,,chats ,,on ,,old ,,silver ,,books ,,for ,,collectors ,with ,frontispieces and many ,illustrations4 ,,chats ,,on ,,english ,,china4 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,old ,,furniture4 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,old ,,prints4 7,how to collect and value ,old ,engravings47 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,costume4 ,by ,g4 ,,woolliscroft ,,rhead4 ,,chats ,,on ,,old ,,lace ,,and ,,needlework4 ,by ,e4 ,l4 ,,lowes4 ,,chats ,,on ,,oriental ,,china4 ,by ,j4 ,f4 ,,blacker4 ,,chats ,,on ,,old ,,miniatures4 ,by ,j4 ,j4 ,,foster1 ,f4,s4,a4 ,,chats ,,on ,,english ,,earthenware4 7,companion volume to 8,chats on ,english ,china407 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,autographs4 ,by ,a4 ,m4 ,,broadley4 ,,chats ,,on ,,pewter4 ,by ,h4 ,j4 ,l4 ,j4 ,,mass ,m4,a4 ,,chats ,,on ,,postage ,,stamps4 ,by ,,fred4 ,j4 ,,melville4 ,,chats ,,on ,,old ,,jewellery ,,and ,,trinkets4 ,by ,,maciver ,,percival4 ,,chats ,,on ,,cottage ,,and ,,farmhouse ,,furniture4 7,companion volume to 8,chats on ,old ,furniture407 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,old ,,coins4 ,by ,,fred4 ,w4 ,,burgess4 ,,chats ,,on ,,old ,,copper ,,and ,,brass4 ,by ,,fred4 ,w4 ,,burgess4 ,,chats ,,on ,,household ,,curios4 ,by ,,fred4 ,w4 ,,burgess4 ,,chats ,,on ,,old ,,silver4 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,japanese ,,prints4 ,by ,,arthur ,,davison ,,ficke4 ,,chats ,,on ,,military ,,curios4 ,by ,,stanley ,c4 ,,johnson4 ,,chats ,,on ,,old ,,clocks ,,and ,,watches4 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,royal ,,copenhagen ,,porcelain4 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,old ,,sheffield ,,plate4 7,companion volume to 8,chats on ,old ,silver407 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,old ,,english ,,drawings4 ,by ,,randall ,,davies4 ,,chats ,,on ,,wedgwood ,,ware4 ,by ,,harry ,,barnard4 ,,bye ,,paths ,,of ,,curio ,,collecting4 ,by ,,arthur ,,hayden4 ,with ,frontispiece and #gb ,full page ,illustrations4 99 99 99 99 99 ,,london3 ,t4 ,,fisher ,,unwin1 ,,ltd4 ,,new ,,york3 ,f4 ,a4 ,,stokes ,,company4 99 99 99 99 99 ,illustration3 ,,coffee-,,pot4 ,,george ,,ii ,,period1 #agda4 ,maker1 ,peter ,archambo4 ,frontispiece4 ,,chats ,,on ,,old ,,silver ,,by ,,arthur ,,hayden ,,author ,,of 8,,chats ,,on ,,cottage ,,and ,,farmhouse ,,furniture10 ,,etc4 ,,with ,,frontispiece ,,and ,,ninety-,,nine ,,full-,,page ,,illustrations ,,together ,,with ,,illustrated ,,tables ,,of ,,marks ,t4 ,,fisher ,,unwin ,,ltd ,,london3 ,,adelphi ,,terrace ,first published #aiae ,second ,impression #aiag ,third ,impression #aiai ,fourth ,impression #aibb ,fifth ,impression #aibe 7,all rights reserved7 ,,to ,,alfred ,,davies1 ,,in ,,remembrance ,,of ,,our ,,friendship ,,preface ,the study of old silver usually begins when the inquiring possessor of family plate sets himself the task of ascertaining the date and the probable value of some piece long in his family and possibly lately bequeathed to him4 ,with old china1 and probably with old furniture1 the taste for collecting is oftentimes an acquired one1 but it is in the ,englishman's blood to ruminate over his old plate1 and the hall-marks of the assay offices in ,london and in the provinces1 in ,scotland and in ,ireland1 have been placed thereon with aforethought4 ,the plate closet is cousin to the strong-box1 inasmuch as the coin of the realm and gold and silver plate have been subjected to stringent laws extending over a period of five hundred years4 ,the technical word 8hall-mark0 has become a common term in the language synonymous with genuineness4 ,the strictest supervision1 under the parental eye of the law1 has upheld the dignity of the silversmiths guarantees4 ,hence the pride of possession of old silver4 ,pictures and furniture and engravings whose ancestry is doubtful thrust themselves in the market without fear of the watchful official eye4 ,but old silver bearing the hall-marks of ancient and honourable guilds of silversmiths1 stamped at the accredited assay offices1 is1 with few exceptions1 what it purports to be4 ,it is a proud record and a splendid heritage4 ,in dealing with the subject of old silver in a volume of this size sufficient details have been given to enable the collector to identify his silver if it be in the main stream of silversmiths' work4 ,on the whole1 except where it is necessary in certain fields to illustrate the only examples1 sumptuous specimens have been avoided in the illustrations as being outside the scope of this volume and the public to whom it is intended to appeal4 ,the collector of old silver must have a pretty taste and a fine judgment4 ,it is not an absolute law that age determines beauty4 ,hall-marks1 though they denote date1 do not guarantee excellence of design4 ,everything that bears the hall-mark of the ,goldsmiths' ,hall of ,london is not beautiful1 whether it be old or whether it be new4 ,the connoisseur must digest the fact that the assay marks of the lion1 the leopard's head1 the date-mark1 and the rest1 are so many official symbols1 accurate as to date and sufficient guarantee as to the standard of the metal1 but meaningless in regard to the art of the piece on which they stand4 ,the assay offices are merely stamping machines4 ,what ,somerset ,house is to legal documents so the assay offices are to silver and gold plate1 and nothing more4 ,hence the necessity of placing such mechanical control under ,government supervision4 ,the excellence of a piece of plate is governed by the same laws which control all other branches of decorative art4 ,rarity is a factor not especially treated in this volume4 ,rare specimens are not necessarily beautiful even though they be unique4 ,in covering so wide a field in so small a volume1 much has had to be omitted4 ,there are many volumes on old ,english silver plate1 but in regard to research1 the work of ,mr4 ,c4 ,j4 ,jackson1 8,english ,goldsmiths and their ,marks10 with over eleven thousand marks1 stands alone and supplants all other volumes4 ,every collector must regard this work as the bible of silver-plate collecting4 ,i have given sufficient space to marks in the present volume to indicate those used by the ,london and other assay offices4 ,some marks are given which do not appear elsewhere1 and the arrangement of the tables should enable the beginner to come to a definite conclusion as to the date of his silver4 ,in especial1 the ,table of variations in the shapes of shields in the hall-mark and standard-mark employed at the ,london ,assay ,office from the accession of ,queen ,elizabeth to the present day1 is a feature not before given in so concise a form in any other volume4 ,the marks on silver are stamped1 the design thus appears in relief1 while the edges of the shield on which it appears are sunk4 ,the reproduction of this has offered a difficulty in illustration in all volumes on old silver4 ,to print black letters or designs on a white background1 although easy1 is unsatisfactory4 ,on the contrary1 to print the raised design in white on a dead black background is not a realistic presentation of the mark as it appears to the eye4 ,after many experiments ,i have reproduced the marks in a manner more closely approaching their actual appearance1 and less suggestive of black-and-white designs on paper4 ,i have to express my thanks for the kind assistance ,i have received in regard to photographs and wax casts and drawings of marks1 and for permission to include them in this volume as illustrations1 to the following3 the authorities of the ,victoria and ,albert ,museum1 the ,british ,museum1 and the ,royal ,scottish ,museum1 ,edinburgh4 ,by the courtesy of the ,worshipful ,company of ,clothworkers and the ,worshipful ,company of ,mercers ,i am enabled to reproduce some fine examples from their ,halls4 ,to ,lord ,dillon ,i am indebted for his courtesy in allowing the inclusion of an interesting example in his possession4 ,messrs4 ,crichton ,brothers have afforded me access to their records1 including the use of copyright photographs of specimens which have passed through their hands1 and courteous assistance in reproducing examples in their possession4 ,messrs4 ,elkington ,co41 and ,messrs4 ,garrard ,co41 have similarly extended to me their practical aid2 ,messrs4 ,john ,ellett ,lake ,son1 of ,exeter1 have enabled me to do justice to the art of the ,exeter silversmith1 and ,messrs4 ,harris and ,sinclair1 of ,dublin1 have enriched my chapter on ,irish silver4 ,i have also to acknowledge the kindness of ,messrs4 ,carrington ,co4 for the ,frontispiece and for the fine design of an ,irish ,dish ,ring shown on the cover4 ,mr4 ,a4 ,e4 ,smith1 my photographer1 has given exceptional care in obtaining good results4 ,it is1 therefore1 my hope that this volume will stand as an authoritative outline history of the subject of which it treats1 that it may point the way to possessors of old silver to arrive at sound conclusions as to their heirlooms1 and that it may indicate to collectors the salient features of their hobby4 ,,arthur ,,hayden4 ,january #aiae4 ,,contents ,,page ,,preface #aa ,,list ,,of ,,illustrations #ai ,,chapter ,i ,,the ,,marks ,,stamped ,,upon ,,silver #bc ,,chapter ,,ii ,,ecclesiastical ,,plate #fe ,,chapter ,,iii ,,the ,,mazer1 ,,the ,,standing ,,cup1 ,,the ,,flagon1 ,,the ,,tankard1 ,,the ,,beaker1 ,,the ,,wine ,,cup #hc ,,chapter ,,iv ,,the ,,salt ,,cellar #aci ,,chapter ,v ,,the ,,spoon #agg ,,chapter ,,vi ,,the ,,posset-,,pot1 ,,the ,,porringer #aie ,,chapter ,,vii ,,the ,,candlestick #bba ,,chapter ,,viii ,,the ,,teapot1 ,,the ,,coffee-,,pot1 ,,the ,,tea-,,caddy #bci ,,chapter ,,ix ,,the ,,caster1 ,,the ,,sugar-,,bowl1 ,,the ,,cream-,,pail1 ,,the ,,cake-,,basket #bfg ,,chapter ,x ,,the ,,cream-,,jug #bii ,,chapter ,,xi ,,scottish ,,silver #caa ,,chapter ,,xii ,,irish ,,silver #cbi ,,appendix1 ,,containing ,,tables ,,of ,,date ,,letters4 ,,london 7#aeih-ahce7 #cdg ,,table ,,of ,,differences ,,in ,,shields4 ,,london 7,,elizabeth ,,to ,,george ,v7 #ceg ,,illustrations ,,of ,,marks3 ,,london1 ,,provincial1 ,,scottish1 ,,and ,,irish #cei ,,index #daa ,,illustrations ,george ,,ii ,coffee ,pot1 #agda4 ,maker1 ,peter ,archambo4 ,frontispiece ,,page ,,chapter ,,ii4--,,ecclesiastical ,,plate ,elizabethan ,chalices #fg ,elizabethan ,chalice2 ,charles ,i ,chalice #ga ,charles ,,ii ,cup2 ,william ,,iii ,flagons #ge ,charles ,,ii and ,queen ,anne ,patens #gi ,george ,,ii ,communion ,cup #ha ,,chapter ,,iii4--,,the ,,standing ,,cup1 ,,the ,,flagon1 ,,the ,,tankards1 ,,the ,,beakers1 ,,and ,,the ,,wine ,,cup ,mazer1 with inscription dated ,exeter1 #adij #hg ,the ,leigh ,cup and ,cover1 #adii #ia ,cup and ,cover1 #aehe #ie ,stoneware ,jug with ,silver ,cover and ,foot1 #aegj #ie ,the ,samuel ,pepys ,standing ,cup and ,cover1 #afgg #ii ,flagon1 #aegb2 ,flagon1 #aeii #aje ,tankards1 ,charles ,,ii1 #afgi1 and ,william ,,iii1 #agja #aaa ,charles ,,ii ,tankards1 ,york1 #afhd #aaa ,queen ,anne ,tankard1 ,exeter1 #agje #aae ,mug1 #agcc1 and ,tankard1 #agdh1 ,exeter #aag ,beakers3 ,james ,i1 #afjf2 ,charles ,i1 #afca2 ,charles ,,ii1 #afga #aba ,james ,i ,wine ,cup #abe ,stuart ,wine ,cups2 ,seventeenth-century ,candlestick #abi 8,monteith0 ,punch-bowl1 #agjd #ace ,,chapter ,,iv4--,,the ,,salt ,,cellar ,hour-glass ,standing ,salt ,cellar1 #aejj #adc ,bell-shaped ,salt ,cellar1 #afja #adg ,circular ,salt ,cellar1 #afch #aea ,octagonal ,salt ,cellar1 #afgi1 8,the ,sumner ,salt0 #aee ,lambeth ,delft and ,rouen faience ,salt ,cellars #afa ,group of ,small ,circular ,salts1 ,queen ,anne1 ,george ,,ii1 and ,george ,,iii #afe ,salts with ,glass ,liner1 ,george ,,iii #afg ,group of ,oblong ,salts with three feet1 ,george ,,iii #afg ,group of ,salt ,cellars1 ,george ,,iii1 showing transition #aga ,group of ,salt ,cellars1 ,george ,,iii1 ,george ,,iv1 and ,william ,,iv #agc ,,chapter ,v4--,,the ,,spoon ,seventeenth-century ,spoons #aha ,seventeenth and ,eighteenth-century ,spoons #ahe ,seventeenth and ,eighteenth-century ,spoons #ahi ,,chapter ,,vi4--,,the ,,posset-,,pot ,,and ,,the ,,porringer ,commonwealth ,porringer1 #afec #aig ,charles ,,ii ,posset-pot and ,cover1 #affb2 ,porringer1 ,silver-gilt1 #affi #aig ,charles ,,ii ,porringer1 #afff #bja ,charles ,,ii ,posset-cup and ,cover1 #afgi #bja ,posset-pot and ,cover1 #afhc #bje ,charles ,,ii ,porringer1 #afgb #bji ,queen ,anne ,porringer1 ,exeter1 #agjg #bji ,james ,,ii ,posset-cup and ,cover1 #afhe #bac ,staffordshire ,earthenware ,posset-cup1 dated #afhe #bac ,plum ,broth ,dish and ,ladle1 #afig #bag ,,chapter ,,vii4--,,the ,,candlestick ,charles ,i ,candlestick1 #afcg #bbc ,lambeth ,delft ,candlestick1 dated #afdh #bbc ,charles ,,ii ,candlesticks1 #afgc #bbg ,snuffers and ,tray1 #afhb #bca ,candlesticks ,queen ,anne1 #agjd1 #agjf2 ,george ,i1 #agba #bca ,candlestick1 ,sheffield1 #aghb #bce ,,chapter ,,viii4--,,the ,,coffee-,,pot1 ,,the ,,teapot1 ,,the ,,tea-,,caddy ,coffee-pot1 ,newcastle1 #agcg #bdc ,teapot 7,honourable ,east ,india ,company71 #afgj #bdc ,teapot1 #agde #bdg ,kettle1 with ,stand and ,spirit-lamp1 #agdf #bea ,group of ,coffee-pots and ,teapots #bee ,tea-caddies1 ,exeter1 #agah2 ,london1 #agcj #bei ,george ,,iii ,tea-caddies #bei ,pair of ,tea-caddies and ,sugar-box1 #agfj #bfc ,,chapter ,,ix4--,,the ,,caster1 ,,the ,,sugar-,,bowl1 ,,the ,,cream-,,pail1 ,,the ,,cake-,,basket ,william ,,iii and ,queen ,anne ,casters1 #agja and #agab #bfi ,george ,,ii ,caster1 ,exeter1 #agbh #bgc ,group of ,casters1 ,william ,,iii1 ,george ,,ii1 and ,george ,,iii #bgg ,centre-piece1 #agfa #bgi ,centre-piece1 #agge #bgi ,sugar-bowl1 ,classic ,style1 #aggc #bhc ,sugar-bowl1 ,pierced ,work with ,glass ,liners 7late ,eighteenth ,century7 #bhe ,cream-pails1 #aggf1 #aghb #bhe ,bread-baskets1 #agde to #agge #bhi ,cake-basket1 #agfa2 ,wedgwood ,cake-basket #bia ,wedgwood ,earthenware ,dessert-baskets #bie ,,chapter ,x4--,,the ,,cream-,,jug ,jug1 ,paul de ,lamerie1 #agcf #cja ,group of ,cream-jugs1 ,george ,i and ,george ,,iii #cje ,group of ,cream-jugs1 late ,george ,,iii #cji ,,chapter ,,xi4--,,scottish ,,silver ,scottish ,quaich1 ,edinburgh1 #agje #cac ,mug1 ,edinburgh1 #agij #cac ,sugar-caster1 ,edinburgh1 #agdf #cag ,coffee-pot1 ,edinburgh1 #agfi #cba ,tea-urn1 ,edinburgh1 #aggh #cbe ,,chapter ,,xii4--,,irish ,,silver ,caster1 ,dublin 7,george ,lyng71 #afii #cca ,loving-cup1 with harp handles1 ,cork1 #afid #cca ,centre-piece1 ,dublin1 #agdj #cce ,cream-jug1 signed by ,jonathan ,buck1 ,cork1 #agfd #cci ,cream-jug1 ,dublin1 #agdj #cci ,cream-pail1 ,dublin1 #aggj #cdc ,,appendix ,,to ,,chapter ,i ,alphabets of ,date ,letters used at ,london ,assay ,office #cdg-cee ,table showing variations in ,hall and ,standard ,marks #ceg ,series of ,examples of ,london ,assay ,marks #cei-che ,series of ,examples of ,provincial ,assay ,marks #chg-cii ,series of ,examples of ,scottish and ,irish ,assay ,marks #dja-dji ,i ,,the ,,marks ,,stamped ,,upon ,,silver ,i4 ,,the ,,hall-,,mark ,,ii4 ,,the ,,standard ,,mark ,,iii4 ,,the ,,date ,,mark ,,iv4 ,,the ,,maker',s ,,mark ,v4 ,,the ,,higher ,,standard ,,mark ,,vi4 ,,the ,,duty ,,mark ,,vii4 ,,the ,,foreign ,,mark ,,appendix ,,to ,,chapter 7pp4 #cdg-dji7 ,illustrations of typical ,marks ,,chapter ,i ,,the ,,marks ,,stamped ,,upon ,,silver ,i4 ,the ,hall-mark4 ,its significance--,the hall-mark compulsory by law--,various hall-marks4--,,ii4 ,the ,standard ,mark4 ,the silver standards--,the ,lion passant 7,england71 the ,thistle 7,scotland71 and the ,harp 7,ireland74--,,iii4 ,the ,date ,mark4 ,the alphabets used by the various assay offices4--,,iv4 ,the ,maker's ,mark4 ,initials of surname--,later usage1 determined by law1 initials of ,christian and surnames4--,v4 ,the ,higher ,standard ,mark4 ,the lion's head erased and the figure of ,britannia 7compulsory from #afig to #agbj1 optional afterwards74--,,vi4 ,the ,duty ,mark4 ,the reigning sovereign's head from ,george ,,iii to ,victoria 7#aghd to #ahij74--,,vii4 ,the ,foreign ,mark4 ,foreign silver plate assayed in the ,united ,kingdom to bear an additional mark4 ,i4 ,,the ,,hall-,,mark ,this is the mark stamped upon gold or silver plate by a recognized guild1 and signifies that the object so stamped has successfully passed the assay applied to it to determine its quality4 ,british hall-marks possess a reputation which they undoubtedly deserve4 8,in this country the system has existed substantially in its present form since the reign of ,edward ,i40#a ,in this reign1 under statutory authority1 it was laid down that all silver made in ,england was to be as good as the silver coin or better1 and provincial silversmiths 7one from each centre7 were to proceed to ,london to have their work assayed and have the mark of the leopard's head stamped upon it4 ,for six centuries the hall-mark of the wardens of the 8,mistery of ,goldsmiths0 of the city of ,london has stood as a guarantee of value1 and is intended to afford sufficient protection to the purchaser4 ,this hall-mark1 or town mark as it came to be known later1 denotes the place where the assay was made4 ,it was struck on all such articles as would bear the 8,touch02 this is the technical term synonymous with assaying4 ,as will be seen subsequently1 the hall-mark does not stand alone4 ,very early it was deemed expedient to stamp some further mark1 which should denote the date when the piece was actually assayed at the hall or assay office4 ,this second assay mark1 or warden's mark1 is known as the date letter4 ,the ,company of ,goldsmiths in ,london1 incorporated by charter in #acbg1 possessed plenary powers which they exercised with considerable rigour4 ,they framed stringent regulations determining trade customs1 they kept a watchful eye on recalcitrant members who showed any tendency to lower the dignity of the craft1 and they punished with severity all those who counterfeited the official marks of the hall4 ,this dominance over the everyday transactions of the worker in plate was supported by a series of ,acts of ,parliament extending over a lengthy period4 ,they are highly technical1 and the study of hall-marks is of a complex nature1 and adds no inconsiderable task to the hobby of collecting old silver4 ,in the main it will be seen that the power at first exclusively conferred on the ,london ,goldsmiths' ,company1 and afterwards distributed to various assay offices in the ,united ,kingdom1 has been kept under due subjection by the ,crown and by parliamentary legislation4 ,there is no trade more protected by ,acts of ,parliament governing the details of its procedure4 ,the fashioning of gold and silver plate being so intimately related to questions of currency and affecting the coin of the realm1 it is not surprising to find that the tendency of legislation has been to relieve the old guilds of much of their former power4 ,we find that one of the recommendations of the ,select ,committee of the ,house of ,commons on hall-marking1 in #ahgi1 was that the whole of the assay offices should be placed under the supervision of the ,royal ,mint1 in order that a uniform standard of quality should be guaranteed4 ,we have seen that the ,london assay office is the doyen of assay offices4 ,at first1 plate1 although wrought elsewhere1 had to bear the ,london hall-mark of the leopard's head4 ,seven cities were appointed1 by a statute of ,henry ,,vi in #adbc1 to exercise the right of assaying plate1 viz4 ,salisbury and ,bristol for the ,west ,country1 ,newcastle and ,york for the ,north ,country1 ,coventry for the ,midlands1 ,lincoln and ,norwich for ,east ,anglia1 and ,london1 of course1 continued its functions4 ,eighteenth ,century ,assay ,offices ,at the beginning of the eighteenth century three out of these seven1 ,lincoln1 ,salisbury1 and ,coventry1 had discontinued to assay silver1 and it was not thought necessary to reappoint them4 ,in #agjj ,york1 ,bristol1 and ,norwich were1 in the reign of ,william ,,iii1 reappointed for assaying and marking wrought silver4 ,by the same ,act1 #ab ,william1 cap4 #d1 two new assay offices were appointed1 ,exeter and ,chester1 and in the beginning of the following reign by #a ,anne1 cap4 #i1 ,newcastle was also reappointed4 ,at the end of the eighteenth century1 in #aggc1 two additional assay offices were created at ,birmingham and at ,sheffield by #ac ,george ,,iii1 cap4 #eb4 ,london1 during all this time had continued to assay silver in unbroken continuity from the fourteenth century4 ,it has been estimated by those who have a large quantity of old silver plate passing through their hands1 that1 in spite of the number of provincial assay offices1 over #ij per cent4 of old ,english silver bears the ,london hall-mark4 ,the ,hall-marks of the ,various ,assay ,offices ,in the ,appendix 7pp4 #cdg-dji7 are illustrations showing the various hall-marks used at different periods by the wardens and assay masters of the appointed cities4 ,the following indicate the chief marks used4 ,london 7the leopard's head1 sometimes like a king on a pack of cards1 and later1 when uncrowned1 like a tiger's head74 ,chester 7an upright sword between three wheatsheaves74 ,newcastle1 closed in #ahhd 7three castles set in a shield1 two over one1 similar in arrangement to the ,chester wheatsheaves74 ,exeter1 closed in #ahhc 7early mark letter ,x with crown above4 ,after #agja three castles1 sometimes joined together as one castle with three towers1 similar to ,edinburgh mark74 ,norwich 7castle above with lion beneath2 the castle is less like a castle than any other of the castle marks74 ,york1 closed in #ahef 7early mark a fleur-de-lis1 showing only half1 the other half undecipherable1 conjectured by some authorities to be a rose1 by others a leopard's head2 this latter is now accepted as correct1 and clearly shows in some examples2 later mark shield with cross of ,england and five lions74 ,birmingham 