Well, oak was the standard bearer, thanks to its high lignin content that keeps the press plates from flexing too much. Alder, on the other hand, was more a local workaround—its fine grain made for smoother impressions but it did warp a bit in damp climates, so it was more a “if we’re short on oak” option. Chestnut was a rarity, prized for its resistance to rot, but its hardness made the molds tough to carve. In the end, the choice was a pragmatic trade‑off between durability, local availability, and how quickly you could churn out a mint’s output.

You got it—each slab is a chronicle in its own right. I’ve got a whole map in the grain patterns of a single oak board, if you’re willing to read it like a scroll. Just keep the saw level, and you’ll be minting history, one plank at a time.