1799 Half Eagle - 1799 $5 Small Reverse Stars, BD-6, R5, NGC AU55. In its population report, NGC shows 1 1799 Small Reverse Stars half eagle certified at the Choice AU55 grade level.

This rare, eye-appealing Choice AU1799 Small Reverse Stars half eagle has all the characteristics of a higher graded coin. The surfaces are clean, and, except for a couple of tiny reverse copper spots, free of distractions and significant abrasion marks. There is sufficient separation in the lines of Libertys hair over the cap, above her forehead, and at the ear, as well as within the drapery to more than warrant the grade. The light greenish-gold and yellow gold colors affirm the coins originality. Bright, original mint luster is present within the devices. Originally well struck, the piece shows strong details on most of Libertys hair, the eagles wings, and the dentils, which are strong on both sides. 
 
The BD-6 variety is identified by the Wide Date with the last 9 recut on its lower right. The first 9 is as low as the 7, but the last 9 is higher. The reverse shows small stars that are in an even arc pattern. The upright of the E in STATES is to the right of the cloud space. There is a die crack from the rim through the lower left part of the A in STATES. The die was heavily lapped, which removed and weakened many of the star points.
 
Designed by Robert Scot, the Draped Bust half eagle obverse design shows a profile of Liberty facing right. Below her is the date which is off center to the left. Between the date and the word LIBERTY on the left side of the coin are 8 stars. Another 5 stars follow LIBERTY down to the bust. Liberty wears a large, soft cap. Her hair flows down and also shows on her forehead. The design was probably taken from a Roman engraving of a Greek goddess. Libertys cap was certainly not a Phrygian or liberty cap. The liberty cap, emblematic of freedom, was worn by freed slaves and freed gladiators in Roman times. It was a close fitting cap used to cover a shorn head, which was one of the ways slaves were identified. Because of the way Libertys hair strands wrap around it, the oversized cap has been called a turban, and the design has been called the Turban Head because of it.

The reverse shows a heraldic eagle. However, Scot mixed up the positions of the arrows and olive branch. The arrows held in the wrong claw signify defiant militarism. Either Scot made an error copying the image of the Great Seal, or he deliberately changed the symbolism. Perhaps the design was a warning to France, with whom the United States was engaged in an undeclared naval war, and others to be mindful of the new countrys sovereignty. In the field above the eagle are thirteen stars and above them, seven clouds. A banner from wing to wing has the motto E PLURIBUS UNUM.

The early half eagle coins have no denomination because gold was valued by its weight and fineness as was the European coinage of the time. As seen on contemporary Large Cents, dentils are at the edge of both the obverse and reverse of these coins.

The early Mint in Philadelphia had many challenges. Conditions were poor even at times chaotic. Each of the specialists, the designers, engravers, and press operators were men who had previously worked in other fields. Coin manufacturing was a new trade for them. Production was sporadic. For the new Mint to coin each of the mandated denominations, it took four years. This delay was partly because of inexperience and governmental obstacles. Bonds that were unrealistically high were impediments to engravers working with precious metals. Congress was not united on the need for a government mint since private and foreign coinage seemed to work. Because of the non-existent or low production numbers in the early years of the Mint, foreign copper, silver and gold circulated along with American made coins for many years until they were later demonetized.

Record keeping in the Mints early years was fairly inaccurate. At the end of the eighteenth century Philadelphia had recovered from the British occupation and Revolutionary War. It was the second largest city in the English-speaking world, but it could do nothing to protect its citizens from the mosquito-borne epidemic of yellow fever. Its wealthy citizens went to the countryside to escape, and the poor grimly waited their fate. Of course these annual epidemics caused havoc with all manufacturing that required continuity, such as a coinage sequence. The Mint shut operations during the late summer and early fall every year. In addition to yellow fever, disorder at the Mint was also caused by chronic bullion shortages and coin dies that would wear out and had to be re-engraved because they were not taken out of production until they failed completely. Often dies were locked up and later taken out of storage without great attention and care. There was also a jealous Chief Engraver, Robert Scot, who was in his seventies and had failing eyesight.  

Scot was born in 1744. It is uncertain if he was born in Edinburgh, Scotland or in England. He was trained as a watchmaker in England and learned engraving afterwards. He moved to the United States in 1777, where he worked as an engraver of plates, bills of exchange, and office scales. During the Revolution, he was an engraver of paper money. In 1781 he moved to Philadelphia. He was appointed Chief Engraver of the United States Mint on November 23, 1793 by David Rittenhouse, Mint Director. His salary in 1795 was $1,200 per year. The Mint Director received only $800 dollars per year more. Scots ability to make dies was limited, and in his advanced years he had failing eyesight. His work was somewhat less than that done in Europe at the time, and Scot was criticized for its poor quality. Despite these limitations, he was responsible for designs of most of Americas first coins. These include the Flowing Hair and the Draped Bust motifs used on early silver coins and the Capped Bust gold coins. Scot also designed the 1794-1797 half-cent, the 1800-1808 draped bust half-cent, and the Thomas Jefferson Indian Peace Medal.