7an anchor71 ,sheffield 7a crown71 ,edinburgh 7a castle with three towers74 ,glasgow 7a tree with a bird perched on top1 and a tiny bell suspended from boughs1 a fish transversely across the trunk74 ,dublin 7figure of ,hibernia since #agcj74 ,cork 7ship and castle1 two marks74 ,the ,varying ,number of ,marks ,used ,it is an interesting fact1 and extremely puzzling to beginners in the study of hall-marks1 to find that the provincial offices used1 in addition to their own place-mark1 the leopard's head of the ,london assay office4 ,from #afig to #agai the leopard's head disappears from all silver1 for the reason which is given in detail in ,section ,v of this chapter--8,the ,higher ,standard ,mark0 7pp4 #di-ei74 ,in its place two other marks occur--the lion's head erased and the figure of ,britannia4 ,these were only used in ,london between the years #afig and #agja1 during which five years provincial offices ceased to assay any silver4 ,this is a hiatus in provincial marks which the beginner should note4 ,from #agja to #agai the provincial offices used their place-marks together with the two new marks 7the lion's head erased and the figure of ,britannia71 which were compulsory by law4 ,this law was repealed in #agai and ,london reverted to the old style mark of the leopard's head1 so that ,london-marked silver of #agbj is marked with the same number of marks as that before the ,act of #afig1 that is four marks4 ,but it appears that the provinces for a long period did not revert to the old style of marking4 ,newcastle1 for instance1 adds the leopard's head from #agbj in addition to her town mark2 ,exeter similarly took the leopard's head in #agbj4 ,chester also added another mark1 the leopard's head1 at the same time4 ,the result of this is that before #agja ,chester had four marks1 sometimes only three1 but after #agbj five were used2 when the duty mark was added 7see p4 #cie7 six marks were employed4 ,the leopard's head was not discontinued till #ahci1 reducing the marks to five1 and now1 since the abolition of the duty mark in #ahij1 there are only four4 ,exeter had1 with the use of the leopard's head1 five marks1 but in #agdh the leopard's head had disappeared4 ,newcastle continued the leopard's head during the period of the duty mark1 thus making six marks1 till the closing of the office in #ahhd4 ,,ii4 ,,the ,,standard ,,mark ,throughout the history of the manufacture of ,english silver plate the standard maintained has been always equal to that of the silver coinage1 and sometimes higher4 ,the control of the standard has long been in the hands of the ,state1 and1 it has already been shown1 the proving or assaying of all articles1 in order that they may be officially stamped as of sterling silver1 was allocated to the wardens and assay masters of the ,london and other assay offices4 ,obviously if it had been permitted to manufacture silver plate at a lower standard than the coin of the realm1 the latter would have been melted down to be made into plate at a profit4 ,in order to regulate the uniform procedure of the trade throughout the country the amount of alloy to be added to silver was very clearly laid down by law4 ,the standard for silver has been in force for six hundred years1 since the reign of ,henry ,,ii1 viz4 #aa oz4 #b dwts4 of silver and #ah dwts4 alloy in every pound troy of plate2 that is #ibe parts of silver in every thousand parts4 ,from the year #afig to #agbj the standard was fixed at #aa oz4 #aj dwts4 of silver to the pound troy1 that is 4#ieh4 ,this higher or 8,britannia0 standard is described in ,section ,v of this chapter 7pp4 #di-ei74 ,in regard to this new standard1 that is a standard above the sterling of the coin of the realm1 special marks were used during the above period and have been used since then to the present day whenever silver plate is of the new standard4 ,it was illegal to make silver plate of less than this new standard during the period #afig to #agbj2 after this period there are two standards1 the higher being optional4 ,another period when silver plate was higher in standard than the silver coin of the realm was during a portion of the reigns of ,henry ,,viii1 the whole of the reign of ,edward ,,vi1 and the whole of the reign of ,mary1 until ,elizabeth in the second year of her reign elevated the debased coinage to its former standard of fineness4 ,in #aedc ,henry ,,viii reduced the standard from #aa oz4 #b dwts4 to #aj oz42 that is1 ten parts of silver to two parts of alloy4 ,in #aede he reduced it further to #f oz4 in the pound troy1 that is half silver and half alloy4 ,in #aedf he made a still further reduction to #d oz41 so that silver coins of that period contain only one third silver4 ,in #aeeb this was increased to #aa oz4 #a dwt41 to be reduced to #aa oz4 in ,mary's reign4 ,during all these changes the silver plate remained true to its old standard1 and as though in proud superiority over the coin of the realm1 the ,london ,goldsmiths adopted in #aede as a standard mark a new stamp--the lion passant1 which has been their standard mark from that day to the present time1 and has been recognized by many statutes since that time as constituting the standard mark1 or sterling mark of the ,state1 or1 as it was termed at the time of ,queen ,elizabeth1 8,her ,majesty's ,lion40 ,on two occasions1 therefore1 the silver plate of this country was of finer quality than the coin of the realm3 on the first when the coin of the realm was debased1 and on the second when silver plate was compulsorily raised to a higher standard than the coin of the realm4 ,the lion passant1 which is the standard mark1 has naturally been employed by provincial offices as a guarantee of sterling or standard silver4 ,during the period #afig to #agbj the lion passant disappears from all silver in the 8,britannia0 standard period when other marks were substituted4 ,but in #agbj the lion passant mark occurs again on all ,london silver1 and in ,chester1 ,exeter1 ,york1 and ,newcastle marks4 ,from #aggc both ,sheffield and ,birmingham have used the mark of the lion passant4 ,in regard to ,scotland1 the standard mark for ,edinburgh1 after #ageg1 is a thistle1 and for ,glasgow a lion rampant after #ahai4 ,the ,irish standard mark is a harp crowned from the year #afch1 which mark is on all ,irish silver assayed at the ,dublin office4 ,from #agcj the figure of ,hibernia has been the duty mark and the harp crowned the standard mark on all ,irish silver assayed at ,dublin4 ,these marks are shown in ,appendix 7pp4 #cdg-dji74 ,,iii4 ,,the ,,date ,,mark ,among the various marks used for the purposes we have indicated1 the date mark is one which has a vital significance4 ,it establishes with certainty the year in which a piece of silver was fashioned and taken to the assay office to be stamped as sterling silver4 ,the easiest plan in regard to date marks would have been to stamp the actual date upon each piece of silver or gold assayed1 but this was too simple a procedure for the 8,mistery of the ,goldsmiths40 ,they employed alphabets of various styles and each year was represented by a different letter1 and to add further to the puzzling difficulty of deciphering these symbols1 certain letters were omitted4 ,moreover1 each assay town has its own series of date marks4 ,letters of the alphabet are used sometimes from ,a to ,t1 or ,a to ,u1 or from ,a to ,z2 sometimes the letters ,j and ,v are omitted1 and in one case for a considerable period the letters of the alphabet were used indiscriminately4 ,various kinds of type were used and they appear in shields of differing shapes4 ,the study therefore of the date marks of the ,london assay office and of the various provincial assay offices together with the date marks used in ,scotland and in ,ireland is very intricate1 and the determination of these with exactitude might occupy a man the greater portion of his life4 ,the standard work on the subject is 8,english ,goldsmiths and their ,marks10 by ,mr4 ,c4 ,j4 ,jackson1 which contains over eleven thousand marks reproduced in facsimile4 ,mr4 ,jackson in the #aije edition had worked for seventeen years at this subject1 and his labours have been stupendous2 a new edition shortly to appear will represent a quarter of a century's work4 ,there is no other book on the subject within measurable distance of this encyclopaedia4 ,it is obvious that in the present volume only a limited number of marks can be illustrated1 but the author has given typical examples covering the ,london marks1 which are the most important1 and a few examples from most of the provincial assay offices as well as from ,scotland and ,ireland4 ,these will be found in the ,appendix 7pp4 #cdg-dji74 ,london ,the ,goldsmiths' ,company of ,london has an honourable and ancient history and must be regarded as the leading spirit in regard to hall-marks4 ,it is admitted that1 from a public point of view1 the hall-marks stamped on silver by the various assay offices have a very definite meaning4 8,our hall-marks afford a guarantee of value to which1 it is not to be wondered at1 considerable importance attaches1 since these goods may safely be regarded as an investment40 ,the true function of the ,goldsmiths' ,company is a protective one--protective in the interests of honest traders1 protective in the interests of public buyers4 ,we suggest that they might perform an educational service by throwing open their assay office to public inspection4 ,neither the ,royal ,mint nor the ,bank of ,england may be said to be an inaccessible holy of holies4 ,the assaying of silver and gold is a process which affects the pocket of the public to a large extent4 ,as custodians of historic archives of no insignificant value1 there is no reason why such records should not be as readily accessible to the general student as are the papers in the ,public ,record ,office which divulge bygone ,state secrets4 ,possibly if the assaying were placed under ,government supervision1 as has so often been strongly advocated1 these things might come to pass4 ,in regard to data undoubtedly the ,goldsmiths' ,company can claim an ancient record4 ,they are proudly jealous of their reputation and rightly anxious to guard the public interest4 ,there is no doubt that 8the laws of hall-marking1 scattered as they are over a multitude of statutes1 are highly technical1 and not the least necessary reform is their consolidation40 ,the ,goldsmiths' ,company was once a trade guild1 but this is the twentieth century1 and they exist solely in the public interest4 ,to-morrow they could be swept aside by an ,act of ,parliament1 and all silver could be assayed and stamped at the ,royal ,mint or by ,government assayers4 ,in regard to the date letters the ,london ,assay ,office has consistently1 with one exception1 #afif1 adhered to twenty letters in each alphabet1 that is from ,a to ,u 7omitting ,j74 ,but the provincial offices were