a hoard of 'porcupine' sceattas / d.m. metcalf

8/9/2019 A hoard of 'porcupine' sceattas / D.M. Metcalf

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THE AMERICAN NUMISMATIC SOCIETY

MUSEUM NOTES

THE AMERICAN NUMISMATIC SOCIETYNEW YORK

1969

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CONTENTS

GREEK

Hyla A. Troxell and William F. Spengler. A Hoard ofEarly Greek Coins from Afghanistan I

Nancy M. Waggoner. The Early Alexander Coinage at Seleuciaon the Tigris 21

Jennifer Warren. The Earliest Triobols of Megalopolis 31

ROMAN NDBYZANTINE

Richard E. Mitchell. The Fourth Century Origin of RomanDidrachms 41

J. R. Jones. Vettienus Monetalis 73Joan M. Fagerlie. Roman and Byzantine Medallions in the

Collection of the American Numismatic Society 77Eugene Dwyer. An Alexander/Macedonia Contorniate 93Arthur F. Johnson. A NewAnonymous Bronze of Constantine X 97

MEDIAEVAL

D. M. Metcalf. A Hoard of Porcupine Sceattas 101

ORIENTAL

Richard W. Bulliet. A Muctazilite Coin of Mahmūd of Ghazna 119Paul Z. Bedoukian. The Copper of the Later Kings of CilicianArmenia 131

L. N. Kukuranov. The Urdù Issues of Emperor Akbar 137

iii



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A HOARD OF "PORCUPINE" SCEATTAS

(Plates XX-XXI) D. M. MetcalfIn the period between ca. 675 and ca. 750 the currency of Frisia

and southern England consisted of "sceattas"-

silver coins of acharacteristic small, dumpy fabric, which replaced the earlier goldtrientes nd which were themselves eventually replaced by the largerand thinner denarii of Pepin and Offa. The "sceattas" are mostlyanepigraphic, or inscribed only with a few half-understood etters.There are upwards of seventy different arieties in the series. Ofthese, the most plentiful s the 'wolf-standard' or 'porcupine' sceat.Its obverse, which has been variously interpreted, has an abstractdesign of a central curve, bristles, straight ines, crosses, and other

Fig. i

symbols; its reverse s occupied by a square standard with a degradedcopy of the inscription VOT/XX, or with a pattern or group ofsymbols to replace the etters. 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 thedetails of the obverse and of the reverse and (significantly) f thereverse border are consistent and regular.1 The Franeker hoard helpsto demonstrate that the common versions were substantial issues.The general impression they give, taken overall, is that there wereseveral mints or centers of production, each with its familiar andacceptable version of the 'porcupine" design. Most of the coins werestruck n Frisia, but some are English, as can be seen by comparing

1This summarizes he argument n D. M. Metcalf, A Stylistic Analysis fthe Porcupine' ceattas,"NC1966, p. 179-205,where eferences onumerousearlier tudieswillbe found.

IOI



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102 D. M. METCALF

the relative proportions f the main variants among the Dutch andthe English hoards and stray finds. The

''plumed bird" version, for

example, is English. It has its own characteristic everse designs; andthe system by which particular patterns of reverse were accepted as"belonging with" particular obverses spilled over to include othercontemporary ypes of sceattas, both in England and on the con-tinent. These relationships re expressed in concise form n figure .

The "porcupines" are not as tidy a series as figure might uggest.Large numbers of specimens do not fit nto any of the main categories.Some of them are straightforward orgeries, oins with silvering vera copper core, which have been found for example on the beach atDomburg. Others are of better quality, although the silver may bequite heavily alloyed with copper. They are generally based on thestandard designs, but they usually borrow, and combine, elementsderiving from more than one source. The Cimiez hoard contains somegood examples of such "imitations." The date of deposit of Cimiez

has generally been set at 737. It is important as a terminus if animitative porcupine" in the hoard exhibits lements learly borrowedfrom one of the substantive versions, that version must antedatethe hoard. But there is little prospect of studying the imitationsthrough heir chronology. Among the "porcupines," as among otherearly types of sceattas, attractive designs seem to have been copiedpromptly nd far afield.

