1800 Silver Dollar - 1800 S$1 PCGS VF25 CAC. B-1, BB-181. This scarce variety 1800 Silver Dollar exhibits details that exceed at least one of the grading requirements for a VF25. In particular the drapery lines from the bust cleavage to the shoulder are strong. The tan and gray surfaces are clean and original with no individual abrasion marks worthy of description. The strike is above average with significant detail in the hair at the top of Libertys head, the centers of about half of the stars, the shield, and the dentils on both sides. The CAC sticker indicates that the coin is a premium quality piece that fully merits the grade assigned.

The coin is identified as a BB-181. The 180 is close to the date. T and Y in LIBERTY are too far apart. The 1 in the date almost touches Libertys hair. Star 8 is near the Y in LIBERTY, and Star 13 is near her bust. Stars 3 and 4 are closer together than any other stars. Star 11 has its point bent upward. On the reverse, a leaf touches the lower right of the I in AMERICA. The point of Star 12 touches the lower part of the eagles beak. The left part of the A in AMERICA touches the third feather. AME are joined at their bases. The first T in STATES is double punched. The A in STATES is over Clouds 1 and 2. The tip of the lowest arrowhead is centered under the U in UNITED.

The Draped Bust dollar, designed by Robert Scot, was based on a drawing of Ann Bingham by the famous artist, Gilbert Stuart. Evidently John Eckstein, the engraver, translated the drawing poorly, which might explain why Stuarts family refused to acknowledge his role in the coinage design. On the reverse, Scot mixed up the arrows and olive branch creating a very martial heraldry, maybe for political reasons. The United States was engaged with France in an undeclared naval war. Perhaps this symbolism was being used to make a statement to France and others about the sovereignty of the United States.

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.

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.

In its population report, PCGS shows only the present coin, the BB-181 variety, in VF25 with 5 better. CAC does not report this date by die variety.