wofully erratic and exhibit a looseness and want of system in not adhering to the same arrangement of alphabets in succeeding periods4 ,it is not necessary to follow these eccentricities in detail1 a few examples will suffice4 ,newcastle from #agjb to #agbj employed the alphabet as follows3--,a 7#agjb71 ,b 7#agjc71 ,d 7#agje71 ,f 7#agjg71 ,m 7#agab71 ,o 7#agaf71 ,p 7#agag71 ,q 7#agah71 ,d 7#agai71 ,e 7#agbj74 ,some of these were used for more than one year4 ,in the next two periods1 #agba to #agci and #agdj to #ageh1 the alphabet ends at ,t4 ,later alphabets run to ,z4 ,chester employed an alphabet sometimes ending in ,x1 sometimes in ,v1 and sometimes in ,u1 and one series runs from ,a to ,z 7excluding ,j7 from #ahci to #ahfc4 ,the result of the somewhat chaotic alphabet marks has been to focus the attention of the collector too much on this particular side of the subject4 ,the identification of marks1 the outward symbols of time and place1 have reduced the study of old silver to a somewhat lower plane than it should occupy by right4 ,it is proper that such determining factors should have their place1 but not the first place4 ,there was a time when china collectors ignored paste and glaze and laid particular stress on marks1 and it is a very happy accident that a great portion of ,english porcelain and much of ,english earthenware is unmarked4 ,it has eventually led collectors to think for themselves and know something more of the technique and to learn to appreciate the artistic value of specimens of the potter's art coming under their hand4 ,the collector of old silver1 however1 cannot hope to escape from marks2 they are an integral part of the subject1 and coming as they do under the strict surveillance of the law1 they offer protection to his investment and have the comforting assurance of gilt-edged security4 ,there is nothing of the subtle speculation as to exact period which accompanies the acquisition of old furniture1 nor is there the same element of chance which governs the operations of the picture collector4 ,the hall-mark1 the standard mark1 the date mark1 and the maker's mark stamped with mechanical precision proclaim 8with damnable iteration0 the string of unalterable facts4 ,in regard to marks it is interesting to read what ,mr4 ,octavius ,morgan1 the pioneer of the study of hall-marks1 says in #aheb3 8,every person who is possessed of an article of gold or silver plate has most probably observed a small group of marks stamped on some part of it4 ,few however have1 ,i believe1 regarded them in any other light than as a proof that the article so marked is made of the metal which it professes to be1 and that the metal itself is of a certain purity4 ,and this is in fact the real ultimate object and intention of these marks2 but besides this the archaeologist can deduce from them other important and interesting information1 as by them he can learn the precise year in which any article bearing these marks was made4 ,it is therefore to these marks that ,i am about to direct attention with a view to elucidate their history and peculiar meaning40 ,to ,mr4 ,morgan's labours in an unknown field all subsequent writers on hall-marks are indebted4 ,he was the first collector who realized their importance4 ,it seems amazing that up to #aheb nothing appears to have been known to the intelligent layman or the public at large of these symbols which had appeared on plate for some six hundred years4 ,it suggests the idea that the marking was regarded in the nature of a trade secret4 ,the 8mistery0 of the ,goldsmiths' ,company was not to be profaned by vulgar eyes4 ,in the light of this it may be conjectured that the chaotic arrangement of alphabets came about not by accident but by design4 7,see ,chronological ,list of ,specimens illustrated in this volume1 p4 #dad47 ,,iv4 ,,the ,,maker',s ,,mark ,this of all the marks should be the most intimate and should indicate the personal touch1 as something coming from the craftsman to the possessor4 ,it is the heirloom which the old silversmith hands to posterity4 ,his mark signified his pride in his art1 that is in the days when craftsmen were artists and whatsoever their hand found to do they did it with all their might4 ,but the maker's mark1 set on it first by his punch when he duly sent his apprentice to the assay office to have it assayed and marked by the great functionaries of his guild1 has become eclipsed beside the imposing array of symbols stamped upon it at the ,goldsmiths' ,hall4 ,that the piece exists and was brought into being by the humble silversmith is of lesser importance than the row of legally environed escutcheons signifying so much with such unerring veracity3 that it was assayed and found of standard quality1 so down comes the stamp of the lion passant2 that the year was so and so anno domini1 down comes the stamp of the secret date letter1 so carefully guarded from the public2 that the duty was paid1 and not till then1 another stamp1 this time with the king's head2 and last but not least1 down comes the stamp of the leopard's head1 denoting that all this was done under the surveillance of the ,mistery of ,goldsmiths of ,london4 ,hence the collector1 who comes a century or two after these great happenings1 by capricious fate casts his lens on the signs manual of standard1 and proofs of place and date2 but the bare initials of the maker1 which came first from the furnace to the assay office1 now come last1 as insignificant letters merely denoting that the specimen happened to have been made at all4 ,what would one give for a few human touches in connexion with our old silver6 ,we may imagine that our candlesticks of the year #agej held the flickering wax candles which were guttering when the dawn broke when our great-great-grandfather lost his fortune at cards in the county of --1 or maybe it was somebody else's grandfather4 ,but this is in the realms of fancy1 and the fortune is literally fabulous4 ,why are there no ,george ,morlands in the silversmith's craft8 ,cannot the guilds dig out their romantic history from their archives8 ,just to think that our designer of candelabra and flagons ran a fine career on ,hounslow ,heath with gamesters and fighting men2 or did he1 just that once1 have a duel with young ,lord ,what's-his-,name in the ,guards1 and pinked him8 ,did not the story get to ,white's and to the ,cocoa ,tree ,clubs1 how the tradesman scored6 ,but no such thing4 ,all these initials of makers are empty of such vanities4 ,we can do better with prints4 ,those who possess the engraved work of ,ryland have the satisfaction of knowing that he was hounded by ,bow ,street runners and hid1 like the modern ,lefroy1 at ,stepney1 and that he was hanged for forgery4 ,there is ,william ,blake1 who dreamed as great dreams as ,joseph of old1 who gave imaginary sittings to ,pontius ,pilate1 who wrote wonderful poetry1 and who died in a garret4 ,copper-plates were dear1 but he had no poverty of invention1 and since the days when as a child he saw angels following the reapers in the corn1 he lived for posterity and left his record4 ,but have gravers on silver and inventors of symmetrical goblets of gold less blood than those who drew lines on copper8 ,there is something human missing in these strings of initials and bare names so sedulously gathered together by dry-as-dust compilers4 ,in furniture1 makers' names have become household words4 ,chippendale1 ,sheraton1 ,hepplewhite have created styles of their own4 ,of ,sheraton we have personal details piquant enough to add fresh lustre to his satinwood creations4 ,there is the story of the one teacup in the back street of ,soho1 which was handed to his ,scottish apprentice in the little shop whence he issued his religious pamphlets4 ,in china the personal note is dominant--,josiah ,wedgwood with his wooden leg smashing vases at ,etruria with 8,this won't do for ,josiah ,wedgwood40 ,or ,thomas ,cookworthy dying of a broken heart in ,virginia after his life's failure at ,plymouth4 ,or the ,brothers ,elers with their secret underground telephone in ,bradwell ,wood in ,staffordshire4 ,in silver ware the ,elizabethan and the ,stuart periods run parallel with furniture2 the names of makers are rarely known4 ,but in the eighteenth century besides ,paul de ,lamerie1 ,paul ,storr1 ,f4 ,kandler1 ,peter ,archambo1 ,pierre ,platel1 and a few others the claim to fame of the individual silversmith has been obliterated by the heart-searchings of collectors for periods1 such as the ,higher ,standard or the style termed 8,queen ,anne40 ,in #agci the initials were by law altered from the first two letters of the surname to the first letter of the surname and the first letter of the ,christian name4 ,in earlier years the maker had a device--a dolphin1 a star1 a cross1 or any other symbol to denote his individual work4 ,nowadays anonymity is further safeguarded by the ,goldsmiths' ,company of ,london1 who admit names of firms4 ,their printed form runs3 8,statement to be made in writing by ,manufacturers1 ,dealers and others1 bringing or sending ,gold or ,silver ,plate to be ,assayed and ,hall-,marked40 ,presumably in the old days prentice work passed as that of the master4 ,but the prentice grew older and was allowed to come out into the light4 ,but ,x ,co41 ,y ,co41 ,z ,co4 may send their stamps round to smaller and more original men to impress on their work4 ,the public1 caring more for the lion1 et cetera1 than for ,x1 ,y1 and ,z1 know no better2 as for the real makers the public know nought4 ,but we ask1 is this the way to encourage our workers in plate8 ,syndicates have no bowels of compassion1 but assay offices might be supposed to minister to the interests of the art of the worker in precious metals4 ,to kill or to stifle individuality is a crime against ,art4 ,if ,sheraton had been a silversmith his name would have been unknown4 ,by law it has been determined that the initials of the maker shall appear on each article of silver assayed2 there is nothing in any statute concerning the middle man4 ,it would be interesting to know what steps the various assay offices take to ascertain that the actual maker's name is upon the pieces to which they affix their official symbols4 ,to go back to the fourteenth century3 there is a fine touch of human nature recorded of one member of the goldsmiths' guild of ,london who was found guilty of mals outrages in connexion with his work4 ,he was fined a pipe of wine1 and twelve pence a week for one year to a poor member of the company4 ,among the human touches left there are fragments recorded which are interesting to collectors4 ,sir ,thomas ,gresham1 the great ,london goldsmith in the middle sixteenth century1 carried on business in ,lombard ,street at the sign of the ,grasshopper4 ,to this day there is a grasshopper as a weathercock behind the ,royal ,exchange4 ,there is ,sir ,robert ,vyner1 who made the