The difficulty f studying the derivative coins (which this articleis about) lies in the fact that there s no orderly ystem to be unco-

vered. One cannot hope to arrive at conclusions which will confirmand commend themselves as plausible. Almost by definition, heimitations are opportunist, or at least uninspired by respect for theconventional scheme. It is even harder to say just where they werestruck than it is to date them closely. One cannot even be sure thatmuch political control was exercised over the striking f sceattas inFrisia even when t was at ts most orderly, lthough he arge quantitiesand consistent style in which varieties E and F were produced (seeFig. 2) suggest regularity nd some kind of planning, as do the very

accurate weights of the best "porcupines."A small proportion of coins which are in a coarse or stiff tyle areobviously the results of private enterprise; but many of the mitations



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HOARD OF "PORCUPINE" SCEATTAS 103

are, both in their general style and in the techniques of manufacture,perfectly presentable. It is thus quite likely that they should havebeen struck at the regular mints or centers, lthough n that case onewould have to envisage a second phase in the issue of 'porcupines/when confidence n the sceattas was already declining. Somewherebetween these two categories, there s a group of rather undisciplinedcopies, which show a lack of insight nto the governing deas of the

"porcupine" design. They are plentiful on the eastern fringe f the

Fig. 2

circulation area: the German grave-finds f Galgenberg, Roisdorf,and Bonn might be cited as examples. The Cimiez hoard, again,illustrates several palpable imitations, mingled with Merovingianand English coins which had been carried to the south of France.The English finds are, on the whole, coins of good quality.

It isundoubtedly

n Frisia that the moreproblematic

"imitations"of the best quality were struck and used. The die links between theGroningen, Lut e Saaksum, and Kloster Barte hoards offer ome



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104 D- M. METCALF

support for the theory that they are an east Frisian currency con-temporary with regular varieties ssued in the politically more settledarea of western Frisia; the scarcity of "imitations" at Dorestadperhaps points to the same conclusion. But they are very plentifulalso among the finds from Domburg, the emporium at the heart ofthe "porcupine" country. They are present, along with other typesof sceattas, in the hoards from Hallum and Franeker. The former

was concealed (to judge from ts English element) early in the 730%and Franeker may be even earlier. Thus, the derivative coins werealready being struck by ca. 730, at a date when the debasement of theEnglish sceatta series had barely begun. Some, of course, may havebeen issued appreciably later; this is a point which detailed researchmay be expected to clarify, by defining he scope and extent of theknown varieties, by grouping the coins together as far as possibleinto little blocks from related dies, and then by seeing how far theblocks can be "tied in" to the specimens which are dated by a hoard-

context. In an effort o classify the "imitations" in more detail,there are various lines of enquiry to be followed.

1) Analyses of the metal contents of the coins will show the relativefineness f the different arieties. Dirks describes all the "porcupines"from Franeker, but especially varieties E and F, as being of "verypure silver;" and he also quotes an analysis of another coin publishedby Rethaan Macare, which contained 53% silver. More recentanalyses have shown that certain English varieties of "porcupine,"

including the "plumed bird" and "VOIC" varieties, contain upwardsof 95% silver.2 A forthcoming tudy,3 based on a larger number ofanalyses, will show that the Frisian imitations (including several ofthose catalogued below) usually contain 70-85% silver, but some-times ess. It is not yet known whether his s appreciably ower thanthe alloy of the regular Frisian varieties, or even whether hey them-selves were of a closely controlled omposition; but at least the figuresoffer n explanation for the scarcity of the "imitations" during theprimary phase of sceattas in England.

2D. M.Metcalf, .M.Merrick, nd L. K. Hamblin, tudies n the ompositionofEarly Medieval oins Minerva umismatic andbooks No. 3) (Newcastle-upon-Tyne, 968), . 22. 8By MissHamblin nd the writer.



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Secondly, the minor constituents of the alloy, particularly the1-1.5% g°ld the coins contain, and the residual amounts of ead andtraces of zinc, may serve to indicate different ources of bullion, andvarying technical standards of manufacture.

