the same dies as Lockett 219c. Extremely similar to SCBI
Copenhagen 35 (where the quills are not reversed).
8*
D. M. METCALF
27. Obv.: A bold dot on the curve, which reproduces the "beaked"
style of variety F closely. The border of finedots runs round the
beak but is lacking inside the curve. X*:III; annulet beneath.
Rev.: Probably + above and below, with - :/:.X around annulet (cf. SCBI Copenhagen 32). Zig-zag line to left. The die has
given a softor blurredimpression,like that of no. 28, and in contrast with no. 29, where the reverse is sharp.
1.22 gr./i8.8 grains. '
Very similar to SCBI Copenhagen 32. Cf. also NC 1966, p. 194,
Fig. 3c (Thanet), and Hill 7 (Groningen).
28. Obv.: Similar to no. 27: again, the border of finedots is lacking
on the inner side of the curve. Otherwise, extremelysimilar to
SCBI Copenhagen 32 and doubtless by the same hand. Three
lines inside curve; T+ beneath.
Rev. : Border in high relief,with dots superimposed (presumably
one at each corner,and then 4 more on each side). Inner square
of finedots; 4 dots around annulet. Cf. NC 34-6.
1.36 gr./20.ggrains. D. M. Metcalf.
29. Obv. : The curve is thinner,but still in the style of variety F. It is
outlined with large, widely-spaced dots. Very bold "quills."
Within the curve, XIII; beneath, .0'.
Rev. : The same design as no. 28, but more sharply struck. Outer
square with (presumably) one dot at each corner,5 more on two
sides, and 6 more on the other two. Note that NC 37, which
appears to be similar, has many more dots to mark the outer
square.
1.32 gr./20.3grains,
From the same rev. die as Carlyon-Britton,lot 159, and froman
extremelysimilar obverse die. Extremely similar also to SCBI
Copenhagen 29 and certainlyby the same hand.
30. Obv.: Very similar to no. 29, and even closer to SCBI Copenhagen
29 (note the X of XIII), almost certainly by the same hand. The
link is furtherdemonstratedby BMC 70 (pl. II, 7).
SCEATTAS
117
Rev.: Small square; around the central annulet are two Ts with
a dot at each end, and two I's with a dot half way along. The
borderis apparently compartmentedby dotted lines (or crosses?)
running outward from the corners of the square. Cross above;
[I and 2 dots to the left; (?) H . below.
Cf. the rev. of BMC 70.
1.40 gr./2i.6 grains, f
Cf. Hill 17 and 19 (Lutje Saaksum), which have a much neater
reverse design.
31. Obv.: Curve with dot superimposed (as variety F), but with large
annulet joined to tip. The outline is of bold dots, joined by a
fine line. Three lines, flanked by dots; beneath, 4 or 5 dots.
Widely-spaced "quills."
Rev.: Perhaps in the same style as no. 24. Small square; Jl/XC
around annulet, with 5 dots added. Large symbols in border:
bold dotted cross, flanked by dots, above; angle around upper
left corner; (?) triangle to left.
I-I5 g^-M-7 grains.
Variety G or D
32. Obv.: The heavily-modelled curve is apparently derived from
variety G, although the large cross beneath is perhaps copied
from variety D.
Rev. : Design of variety D (cf. NC 26-29). Rough square of coarse
dots. Flattened zig-zag with dots, as the border pattern.
1.25 gr./i9-3grains, s*
33. Obv.: Curve, etc., perhaps derived from variety G. Cross and
annulet beneath.
Rev. : Small square, with dots spaced irregularlyalong the sides.
IT/IT around annulet. Large dotted cross beneath (and above?);
two annulets roughlyapplied in the right-handborder.
ii8
D. M. METCALF
34. Obv.: Five lines, the right-handone joined to the curve. Six long,
swept-back "quills," and perhaps a seventh very long one, with
its dot at 5 o'clock. Symbols beneath, perhaps VA.
Rev.: Symmetricalpattern, V1V/I I/ATAaround annulet. Border
with U to left and right, and zig-zag line beneath. Extremely
similar to Dirks F, 19 (Domburg), the obverse of which also has
long, swept-back "quills."
1.25 gr./i9.2 grains. '
35. Obv.: Crude curve, with 3 lines beneath.
Rev. : Rotating cruciformpattern with central annulet. Border
with zig-zag pattern.
D. M. Metcalf.
1.09 gr./i6.8 grains.
XX
12
4A
10
11
1-2
14
SCEATTAS
XXI
18
19
20
21
22
28
24
25
2(5
27
28
29
so
31
o4
oo
HOARD
OF "PORCUPINE"
85
SCEATTAS

A Hoard of 'Porcupine' Sceattas / D.M. Metcalf

Diunggah oleh

Informasi Dokumen

Judul Asli

Hak Cipta

Format Tersedia

Bagikan dokumen Ini

Bagikan atau Tanam Dokumen

Opsi Berbagi

Apakah menurut Anda dokumen ini bermanfaat?

Apakah konten ini tidak pantas?

Hak Cipta:

Format Tersedia

A Hoard of 'Porcupine' Sceattas / D.M. Metcalf

Diunggah oleh

Hak Cipta:

Format Tersedia

THE

are, both in theirgeneral style and in the techniques of manufacture,

Secondly, the minor constituents of the alloy, particularly the

"porcupines" were struck. Near-duplicate traits will firmlyassociate

plete an account as possible of the hoard.5 Nothing is known of its

Illustrationsof comparative material are cited by the plate numbers,

2. Obv.: Five lines beneath curve; similar general style to no. 1. At

Cf. Dirks, C, 2, 3, and 9 (Hallum), which do not, however, offer

Rev.: Small square; I l/<< around annulet, with dot added

19. Obv.: From the same die as no. 18.

the top of the design, thereis an annulet at the upper leftcorner,

Anda mungkin juga menyukai