coronation crown jewels for ,charles ,,ii1 afterwards stolen by ,colonel ,blood and scattered in the ,minories1 who was a goldsmith of ,lombard ,street4 ,he entertained ,charles ,,ii during his mayorality4 ,sir ,robert1 when he had well drunken1 grew very familiar with the king1 who wished to steal away without ceremony and proceed to his coach4 ,but the mayor pursued him to ,guildhall yard1 and catching hold of him exclaimed with an oath1 8,sir1 you shall stay and take t' other bottle10 and the ,merry ,monarch1 true to his name1 with a smile hummed the line of the old song3 8,he that is drunk is as great as a king10 and turned back to finish the bottle4 ,we like this story4 ,a piece of plate with ,sir ,robert ,vyner's initials of the year #afge would possess added value for this touch of nature which makes the whole world kin4 ,on the look-out for links connecting the silversmith with things human we find an interesting shop card of ,ellis ,gamble1 to whom by his own desire young ,hogarth was apprenticed and learned to engrave on silver plate4 ,it may be imagined that he was not an 8,idle ,apprentice10 and his early work with the graver on the flagons and tankards in ,mr4 ,gamble's shop should stimulate research4 ,it was here that he drew heraldic beasts4 ,his apprenticeship terminated when he was twenty years of age4 ,there is preserved in ,hogarth ,illustrated 7by ,ireland7 the engraving of the ,kendal ,arms during his apprenticeship1 showing fine design4 ,we give the inscription on ,ellis ,gamble's shop card1 which is in a frame1 termed by bookplate collectors 8,chippendale40 ,there is a full-length figure of a winged angel standing on a scroll1 and the lettering is somewhat crowded below in ,english and in ,french3-- 8,ellis ,gamble1 ,goldsmith at the ,golden ,angel in ,cranbourn ,street1 ,leicester ,fields1 ,makes ,buys and ,sells all sorts of ,plate1 ,rings and ,jewells1 etc40 ,an interesting sidelight on makers' names is afforded by the various copper tokens which they struck1 bearing their names and addresses4 ,we append a short list of goldsmiths' tokens of the seventeenth century4 ,they come from various parts of the country and from ,ireland1 and readers having seventeenth century silver bearing these initials may be able to identify the maker4 ,,london4 ,the ,hermitage 7,wapping7 ,john ,mayhew4 ,gouldsmith ,his ,halfepeny ,neare the ,armitage ,bridg4 ,i4,m #afff ,west ,smithfeild ,euodias ,inman4 his halfe ,peny ,in ,smithfeild ,rounds4 ,gouldsmith4 ,beech ,lane 7,barbican7 7on a farthing74 ,elizabeth ,wood 7with the ,goldsmiths' arms7 ,in ,beach ,lane4 #afef4 ,e4 ,w4 ,seacole ,lane 7,snow ,hill7 7on a farthing74 ,samuell ,chapell in ,seacole ,lane1 #afga4 ,the ,goldsmiths' arms on reverse4 ,,exeter 7on a farthing74 ,samuell ,calle 7with design of a man smoking7 ,gouldsmith in ,exon 7with design of covered cup74 ,,bath 7on a farthing74 ,geo4 ,reve4 ,goldsmith 7with ,goldsmiths' arms7 ,in ,bath4 #afeh4 ,g4 ,m4 ,r4 ,,oxford 7on a farthing74 ,will ,robinson #affh 7with ,goldsmiths' arms7 ,gouldsmith in ,oxon ,w4 ,m4 ,r4 ,,dover 7on a farthing74 ,willian ,keylocke 7with the ,goldsmiths' arms7 ,in ,dover4 #affg4 ,w ,m ,k ,,ireland4 ,dublin 7on a penny74 ,io4 ,partington4 ,gouldsme4 7,arms3 on a bend cotise1 an eagle74 ,kinges head4 ,skinner ,row1 ,dublin1 #a;d4 ,,kilkenny 7on a penny74 ,william ,keovgh #a;d4 ,kilkeny4 ,goldsmith 7with design of a mermaid74 ,among the eighteenth century ,american silversmiths there are some that stand out prominently1 and the exhibition of old ,american plate held at the ,museum of ,fine ,arts in ,boston in #aijf brought them to notice4 ,there is the work of ,john ,dixwell from #afhj to #agce who was the son of ,colonel ,john ,dixwell1 one of the regicides who fled to ,america in the early years of the ,restoration4 ,but the historic punch bowl made by ,paul ,revere was the pice de rsistance1 and was shown together with some forty other of his creations4 ,it was made for the fifteen 8,sons of ,liberty40 ,the inscription runs3 8,to the memory of the glorious ,ninety-,two members of the ,honourable ,house of ,representatives of the ,massachusetts ,bay1 who1 undaunted by the insolent menaces of villains in power1 from a strict regard to conscience and the ,liberties of their constituents1 on the #cjth ,june1 #agfh1 ,voted ,not ,to ,rescind40 ,but ,paul ,revere1 silversmith1 has another claim to renown as a patriot4 ,longfellow1 in his ,tales of a ,wayside ,inn1 has a poem telling of 8,paul ,revere's ,ride10 seven years after he fashioned this punch bowl4 ,the story runs that he waited1 booted and spurred1 on the ,charlestown shore for secret news to carry through all the countryside4 444 ,if the ,british march ,by land or sea from the town to night1 ,hang a lantern aloft in the belfry arch ,of the ,north ,church tower as a signal light1-- ,one1 if by land1 and two1 if by sea4 ,we know the story of the opening shots at ,lexington1 the obstinate foolishness of the ,north ,ministry and the deaf ear ,george ,,iii turned to the wisdom of ,chatham4 ,longfellow pays posterity's tribute to the silversmith3-- ,a voice in the darkness1 a knock at the door1 ,and a word that shall echo for evermore6 ,for1 borne on the night-wind of the ,past1 ,through all our history1 to the last1 ,in the hour of darkness and peril and need1 ,the people will waken and listen to hear ,the hurrying hoof-beats of that steed1 ,and the midnight message of ,paul ,revere4 ,v4 ,,the ,,higher ,,standard ,,mark ,the higher standard mark has a significance peculiarly its own4 ,by #h and #i ,william ,,iii1 cap4 #h1 it was enacted that any person bringing silver plate from ,january #afif to ,november #afigb to any of the ,royal ,mints1 which silver plate be marked as sterling silver with the mark usually employed at the ,hall of the ,goldsmiths' ,company of ,london should receive 8without tarrying till it be melted and assayed10 five shillings and four pence per ounce4 ,section #i of this chapter of the ,act contains in official terms an allusion to the grave scandals that had shaken the commercial stability of the country for many years4 8,and whereas it might reasonably be suspected that part of the silver coins of the realm had been1 by persons regarding their own private gain more than the public good1 molten and converted into vessels of silver or other manufactured plate1 which crime has been the more easily perpetrated by them1 inasmuch as the goldsmiths or other workers of plate by the former laws and statutes of the realm were not obliged to make their plate of finer silver than the sterling or standard ordained for the monies of the realm10 it was enacted that from and after #beth ,march #afig no silver plate should be made that was not of higher standard than the coin of the realm4 ,it was laid down that the legal marks on all silver were to be the maker's mark1 expressed by the two first letters of his surname1 and that the marks of the assay offices should be for this new plate the lion's head erased and 8the figure of a woman commonly called ,britannia0 in lieu of the former marks of the leopard's head and the lion passant4 ,in addition to this the date mark was to be stamped to show in what year the plate was made4 ,in this ,act of #afif it will be observed that the mention of the leopard's head and the lion passant include ,london marks only4 ,as the manufacture of silver plate of the old standard was illegal after the passing of this ,act and the use of the old marks was equally illegal1 it would appear that the provincial assay offices were precluded from stamping silver4 ,that this appears to be the case is suggested by the reappointment of the provincial offices in #agjj4 ,york1 ,exeter1 ,bristol1 ,chester1 and ,norwich1 at which cities mints had been opened for the coinage of the new silver1 were reappointed by #ab ,william1 cap4 #d1 to assay and mark silver plate as heretofore4 ,the new standard was to be observed4 ,the marks to be employed were the maker's mark1 the lion's head erased1 the figure of ,britannia1 the city mark1 and the date letter1 8a variable ,roman letter10 which latter provision was not then1 and has not since1 been observed1 as other types have been used4 ,from #beth ,march1 #afig1 till #agjj no plate was therefore assayed at any of the provincial centres4 ,in #agjb the town of ,newcastle-upon-,tyne was appointed as an assay town with similar privileges and restrictions as in the above-mentioned cities4 ,the old standard of silver was 4#ibe1 that is in every thousand parts only #ge were to be of alloy4 ,the new standard was 4#iei1 that is only #da parts of alloy could be legally used4 ,this raised the standard of silver plate above that of the coin of the realm4 ,the new standard was the only legal standard for silver plate from ,march #afig till #agbj1 when the old standard was revived and the higher standard marks of the ,britannia and the lion's head erased were no longer compulsory4 ,silver plate then dropped to the same fineness as the coin of the realm4 ,but if silversmiths desired to make silver of this higher standard they could do so1 and such silver plate would receive the stamps at the assay offices1 of the ,britannia and the lion's head erased4 ,it is thus shown that the dates when silver plate must compulsorily bear the ,higher ,standard marks are between the years #afig and #agbj4 ,the following note will be useful to collectors4 ,a piece of silver marked with the figure of ,britannia and the lion's head erased may be an example falling under any of the following heads3-- #a4 ,assayed in ,london between #afig and #agjj1 when ,london was the only office assaying silver plate4 7,it was illegal in ,england to make silver plate of a lower standard between #afig and #agbj47 #b4 ,assayed in ,london between #agja and #agbj4 #c4 ,assayed at ,chester1 ,exeter1 ,york1 and ,norwich1 between #agja and #agbj4 #d4 ,assayed at ,newcastle from #agjb to #agbj4 #e4 ,assayed at any of the assay offices 7except ,dublin2 no ,higher ,standard silver being made in ,ireland7 after #agbj to the present day4 ,although such silver plate of the ,higher ,standard has not since been compulsory by law since #agbj4 ,the ,britannia period is an intricate period in the study of silver plate1 but the history underlying the ,acts which governed the hall-marking at this period should appeal to the collector who wishes to endow his plate with historic interest4 ,without digressing too widely into economic questions which threatened to paralyse commerce and to destroy the allegiance to ,william ,,iii1 it is of essential interest to the collector of old silver plate to realize the conditions which rendered the ,higher ,standard ,mark of the ,britannia and the lion's head erased necessary to prevent financial disasters of considerable magnitude4 ,the plate closet provides the historian with many of his facts4 ,it was in the