2) Metrology may contribute omething, f the weights of enoughwell-preserved pecimens can be put on record. Grierson has remarkedhow exactly two die-linked groups of sceattas, of which he was able

to publish the weights, averaged 20 grains, no doubt their fulltheoretical weight. The 35 coins from the hoard published below,which are almost all in extremely resh ondition, verage 18.8grains.Only 4 of them exceed 20.5 grains. As well as differences n the meanaverage, different atterns of distribution round the mean may beof significance, evealingdifferences n mint practice in how carefullythe weights of the flans were adjusted.

3) Die axis is another technical aspect of the manufacture of thecoins, n which different atterns of die alignment may indicate that

groups of coins are from different workshops or alternatively fromseparate phases in the production of the series. As a criterion, iealignment (like metrology) can be kept partly independent of con-siderations of style, nd it can, therefore, erve to distinguish etweenthe cutting of the dies and their actual use a question which mightarise, for xample, f tinerant ie cutters were producing iesfor he useof ocalworkmen. afaurie has demonstrated or he Merovingian eriesthat the functions f the die cutters nd the moneyers were dissociated.

There is reason to think that most, but not all, of the coins in our

hoard were like the better English sceattas) struck from ies adjustedin one of the four regular positions. The difficulty f being precise iesin deciding exactly which way the obverse design should be viewed,and whether t is as well centered on the flan as the reverse. Theproblem of recording accurate information here has been met byusing arrows to indicate the four positions and by mounting theillustrations o correspond s closely as possible with the given indi-cation. Where regularity prevailed in a sequence of dies, one mayhope in this way to discover how the eighth-century orkmen hem-

selves saw the balance of the strange "porcupine" design.4) An analysis of the style and detail of the coins should graduallyconsolidate a view of the whole series of dies from which the derivative



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io6 D. M. METCALF

"porcupines" were struck. Near-duplicate traits will firmly ssociatecoins by the same hand, and may thus link obverses or reverses onwhich there are formal differences of detail. The comparison ofclosely related coins will help to show what the die cutters thoughtof as the essential, and the inessential, elements of the design. Thus,nos. 18-19 below share an obverse die, which links two slightlydifferent everses; and no. 20, where the reverse is clearly by the

same hand as those of nos. 18-19, serves to connect another obversedie which ould not otherwise ave been associated closelywith he first.Similarly, he obverses of nos. 27-8 are doubtless by the same hand,and they ink reverses with different esigns. The obverses of nos. 29and 30 link very different everses.

All these are long-term ines of enquiry, calling for the evidence oflarge numbers of coins. "Porcupines" have always been the leastesteemed variety of sceat, and they have not often been illustrated

in sale catalogues, which favored the more sought-after nd the morepictorial types. It is not possible, therefore, o build up a photo-filefrom numerous scattered sources, and there is still a need for thepublication of as much new material as possible. The hoard which soffered here as a small contribution to that project was acquired,from collector who was understood to have had it for a long timeand to have hoped to make it the basis of some research, by M. Fran-ceschi of Brussels. The coins figured n his 1966list. Part of the hoardwas bought by Mr. Carl Subak of Chicago, who very kindly ent it to

the writer n the summer of 1968 for purposes of study and publi-cation, in the desire that it should not be dispersed without a properrecord; 24 of the coins that are catalogued were made availablethrough his generosity.4 The Ashmolean Museum had previouslybought 5 coins from he hoard through n intermediary, nd a further6 specimens had been obtained directly from M. Franceschi by thewriter. There may be other coins from the hoard, in the hands ofcollectors who obtained them from M. Franceschi, and if so, infor-mation would be very welcome, in the interests of securing as com-

4 I would ike to record my warm ppreciation f the very friendly ay nwhichMr. Subak agreed o lend the coins.



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plete an account as possible of the hoard.5 Nothing is known of itsprovenance. There were one or two sceattas in the collection thatwere manifestly not from the same source (as they had a corrosionpatina), but the rest were very uniform n appearance, and, as hasbeen mentioned, virtually fleur-de-coin. hey might include one ortwo strays from other sources, but there is no positive reason tosuspect 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 Hanoverhoard, of which the three published specimens are reproduced s Fig. 3.

