The alloy is first cast into ingots, which are in turn rolled under great pressure in to sheets of the proper thickness. These sheets then have individual blanks punched from them. You can tell which side of the planchet was facing up by the deformation of the metal along the edge as it is sheared from the sheet. This process does not differ much from coin production except that several blanks are not punched at once nor are the edges of the blanks further formed before the blanks are delivered to the press room.

After the planchets have been washed and annealed (softened) they are ready to receive an impression. Even today's large modern presses can not bring up such an intricate high-relief design in a single blow. The results of the first blow leave the medal recognizabe but very mushy. The dies force metal to flow out of the low areas of the design and into the high areas. It also flows out from between the dies at the edge since large medals are typically not struck using a collar.

This movement of metal generates great heat which under the tremendous pressure of the press causes the planchet to work-harden. This work-hardenning makes additional strikes fruitless unless the medal is again annealed. Bronze is annealed by heating it in a furnace and then quickly cooling it by immersing it in water. Interstingly this same process is used to harden the steel dies. After annealing, the medal is carefully aligned between the dies for a second striking.

After another trip to the annealing room the medal is ready to receive the third strike. Aligning the medal with the dies becomes easier with each successive strike due to the fact it becomes self-keying. The third strike brings up even more detail. The only details lacking at this point are the tip of the nose and the hair above the forehead. The flange created by not using a collar grows in diameter, reduces in thickness, and becomes more out-of-round with each striking.

Annealed once more the medal is struck for the fourth and in this case final time. The total number of strikes required for any art medal can vary from two to a dozen or more depending on the relief of the design. However, this forth strike finally brings up the full detail leaving a proof-like finish on our subject medal. Also notice that the flange from having been struck without a collar is very prominent at this point. This is evidence of the tremendous amount of metal movement generated by the four strikings. The medal now leaves the press room for the last time - the next stop is the finishing area.

The medal is now mounted on a turning lathe in soft keys that mimic the design. It is then machined to the proper diameter removing the flange in the process. On some medals you can see the fine groves left behind by this process. In the next step any edge design or lettering is applied. Then the proof-like surfaces are muted by sandblasting. Some medals are lacquered at this point and readied for sale; however, ours like most has one more step.

Many Bronze as well as Silver medals are marketed with an antique finish. The medal is first coated with an antiquing solution designed to darken and highlight the lower elements of the design. The finisher then removes the solution from the high points and adjusts the effect before the solution dries. This hand work gives each medal a slightly different look. The solution has been allowed to dry on this example and yes the very dark purple color is accurate.

After a coat of lacquer to protect the bronze from tarnishing the medal is now complete! Much work and craftsmanship have gone into each medal and it now only requires packaging and home.

H. Joseph Levine in his Presidential Coin & Antique Company auction catalog The Charles McSorley Collection of Nineteenth Century Political Campaign Tokens - Part II (July 10 & 11, 1998) writes the following on the lot 351 - The Process Set: