The other issue here is that the artist/engraver in the case of the Bronze series was contracted to make the stamps for the legend initially if I understand his diaries correctly. It would seem however that he made some kind of error and miscalculated which meant that corrections had to be done and the dies altered. It has always been in the ambiguity in the references to the process that for the life of me I cannot settle on. It says quite clearly in the statements in the house and explanations given at the time and after that the "original design could not be completed in the process because the engraver (L C Wyon) ha made the relief too deep and the new metal made the original design unmanageable. It suggests that the engraver was sent away to recut or remodel the design to a simplified form which we see now . The Pattern Bronzes pretty much seem to follow the extant version we are used to , but some suggestion is made to a die with alternatives (perhaps) standing Britannia , a more complex design (altogether more beautiful than the one we have) that suffered because of the technical difficulties. THe engraver had to make alterations. Ok so we do not have much to go on but certainly it would seem, reading between the lines , that this Britannia was not what he really wanted or originally cut, possibly with a number of now lost characters in the design. It seems more that the politicians and the more conservatives were insisting on a seated Britannia (as had been the way ince 1672.)
Of course I know it is most unlikely that we will ever know but if the page remains open that one day we may discover what these designs might be , perhaps in some archive that was sent along with the image of the "standing Britannia " with the family to New Zealand or in some other archive. One day in some dusty old place some of the workings of the Royal Mint at this time may be discovered. This approach seems to be of no interest at all even to the ardent of penny collectors. It was for this reason ad this reason alone that I pointed out the artistic anomalies , the artistic errors that are such rudimentary school boy errors in the design that it surprised me that no one seemed to find such criticism of the "holy grail" or the strange story that must be part of this regarding the signature. I shall read again all the diaries of L C Wyon ( not that they are of great use) or perhaps the problem is that I am only reading the diaries as presented to us in the the book by Mr Attwood.
any ways the point I am making is that there seem to be radical alterations of the lettering from the older curly style in some dies to a more "solid" lettering style and on many specimens you can clearly see the overstamping which is a style change so yes they can any one be over-punched, but Wyon cut the punches originally for the farthing, half penny and the penny. I believe that the original style was the more slender , "fancy" lettering you see altered and this may have been due to a second set of punches he had to prepare (less elegant or more robust). By saying that the artist cut the punches for the lettering , whilst I respect that you can use any old C or G lying around a set of a particular style were made by him for purpose.