Fig. 3

One cannot exclude the possibility that it is a parcel from one ofthese hoards. The coins have been listed under the headings of themain varieties, but most of them are ' 'derivative/ They are very

varied in style, no. 32 being particularlyrude. Nos.

1-5are

probablyregular coins of variety A, among which one can detect a consistentobverse style. No. 15 may be a regular coin of variety C. No. 13 is a"VOIC" coin in the best style deriving ts design from variety B,but with the status of a regular variety. Die similarities uggest thatit is an English coin, and it is likely to be of very pure silver, ifanalyses of other "VOIC" specimens are a guide. If so, it may help toput a relatively early date on the hoard. The die-linked coins, nos.18-19, together with no. 20, may be the best pointer to its origin.

5The writer ouldbe pleased o hear from nyonewhobought oinsfrom hehoard.Lettersmay be addressed AshmoleanMuseum, xford."



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io8 D. M. METCALF

CATALOGUE

Illustrations of 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 Jaarboek voor Munt en Penningkunde 1955.Lockett - Photographs of the collection, made available by the

British NumismaticSociety.

Each lot is numbereda, b, c,

etc.here in the order n which the coins appear page-wise on thephotographs.

Man - Plates I- II in Tijdschrift oorMunt- en Penningkunde 895.NC - Plates XVI-XVII in Numismatic Chronicle 1966.RN - Plates III-IV in Revue Numismatique 1938SCBI - Various parts of the Sylloge of Coins of the British sles,

particularly Copenhagen I (1964) and Hunterian I (1961).Stephanik - Cabinet de monnaies J oh. 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

der frankische n duitsch nederlandsche orsten 1866.

Variety A

i. Obv Beneath the curve there are 5 lines, of approximately equallength, and rectangular alignment. The right-hand ine is partlyjoined to the curve. There is a bold dot (part of a cross ?) beneath,

and another symbol partly off he flan to the left. The inner tipsof the "quills" extend beyond the terminal dots. The quillstoward the tail are slightly hinner nd closer together. Stephanik63 is in the same general style; it has 6 lines beneath the curve.There were only 3 specimens n the Stephanik collection nos. 60-62) which, ike this coin, had as many as 5 lines. Lockett 218c isextremely imilar in style, and is combined with a slightly dif-ferent ev. design.Rev.: The design of variety A, with a bold design added at

6 o'clock. Bold dots for serifs. The irregular lope of the first Tis matched on Dirks, C, 7 (Hallum). Crossvisible in lower border.1.18 gr./i8.2 grains,



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2. Obv.: Five lines beneath curve; similar general style to no. 1. Atleast 13 ' 'quills.' Two straight rows of very small dots have beenadded to the design, 3 dots vertically and 6 or 7 horizontally(cf. no. 4A below). There is a narrow "neck" between the curveand its terminal dot.Rev. Design of variety A, with a pyramid of 3 small dots addedto the right, nd 2 dots similarly o the eft. The border s marked,apparently on 2 sides, VI (cf. the related coin with VOI in theborder, NC 10).1.40 gr./2i.5 grains. /

3. Obv.: Four lines and an annulet beneath the curve. Some of theterminal dots on the ines are erratic, nd others re spade-shaped(cf. the rev.). Traces of 18 "quills;" those toward the tail are verysmall and close together. Two dots and (part of) a large crossbeneath. For the cross, cf. SCBI Hunterian 32 and 35, which are

similar n general style. The shape of the curve and of the patternof lines are comparable with those on nos. 1-2.Rev. Variety A; crosses on all 4 sides of the border. Characteristicbold, dotted style. The serifs of the letters T appear to be spade-shaped, although this may be merely the effect f punching thedots first nd then cutting the line that joins them; cf., however,the extremely similar rev. of RN 42 (Cimiez) note the near-duplicate seriffing f the second I, the lines running out from hecorner of the square, and also the pronounced spade-shaped serifs

and the annulet on the obv.1. 18 gr./i8.3 grains, ļ

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; linesrunning outward from the corners of the square. An extra an-nulet appears in the border. The letters T, T, I, I are carefullypseudo-seriffed, ith square ends to the strokes; but the cross in