days of ,charles ,i that the loyalists melted down their plate to be converted into coin of the realm4 ,it was in ,william's day that clippers of coins provided silver for the silversmith to fashion into his pleasing shapes4 ,at what cost will be shown4 ,till the reign of ,charles ,,ii our coin had been struck by a process as old as the thirteenth century4 ,the metal was shaped with shears and stamped by the hammer4 ,the inexactitude of such coinage became the opportunity for the clipper of coins4 ,a mill was set up at the ,tower of ,london which was worked by horses and superseded the human hand4 ,the coins were exactly circular1 their edges were inscribed with a legend1 and clipping was thereby made apparently impossible4 ,but the hammered coins and the milled coins were current together4 ,the result was1 as it always is1 that the light and poorer coin drove the better one out of the current circulation4 ,the milled crown new from the mint became more valuable for shipment abroad or for use in the crucible4 ,coiners grew and multiplied because the damaged and defaced coins could be more easily imitated4 ,hundreds of wretched persons were dragged up ,holborn ,hill1 and in spite of flogging1 branding1 and hanging1 the trade of the coin clipper was easier than highway robbery1 and as fortunes were to be made those who followed that avocation took the risks1 as did smugglers4 ,it was a dangerous occupation4 ,seven men were hanged one morning and a woman branded1 but this did not deter the hundreds who were undetected4 ,one clipper who was caught offered #f1jjj for a pardon1 which was rejected1 but the news gave a stimulus to the industry4 ,the ,government of the day became alarmed at the state of things1 which grew from bad to worse4 ,a sum of #eg1bjj of hammered money paid into the ,exchequer was tested by the officials4 ,it should have weighed above #bbj1jjj ounces2 it weighed under #aad1jjj ounces4 7,lowndes' ,essay for the ,amendment of the ,silver ,coins1 #afie47 ,a ,quaker who came from the ,north journeyed southwards1 and his diary shows that as he travelled towards ,london the innkeepers were astonished at the full and heavy weight of the half-crowns he offered4 ,they asked where such money could be found4 ,the guinea which he purchased at ,lancaster for twenty-two shillings bore a different value at every stage4 ,in ,london it was worth thirty shillings1 and would have been worth more had not the ,government fixed this as the highest at which gold should be received in payment of taxes4 ,the ,memoirs of this ,quaker were published in the ,manchester ,guardian some thirty years ago4 ,it may readily be imagined that such a state of things began to cripple trade4 ,merchants stipulated as to the quality of the coin in which they were to be paid4 8,the labourer found that the bit of metal which1 when he received it1 was called a shilling1 would hardly1 when he wanted to purchase a pot of beer or a loaf of rye bread1 go as far as sixpence40 ,tonson the bookseller sends ,dryden forty brass shillings4 ,another time he paid the poet in silver pieces that were so bad that they could not be passed4 ,the ,government still believed in penalties1 and hoped that drastic punishment would stop the clipping of the hammered coin and the melting and export of the new milled coin4 ,a clipper who informed against two other clippers was pardoned4 ,any one informing against a clipper had a reward of forty pounds4 ,whoever was found in the possession of silver clippings1 filings1 or parings should be burned in the cheek with a red-hot iron4 ,officers were empowered to search for bullion1 and the onus of proof as to its origin was thrown on the possessors1 or failing this they were fined heavily4 ,but all in vain were these drastic measures2 clipping still continued in defiance of all penal laws4 ,colley ,cibber in his ,love's ,last ,shift1 or the ,fool in ,fashion1 has a hit at the debased state of the coinage4 ,a gay cynic says1 8,virtue is as much debased as our money3 and1 in faith1 ,dei ,gratia is as hard to be found in a girl of sixteen as round the brim of an old shilling40 ,this is not the place to enumerate the many foolish schemes that were propounded1 some too costly1 some unjust1 some hazardous4 ,locke and ,newton brought their minds to bear on the subtleties of the question1 and adopted the ideas of ,dudley ,north1 who died in #afic4 ,his tract on the restoration of the currency is practically the same as that subsequently adopted4 ,william ,lowndes1 ,secretary of the ,treasury1 ,member of ,parliament for the borough of ,seaford1 8a most respectable and industrious public servant10 as ,lord ,macaulay terms him1 was incapable of rising above the details of his office in order to cope with economic principles4 8,he was not in the least aware that a piece of metal with the ,king's head on it was a commodity of which the price was governed by the same laws which govern the price of metal fashioned into a spoon or a buckle1 and that it was no more in the power of ,parliament to make the kingdom richer by calling a crown a pound than to make the kingdom larger by calling a furlong a mile4 ,he seriously believed1 incredible as it may seem1 that if the ounce of silver were divided into seven shillings instead of five1 foreign nations would sell us their wines and their silks for a smaller number of ounces40 ,happily ,lowndes was completely refuted by ,locke in his ,further ,considerations ,concerning the ,raising the ,value of ,money1 #afie4 ,locke recommended what ,dudley ,north had advised1 namely1 that the ,king should issue a proclamation declaring hammered money should pass only by weight4 ,what searching1 branding1 fining1 burning1 and hanging had failed to do would have been accomplished at once4 ,the clipping of the hammered coin and the melting of the new milled coin to be made into silver plate would have ceased4 ,but it had one objection4 ,the loss would fall on the individual4 ,those in whose hands the clipped coin happened to be at a particular moment would bear the loss4 ,but the loss in equity should be borne by the ,state which had allowed such evils to go unchecked4 ,it was suggested to remedy this that all clipped coin after a certain date would be exchanged for good coin at the mint4 ,but it was soon realized that this would make clipping more profitable than ever4 ,a real remedy was devised but unhappily it fell through4 ,a proclamation was to be prepared with great secrecy1 and published simultaneously in all parts of the kingdom4 ,this was to declare hammered coin should thenceforth only pass by weight4 ,every possessor of such coin could within three days deliver it in a sealed packet to the local authorities to be weighed and would receive a promissory note to receive from the ,treasury the difference between the actual quantity of silver the pieces contained and the quantity they should have contained4 ,anxious days followed in ,parliament1 but it was determined the public should bear the loss on the clipped coins4 ,it was laid down that a time should be fixed when no clipped money should pass1 except in payments to the ,government1 and that a later time should be fixed after which no clipped money should pass at all4 ,the #dth of ,may1 #afif1 was named as the date on which the ,government would cease to receive clipped money in payment of taxes4 ,ten furnaces were erected in a garden behind the ,treasury1 which was then a part of ,whitehall1 and which lay between the ,banqueting ,house and the river4 ,every day huge heaps of clipped and unrecognizable coins were here turned into ingots of silver and were sent off to the ,mint at the ,tower 7,l',hermitage1 ,january #ad-bd1 #afif74 ,the scene may readily be imagined4 ,the second of ,may #afif had been fixed by ,parliament as the last day in which the crowns1 half-crowns1 and shillings were to be received in payment of taxes for face value4 ,the guards had to be called in to keep order4 ,the ,exchequer was besieged by a vast multitude from dawn to midnight4 ,the ,act provided that the money was to be brought in by before the #dth of ,may4 ,the #crd was a ,sunday1 therefore ,saturday1 the #bnd of ,may1 was actually the last day4 ,during the next few months1 as the issues of the new coinage were unduly slow1 the tension was very great4 ,the upper classes lived on credit4 8,money exceeding scarce1 so that none was paid or received3 but all was on trust0 7,evelyn's ,diary1 ,may #acth74 8,want of current money for smallest concerns even for daily provisions in the markets40 7,june #aath1 ,evelyn's ,diary47 ,by about ,august #afif1 signs of prosperity began to be observed after a very trying time owing to the scarcity of silver4 ,undoubtedly it was a very anxious period for the ,government4 ,malcontents stirred up the populace and tumults occurred in various parts of the country4 ,jacobite tracts were published advocating violent measures4 ,william had strained his private credit in ,holland to procure bread for the ,army4 ,but the crisis was weathered and the coinage question was settled4 ,it hardly needs an apology from the author to bring these facts tersely together before the reader who is interested in old ,english silver4 ,the figure of ,britannia and the lion's head erased belong to this troublous period4 ,they come as a corollary to the coinage question1 and they should provide the collector with food for thought whenever he sees them stamped upon silver in his possession4 ,the standard of silver plate was raised as a further safeguard1 in order that the clippers should have no incentive to melt down the new coinage4 ,from #afig to #agbj the silver plate1 being compulsorily by law of a higher standard than the coin of the realm1 stood as a safeguard against the return to clipping4 ,the ,britannia standard1 therefore1 to collectors should be something more than rare4 ,it should induce reflective thought as to the successive stages the troublous disputations1 the suggested remedies1 and the awful punishments which came as a prelude to the establishment of this ,higher ,standard4 ,at a much later period the figure of ,britannia was stamped upon silver plate1 but the practice was not very extensive1 and the ,britannia stamp is used without the accompanying lion's head erased4 ,the date when this mark appears is at a period subsequent to #aghd and relates to the drawback or exemption from duty on silver plate exported4 7,see the 8,duty ,mark10 p4 #fa47 ,,vi4 ,,the ,,duty ,,mark ,in regard to duty on silver plate1 it was first imposed in ,england and in ,scotland in #agai1 when the old silver standard was revived4 ,the duty was fixed at #f;d4 per ounce4 ,later by #c ,geo4 ,,ii1 in #agcj1 the duty was imposed on silver plate assayed in ,ireland1 and at this date the figure of ,hibernia was used to denote that duty had been paid to the king4 ,in #aghd1 by #bd ,geo4 ,,iii1 cap4 #ec1 a duty of #f;d4 per ounce was levied4 ,this applied to ,england and ,scotland1 and it was enacted that1 in addition to the other marks formerly employed by the makers and assay offices1 the new mark of the king's head should be stamped on every piece of silver plate on which duty has been paid4 ,by another section of this ,act it was a felony punishable by death to use any counterfeit stamp contrary to law4 ,by a later ,act1 #ee ,geo4 ,,iii1 in #ahae1 the counterfeiting the king's head duty mark was punishable by death2 and this was only a hundred years ago4 ,the duty on silver plate was now #as4 #f;d4 per ounce4 ,from #aghd1 therefore1 on ,english and ,scottish silver the duty mark of the head of the reigning sovereign appears on all silver plate1 stamped in an oval escutcheon4 ,in regard to the duty mark on ,irish plate1 it was not until #ahjg by #dg ,geo4 ,,iii that the stamp of the king's head1 or that of the reigning sovereign was added to the other marks to denote that duty had been paid to the king4 ,the old mark of ,hibernia was allowed to remain2 originally it was a duty mark1 but it may be now regarded as the hall-mark of ,dublin4 ,the various sovereigns' heads were used down to #ahij1 when the duty was discontinued and the mark abolished4 ,in connexion with these duty marks the ,act of #aghd has a section which has an interesting provision1 and those collectors who may happen to find a figure of ,britannia on a piece of silver without its companion mark of the lion's head erased may be puzzled as to the reason of the omission4 ,first it does not denote that the silver plate was of the higher standard4 ,it was a mark stamped on silver which was exported4 ,by the above ,act duty was not charged on silver exported1 and in order to prevent any of this plate being taken abroad for a short time only1 and then landed in this country to be sold here without the duty having been paid1 it was stamped with the figure of ,britannia4 ,the following are the ,duty ,marks used3-- ,ireland #agcj to #ahjg ,figure of ,hibernia4 ,england and ,scotland #aghd to #ahbj ,head of ,george ,,iii4 ,ireland #ahjg to #ahbj do4 do4 ,england1 ,scotland1 and ,ireland #ahba to #ahcj ,head of ,george ,,iv4 do4 do4 #ahca to #ahcf ,head of ,william ,,iv4 do4 do4 #ahcg to #ahij ,head of ,victoria4 ,duty abolished #ahij4 ,the illustrations of these duty marks are shown in the ,table 7p4 #ceg74 ,,vii4 ,,the ,,foreign ,,mark ,the ,foreign ,mark is a protective measure4 ,a great amount of foreign wrought plate had found its way into this country and was being sold by dealers without sending it to the assay office4 ,it was of a lower standard than would have been passed by the assay offices1 that is to say it was not sterling silver as understood in this country1 viz4 #ibe parts silver in every thousand parts of metal--that is1 admitting only #ge parts of alloy in every thousand4 ,in #ahdb an ,act was passed1 #e and #f ,vic41 which enacted that no silver plate which had not been wrought in ,england1 ,scotland1 or ,ireland was to be sold in these countries unless it had first been assayed in the same manner as silver wrought in ,great ,britain and ,ireland4 ,but no provision was made that such foreign silver should bear an additional stamp1 nor does it seem that the ,act was very much put into operation4 ,the provisions seem to have been evaded till #ahfg1 when by #cj and #ca ,vic4 all imported plate had to be marked with letter ,f in an oval escutcheon1 denoting it was of foreign manufacture1 although it had passed the tests and otherwise had the stamps of ,british or ,irish assay offices upon it4 ,this is not very satisfactory1 although the practice has now been altered4 ,a purchaser gets a piece of silver plate with the lion and the leopard's head on it1 and this to the tyro denotes quality1 and allays any fears he may have as to its origin4 ,he may innocently imagine he is supporting home industries1 not knowing what the meaning of the letter ,f may be at the end of the row of symbols4 ,this foreign mark1 illustrated in ,table1 p4 #ceg1 was used from #ahgf to #aijd4 ,it seems unfair to ,british manufacturers that foreign silver is assayed here for competitive sale with home manufactured plate2 it bears the time-honoured symbols that have been used in this country for four hundred years4 ,there is also the possibility that some fraudulent dealer may remove the ,f1 and straightway the piece becomes ,british4 ,it was not in the public interest that such a loose state of things should continue4 ,by the ,hall ,marking of ,foreign ,plate ,act 7#d ,edw4 ,,vii4 c4 #f71 ,foreign silver plate was marked by the ,assay ,offices with the following marks in addition to the ,standard ,mark and the ,date ,letters4 ,in #aijf1 by ,order in ,council1 certain alterations were made in the ,london1 ,sheffield1 ,glasgow and ,dublin marks on ,foreign plate assayed4 ,illustration ,,footnotes3 #a ,report of the ,select ,committee of the ,house of ,commons on the ,hall-marking of ,gold and ,silver ,plate1 #ahgi4 #b ,a period of eleven months4 ,the year #afif ended on #bdth ,march1 and the year #afig commenced on #beth ,march4 ,,ii ,,ecclesiastical ,,plate ,illustration3 ,,elizabethan ,,chalice ,,and ,,cover4 ,silver-gilt4 ,exeter pattern4 ,inscription1 8,st4 ,petrox ,exon40 ,exeter hall-mark #aegb4 7,in possession of the ,parish of ,st4 ,petrock1 ,exeter47 ,illustration3 ,,elizabethan ,,chalice ,,and ,,cover4 ,silver-gilt4 ,inscription1 8,the ,paryshe of ,trynitye in the yeare of our ,lorde #aege40 ,exeter hall-mark1 #aege4 7,marks illustrated p4 #cia47 7,in possession of the ,parish of ,trinity1 ,exeter47 ,,chapter ,,ii ,,ecclesiastical ,,plate ,the ,chalice1 ,elizabethan forms1 with cover for use as paten--,the destruction of silver plate at the ,reformation--,the ,exeter style of chalice--,the sacramental flagon--,the ,communion ,cup--,specimens of patens4 ,in regard to sacred vessels in use in this country before the ,reformation it is noteworthy that in design they cling to a national form and differ very considerably from those used in early medival days or at the present time in the ,roman ,catholic ,church4 ,prior to the ,reformation the plate found on the altar for the celebration of the ,holy ,sacrament consisted of a chalice1 a paten1 two cruets to contain wine and water for consecration1 which were really two ewers with lids of small size1 and the pyx in which the ,eucharist was reserved4 ,the chalice consisted of three parts3 the cup or bowl1 the stem which in its middle swelled out into a bulb called the knop1 for the convenience of holding it1 and the foot4 ,the paten was a small salver slightly sunk in the middle like an ordinary plate4 ,henry ,,viii in his spoliation of the monasteries1 their lands and their gold and silver plate1 set the pace which was continued under ,edward ,,vi4 ,no stone was left unturned to stamp out all traces of the old religion4 ,it is remarkable that so much has escaped the blind fury that seized the reformers in their lust for destruction4 ,whole libraries were destroyed2 illuminated books were consigned to the flames as the work of the devil4 ,stained glass windows1 carved woodwork with figures of saints1 brasses with religious emblems1 all fell beneath the ruthless hand of the iconoclastic ,puritan4 8,at ,sunbury we brake down ten mighty great angels in glass1 at ,barham brake down the twelve apostles in the chancel1 and six superstitious pictures more there3 and eight in the church1 one a lamb with a cross on the back3 and digged down the steps and took up four superstitious inscriptions in brass40 ,so writes one ,dowsing1 a fanatic1 in a diary he kept of his doings1 where he and his myrmidons scoured a hundred and fifty parishes4 ,bishop ,hall of ,norwich saved his windows by taking out the heads of the figures4 ,with such religious fervour abroad it can well be imagined that the altar vessels1 the fine chalices and other ecclesiastical plate1 came under the ban that had been pronounced against relics of a ,church which1 whatever may have been its dogmas1 had always encouraged the fine arts and employed the genius of the craftsmen in creating edifices which stand among the noblest of man's handiwork and in embellishing them with decorations as spiritual as the brain of the artist could conceive4 ,illustration3 ,,elizabethan ,,chalice ,,and ,,cover4 ,parcel-gilt4 ,inscription1 8,st4 ,martin's in ,exon40 ,london hall-mark1 #aegc4 7,in possession of ,parish of ,st4 ,martin's1 ,exeter47 ,illustration3 ,,charles ,i ,,chalice ,,and ,,cover4 ,silver-gilt4 ,inscription1 8,st4 ,petrox in ,oxon40 ,exeter hall-mark1 #afdj4 7,marks illustrated p4 #cia47 7,in possession of ,parish of ,st4 ,petrock1 ,exeter47 ,it is not surprising to find the commissioners appointed by ,edward ,,vi making as exhaustive an inquiry throughout the land as the valuers of a modern ,chancellor of the ,exchequer4 ,they seized all the plate in the churches with the exception of chalices and patens1 and these they weeded out if they considered the parish too small to have more than one or two4 ,hence it is rare to find pre-,reformation ecclesiastical plate1 even chalices and patens1 because the ,church authorities preferred to melt it down and use the money for other purposes than to have it confiscated4 ,in #aedg by #a ,edward ,,vi it was enacted that communion in both kinds should be administered to the laity4 ,the old form of chalice and paten remained for a time1 as even the ,reformation with all its fury could not and did not wholly uproot all the most sacred and deeply seated ritual in connexion with religious observances4 ,the subject of the change in the form of the chalice with its inverted cup and the introduction of the severer form of the open communion cup and the flagon1 is a study in ecclesiastical and political history which cannot be further pursued here4 ,in general it may be said that the old forms of chalice are not frequently met with1 and have been carefully guarded by religious bodies1 possibly having to be hidden4 ,the examples now extant are usually found in cathedral cities and in the custody of corporate bodies or ,church authorities4 ,we are fortunate in being able to reproduce illustrations of some fine ,exeter examples exhibiting exquisite symmetry and characteristic ornamentation4 ,the paten1 it should be observed1 was made to serve as a cover for the communion cup1 a style which appears to have been general in ,elizabeth's day1 and the old pre-,reformation paten was discarded by ecclesiastical law4 ,in the illustration given 7p4 #fg7 of a chalice and cover this form is seen4 ,the specimen is silver-gilt of the style known as the ,exeter pattern4 ,the bowl is conical in shape with engraved foliated ornament4 ,the knop is fluted and the foot is in similar style4 ,the inscription is 8,st4 ,petrox1 ,exon10 and the piece is still in the possession