Seventeenth Century
The obverse and reverse of this coin were designed by John Roettier (1631–c. 1700). The obverse showed a fine right-facing bust of the king wearing a laurel wreath (amended several times during the reign), surrounded by the legend ("Charles II by the grace of God"), while the reverse showed four crowned cruciform shields bearing the arms of England, Scotland, France, and Ireland, between which were four sceptres, and in the centre were four interlinked "C"s, surrounded by the inscription ("Of Great Britain, France, and Ireland King"). To avoid confusion with gilded silver coins, the edge was milled to deter clipping or filing (and to distinguish it from the silver half-crown which had edge lettering). Until 1669 the milling was perpendicular to the edge, giving vertical grooves, while from 1670 the milling was diagonal to the edge.
John Roettier continued to design the dies for this denomination in the reign of James II. In this reign, the coins weighed 8.5 g with a diameter of 25–26 mm, and were minted in all years between 1685 and 1688, with an average gold purity of 0.9094. Coins of each year were issued both with and without the elephant and castle mark. The king's head faces left in this reign, and is surrounded by the inscription ("James II by the grace of God"), while the reverse is the same as in Charles II's reign except for omitting the interlinked "C"s in the centre of the coin. The edge of the coins are milled diagonally.
With the removal of James II in the Glorious Revolution of 1688, his daughter Mary, and her husband Prince William of Orange ruled jointly by agreement as co-monarchs. Their heads appear conjoined on the guinea piece in Roman style, with William's head uppermost, with the legend . In a departure from the previous reigns, the reverse featured a totally new design of a large crowned shield which bore the arms of imperial France in the first quarter, of Scotland in the second quarter, of Ireland in the third quarter, and of England in the fourth quarter, the whole ensemble having a small shield in the centre bearing the rampant lion of Nassau; the legend on the obverse read (Of "Magna Britannia" Great Britain, "Francia" France and "Hibernia" Ireland King and Queen). By the early part of this reign the value of the guinea had increased to nearly thirty shillings. The guineas of this reign weighed 8.5 grams, were 25–26 mm in diameter, and were the work of James and Norbert Roettier and were produced in all years between 1689 and 1694 both with and without the elephant and castle; in 1692 and 1693 the mark of the elephant alone was also used.
Following the death of Queen Mary from smallpox in 1694, William continued to reign as William III. The guinea coin was produced in all years from 1695 to 1701, both with and without the elephant and castle, the design probably being the work of Johann Crocker, also known as John Croker, since James Roettier had died in 1698 and his brother Norbert had moved to France in 1695.
The coins of William III's reign weighed 8.4 g with an average gold purity of 0.9123. The diameter was 25–26 mm until 1700 and 26–27 mm in 1701. William's head faces right on his coins, with the legend, while the reverse design of William and Mary's reign was judged to be unsuccessful, so the design reverted to that used by Charles II and James II, but with a small shield with the lion of Nassau in the centre, with the legend . The coin had a diagonal milled edge.
Read more about this topic: Guinea (British Coin)
Famous quotes related to seventeenth century:
“The general feeling was, and for a long time remained, that one had several children in order to keep just a few. As late as the seventeenth century . . . people could not allow themselves to become too attached to something that was regarded as a probable loss. This is the reason for certain remarks which shock our present-day sensibility, such as Montaigne’s observation, ‘I have lost two or three children in their infancy, not without regret, but without great sorrow.’”
—Philippe Ariés (20th century)
“It is as if, to every period of history, there corresponded a privileged age and a particular division of human life: ‘youth’ is the privileged age of the seventeenth century, childhood of the nineteenth, adolescence of the twentieth.”
—Philippe Ariés (20th century)
“Nothing in medieval dress distinguished the child from the adult. In the seventeenth century, however, the child, or at least the child of quality, whether noble or middle-class, ceased to be dressed like the grown-up. This is the essential point: henceforth he had an outfit reserved for his age group, which set him apart from the adults. These can be seen from the first glance at any of the numerous child portraits painted at the beginning of the seventeenth century.”
—Philippe Ariés (20th century)