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 lettering nter-



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no D. M. METCALF

mediate in style, and with an obverse that is close in style tonos. 1-4: note that there s a long cross on the obv., and a row ofsmall dots. Collection of J. D. A. Thompson.1.00 gr./i5.5 grains. «-

5. Obv Three ines 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 serifs on the letters T, T.Rev Variety A, to which a pyramid of 4 dots has been added.Small, neat letters, with pseudo-serifs, s on no. 4. In the borderthe crosses, too, are square-cut. L-shaped elements are carriedaround 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 thetip of the curve; this suggests strongly that the coin is not aregular specimen of variety A. Two minute "ears" part wayalong the curve may be an echo from he design of variety F.Rev. Design of variety A, dotted style. In the border are crosses,with dots to (each?) side; and a line runs outward from thecorner of the square. Very similar to no. 1.1.15 gr./i77 grains ļCf. Dirks, C, 9 (Hallum).

7. Obv. Curve without a dot at the tip. A fine dotted line runs mostof the way round the curve, but not around the tip (cf.variety F).Four lines, of which the fourth s small and thin. An annuletbeneath, and traces, perhaps, of another annulet to the left ofthe first. The "quills" are bolder and more widely spaced, butthey are distributed round more of the circumference there aretraces 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 linewith a dot superimposed, to the right.1.23 gr./ig.o grains. ->



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HOARD OF "PORCUPINE" SCEATTAS hi

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

8. Obv. Curve with a dot at the tip; a line of fine dots following heinner edge of the curve; 3 lines and a large dot beneath; in thefield, n 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 distinguished fromthe strokes. Cross in border to left; traces of crosses on the other3 sides.1.12 gr./i7.3 grains Ashmolean Museum.

9. Obv There are apparently 4 lines, of which the right-hand nejoins the curve. Some of the terminal dots are approximatelysquare. There is a small dot between the curve and the right-handline. Cf. NC 41.Rev.: Design of variety A, with central dot in annulet. Large,boldly dotted crosses in border; (?) curve around upper leftcorner.1.24 gr / 19. grains f Ashmolean Museum.

10. Obv. Curve with 2 dots, one at the tip and the other part wayalong. Three lines, and 2 dots (unjoined, but intended for fourthline ?) 3 small dots above. Traces of 16 "quills," which are 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 for onger "quills." Three lines;OA* and part of ( ?) cross beneath. The tips of some of the quillsextend beyond the dots.



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112 D. M. METCALF

Rev.: Small square; I l/

14. Obv.: Details which are unexpected on a "VOIC" coin are (i) thebold 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 minutedots which partly outline the curve.Rev. The "VOIC" design, ncluding the two bold dots in the field,but with L for C,and H for T. The H lacks terminal dots (serifs).In the border, a cross to the right, and L-shaped pieces aroundeach right-hand orner. Perhaps a row of 3 joined dots above,i. 31 gr./20.2 grains.


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Rev There are traces of a cross in one side of the border. f thisside is placed at the top, the symbols in the square are Hl/X"around an annulet. Under the 2 dots are 5 faint dots formingan L; the die cutter perhaps changed his mind after roughing utthe pattern. In the left border, r'. . In the lower border, a zig-zag line(?).1.00 gr./i54 grains

16. Obv.: Curve with dot part way along. Beneath, XIII; two largedots and an annulet. The curve and "quills" are of rough work-manship.Rev. Small square with ["•/• around an annulet. Unusuallyelaborate border: 5 or 6 "quills" to left; H :T/ below.1.17 gr./i8.i grains.


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114 D- M- METCALF

19. Obv. From the same die as no. 18.Rev. Square of similar hape and size to that of no. 18, dotted inthe same style; TI/ around annulet. Border with rectangularshape above (borrowed from the obverse of variety E), linebelow, and V«-»l.1.25 gr./i9.3 grains.

20. Obv.: Cross to left of triangle, s on Dirks B, 24 (Franeker). Thesymbols beneath are obscure, perhaps OAO.Rev. By the same hand as nos. 18-19. Border empty above andto 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+ toleft an extra row of mall dots between the curve and the "quills."Rev.: Bold square with T'/- I around annulet. Border withVlv-» o left, r around upper left corner, 1.above, and L- below.1.25 gr./i9-2 grains

22. Obv. Curve with inconspicuous terminal dot and a very slightline across the curve, part way along, equivalent to the dot ofvariety F. The triangle has degenerated nto an L (cf. variety G,but the curve here is clearly derived from E), and there is asimilar, very slight line superimposed on it near where it joins

the curve; a large dot inside the "triangle" and a smaller one tothe left; OX close together; *0 below.Rev.: Bold square with P //X_/ round annulet. Border patternAV on two sides, with I or + at corner Cf. the style of the rev.of no. 21.1.29 gr./i9-9 grains. /

23. Obv. Small curve, and triangle of the same thickness of line;annulet to left numerous arge dots and symbols beneath.

Rev. Linear square with only a few dots superimposed on thelines (one at each corner and 2 more on each side?), very similarto NC 41. If the cross (•+•) on one side of the border s placed as



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the top of the design, there s an annulet at the upper left corner,and a zig-zag ine to the eft. The central pattern s rotating atherthan symmetrical: this again seems to match NC 41: I- /Llaround annulet.1.21 gr./i8.6 grains. Cf.SCBI Hunterian 45 and Hill 3 (Groningen), which are howevermuch more like each other than they are like this coin.

25. Obv.: Crude work: the "quills" are not dotted, and the triangleis not oined to the curve. Two or 3 lines to the eft of the triangle )Rev.: Neat style, variety A. Large square, well centered, withtraces of (?) curves on each side.0.99 gn/15.3 grains. ->

Variety F

26. Obv.: Fat curve, with small dot superimposed; complete outlineof small dots. Reversed "quills." Dot, 3 lines, and ringed dotbelow.Rev.: Cruciform attern; the central dot is ringed with minutedots. Border with ( ?) cross above, 3 (?) quills to the right, ?) anannulet to the left, and a zig-zag line below.

1.28 gr./ig.7 grains. D. M. Metcalf.From the same dies as Lockett 219c. Extremely similar to SCBICopenhagen 35 (where the quills are not reversed).

8*



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Rev.: Small square; around the central annulet are two Ts witha dot at each end, and two I's with a dot half way along. Theborder s apparently compartmented by 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, fCf. Hill 17 and 19 (Lutje Saaksum), which have a much neaterreverse design.

31. Obv.: Curve with dot superimposed as variety F), but with argeannulet joined to tip. The outline is of bold dots, joined by afine 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/XCaround annulet, with 5 dots added. Large symbols in border:bold dotted cross, flanked by dots, above; angle around upperleft 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 copiedfrom variety D.Rev. Design of variety D (cf. NC 26-29). Rough square of coarsedots. Flattened zig-zag with dots, as the border pattern.1.25 gr./i9-3 grains, s*

33. Obv.: Curve, etc., perhaps derived from variety G. Cross andannulet beneath.Rev. Small square, with dots spaced irregularly long the sides.

IT/IT around annulet. Large dotted cross beneath (and above?);two annulets roughly pplied in the right-hand order.1.22 gr./i8.8 grains, ļ



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ii8 D. M. METCALF

34. Obv. Five lines, the right-hand ne joined to the curve. Six long,swept-back "quills," and perhaps a seventh very long one, withits dot at 5 o'clock. Symbols beneath, perhaps VA.Rev.: Symmetrical pattern, V1V/I I/ATA round annulet. Borderwith U to left and right, and zig-zag line beneath. Extremelysimilar to Dirks F, 19 (Domburg), the obverse of which also haslong, swept-back "quills."1.25 gr./i9.2 grains.

35. Obv.: Crude curve, with 3 lines beneath.Rev. Rotating cruciform pattern with central annulet. Borderwith zig-zag pattern.1.09 gr./i6.8 grains. D. M. Metcalf.



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XX

12 3 4 4A

5 6 7 8 9

10 11 1-2 m 14

HOARD OF "PORCUPINE" SCEATTAS



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XXI

18 19 20 21 22

28 24 25 2(5 27

28 29 so 31 »2

$ ®oo o4 85

HOARD OF "PORCUPINE" SCEATTAS

a hoard of 'porcupine' sceattas / d.m. metcalf

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