of the parish of ,st4 ,petrock1 ,exeter4 ,the maker is ,i4 ,ions1 and the piece bears the ,exeter hall-mark for the year #aegb1 the year of the massacre of ,st4 ,bartholomew4 ,the chalice and cover illustrated on the same page is another fine example of the ,exeter pattern1 with inscription on cover 8,the ,paryshe of ,trynitye in the yeare of our ,lorde #aege40 ,the maker is ,i4 ,ions and the ,exeter date mark #aege4 ,the marks of this piece are illustrated page #cia4 ,another ,elizabethan chalice and cover bears the ,london hall-mark of #aegc4 ,it is parcel gilt1 has a straight bowl with slight lip1 and engraved foliated bands4 ,its inscription is 8,st4 ,martin's in ,exon40 ,this is illustrated on page #ga together with a ,charles ,i chalice and cover made by ,j4 ,r4 ,radcliff and bearing the ,exeter mark of #afdj1 the date when ,strafford was impeached and two years before the outbreak of the ,civil ,war4 ,the illustration shows the mark on the middle of the bowl1 with the maker's name in full between the two bands of floriated decoration4 ,illustration3 ,,charles ,,ii ,,cup4 ,silver-gilt4 ,london hall-mark1 #affj4 7,marks illustrated p4 #cfi47 7,by courtesy of ,messrs4 ,elkington ,co47 ,illustration3 ,,william ,,iii ,,flagons4 ,london hall-mark1 #afib4 ,maker's mark1 ,i4,y4 7,in possession of ,parish of ,st4 ,martin's1 ,exeter47 ,an interesting ,charles ,,ii cup1 silver-gilt1 is illustrated page #ge4 ,the maker's mark is ,h4 ,g4 and the date letter is a black-letter capital ,c1 indicating the year #affj4 ,the illustration shows the position of the marks and the irregular manner in which they were stamped at that period4 ,the marks are illustrated on page #cfi4 ,cups such as this have sometimes had portions added to them1 converting them into ewers with curved spout and large handle4 ,there is a piece among the corporation plate at ,york which suggests such an alteration4 ,in the days of ,charles ,,ii the puritanic form of the few pieces of plate then remaining offended the new spirit of gaiety4 ,cromwell's cavalry had stabled their horses in cathedrals2 with the ,restoration1 communion cups were converted into vessels for less sacred use4 ,illustrated on the same page are two ,william ,,iii flagons1 with date letter for #afib1 and maker's mark ,i4 ,y4 ,these are in the possession of the parish of ,st4 ,martin's1 ,exeter4 ,these flagons were wrought in ,london in the fateful year when ,marlborough was dismissed from his office on suspicion of high treason1 when ,louis ,,xiv espoused the cause of the exiled ,james and prepared to invade ,england4 ,by the naval victory of ,la ,hogue the supremacy of the seas was gained4 ,on land the ,french took ,namur1 but although ,william was defeated he prevented the ,french from entering ,brussels4 ,all these pieces of news filtered through to ,london in the days when the craftsman was patiently hammering these flagons and twisting the handles and fashioning the thumb-pieces4 ,to-day to the curious and pensive mind the row of stamped symbols recalls the ,england of ,william4 ,examples of the patens later in use are shown on page #gi4 ,the two ,charles ,,ii pieces are on feet1 and it will be seen that they are ornamented with rope-pattern borders4 ,they are inscribed 8,st4 ,martin's in ,exeter40 ,the ,london date letter is for #afhj1 and the maker's mark is ,e4 ,g4 ,between them stands a ,queen ,anne lavabo bowl with the ,exeter mark for #agjb1 the maker being ,john ,elston4 ,a ,queen ,anne paten is illustrated beneath on the same page4 ,the ,exeter date mark is for #agad1 and the maker is ,pentecost ,symonds4 ,the illustration shows in what position the marks are placed1 and they are illustrated on page #cia4 ,a remarkable communion cup and cover of small size is illustrated on page #ha4 ,this is a ,george ,,ii specimen and is unique4 ,it bears the ,exeter mark for #agbi1 and the maker is ,james ,strong4 ,the stem of this cup is in baluster form of fine proportions4 ,the cover is remarkable1 being intended1 when removed1 for use as a flat paten4 ,in addition to the usual central button it has four small additional feet4 ,it was intended for the use of the sick1 hence its smaller size4 ,altogether it is a most remarkable piece4 ,it has an inscription which runs3 8,deo ,christo et ,ecclesiae ,st4 ,martini ,exon in usu infirmorum40 ,the marks on it are given under the illustration4 ,illustration3 ,,charles ,,ii ,,patens4 ,london1 #afhj4 ,maker1 ,e4 ,g4 ,,queen ,,anne ,,lavabo ,,bowl4 ,exeter1 #agjb4 ,maker ,john ,elston4 7,in possession of ,parish of ,st4 ,martin's1 ,exeter47 ,illustration3 ,,queen ,,anne ,,paten4 ,exeter hall-mark1 #agad4 ,maker1 ,pentecost ,symonds4 7,marks illustrated p4 #cia47 7,by courtesy of ,messrs4 ,ellett ,lake ,son1 ,exeter47 ,illustration3 ,,small ,,communion ,,cup ,,and ,,cover4 ,,george ,,ii4 ,exeter hall-mark1 #agbi4 ,maker1 ,james ,strong4 7,marks are illustrated above47 7,in possession of ,parish of ,st4 ,martin's1 ,exeter47 ,,iii ,,the ,,mazer ,,the ,,standing ,,cup ,,the ,,flagon ,,the ,,tankard ,,the ,,beaker ,,the ,,wine ,,cup ,,the ,,punch-,,bowl ,,chapter ,,iii ,,the ,,mazer1 ,,the ,,standing ,,cup1 ,,the ,,flagon1 ,,the ,,tankard1 ,,the ,,beaker1 ,,the ,,wine ,,cup1 ,,the ,,punch-,,bowl ,the ,mazer1 the fifteenth-century precursor of the punch-bowl--,some historic ,standing ,cups 7the ,leigh ,cup1 #adii7--,stoneware jugs with silver mounts and covers--,the seventeenth century--,the ,pepys ,standing ,cup--,elizabethan flagons--,seventeenth-century ,tankards--,the ,stuart ,beaker--,stuart wine cups--,the 8,monteith0 form punch-bowl of the eighteenth century4 ,in this chapter it will be seen that a survey is made of the drinking vessels of silver plate in use during the sixteenth and seventeenth centuries4 ,with the advent of coffee and tea1 silver plate found a newer field1 and the coffee-pots1 tea-pots1 and tea-caddies of the eighteenth century are dealt with in another chapter4 ,during the period prior to the general use of glass1 metals were employed for domestic plate4 ,pewter1 being less costly1 was more used than silver plate1 which was confined to the wealthier classes2 and for those of lower degree the black-jack and the 8old leather bottel0 sufficed4 ,faience from the ,low ,countries and from ,cologne early found its way to this country4 ,the ,bellarmine jugs1 large in capacity and strongly made of gres de ,flandres stoneware1 were possibly much in demand for serving sack and beer and other liquors consumed in large quantities4 ,it is the tendency of all simple objects to become ornate4 ,the earliest plain horn cups used by the herdsman and the simples developed into silver-mounted richly-chased drinking horns for use at the castle4 ,of this class is the drinking horn belonging to ,lord ,cawdor1 at ,golden ,grove1 with silver mounts supported by silver dragon and greyhound1 which has a history dating from the days of ,richard ,,iii4 ,the wooden bowl1 as we see in the mazer1 became enriched with costly mounts4 ,these additions rarely added to the utility of the vessel1 but they denote its elevation into usage by more wealthy people4 ,the plain grey or mottled and excellently potted stoneware jug1 the like of which ,mistress ,quickly must have used to pour out the canary of ,falstaff and ,bardolf and the thirsty set of tapsters who surrounded the fat knight1 was common enough in the early sixteenth century4 ,but in ,elizabeth's day it added luxurious appendages to itself in the shape of silver or silver-gilt rim and lid and bands and foot4 ,illustration3 ,,mazer1 ,,of ,,maple ,,wood4 ,mounted in silver-gilt1 ornamented with quatrefoil belts4 ,inscription on boss1 8,a ,gift to the ,parish of ,st4 ,petrock1 #adij40 ,illustration3 ,,interior ,,of ,,mazer1 ,,showing ,,inscription4 7,in possession of ,parish of ,st4 ,petrock1 ,exeter47 ,the mazer1 a wooden vessel in form like the more modern punch-bowl1 mounted in silver1 is the earliest type of our domestic plate4 ,these bowls were ornamented with silver bands and silver rims1 and in some cases there was a silver circular plate or boss in the centre of the vessel inside4 ,the example we illustrate is mounted in silver-gilt with quatrefoil belts4 ,it has an inscription on the boss1 8,a ,gift to the ,parish of ,st4 ,petrock1 #adij40 ,the wood of these mazers was usually maple1 and the name is supposed to be derived from the ,british word masarm 7maple74 ,the ,dutch word maeser means a knot of maple wood4 ,spenser in the sixteenth century has the lines3 ,then1 lo6 ,perigot1 the pledge which ,i plight1 ,a mazer ywrought of the maple ware1 ,wherein is enchased many a fair fight ,of bears and tigers that make fierce war4 ,among the earliest of drinking vessels of the ,middle ,ages this form of the broad bowl followed the earlier horn drinking cup4 ,mazers were not made after the sixteenth century4 ,the form was not confined to ,england1 for ,sir ,walter ,scott1 in his 8,lord of the ,isles10 has the couplet3 ,bring hither1 he said1 the mazers four ,my noble fathers loved of yore4 ,in regard to some of the prices paid for mazers at auction in ,london1 the following may convey an idea as to rarity4 ,in #aijc a fifteenth-century mazer realized #adj4 ,in #aijb a sixteenth-century example brought #agj4 ,in #aije a mazer dated #aebg sold for #ejj1 but in #aijh one dated #aecd fetched the colossal price of #b1cjj4 ,certainly this is the highest price paid for maplewood4 ,if the bowl had been all silver1 and had been sold by the ounce1 the sum paid would have been remarkable4 ,but collectors are no respecters of persons1 and as a rarity a mazer makes an appeal which it cannot do as a work of art4 ,the specimens remaining after centuries of vandalism which have come down to us from the early days differ in character4 ,the mazer is reminiscent of ,scandinavian drinking customs4 ,to this day the ,dane in drinking your health says 8,scol40 ,etymologists with fine imagination have linked this with skull1 and sought to infer that the old ,norsemen drank out of skulls4 ,it is a myth as old as the upas-tree4 ,dekker in his ,wonder of a ,kingdom says3 ,would ,i had ten thousand soldiers' heads1 ,their skulls set all in silver1 to drink healths ,to his confusion first invented war4 ,we may agree with the sentiment1 and we could fittingly drink confusion to a modern intriguer to like end1 but1 for all that1 the derivation is wrong4 ,the scol of the ,dane has reference to little wooden spoons used with the bowl to ladle out the liquor1 much in the same manner as the punch ladle of many centuries later performed the same service4 ,the word scull1 the oar of a shallop1 is the same word4 ,byron1 wishing to pose as a wicked person1 gathered a crowd of wayward spirits at ,newstead who drank out of a skull4 ,some ,historic ,standing ,cups ,contemporary with the mazers are magnificent standing cups and covers1 such as the 8,anathema0 ,cup1 of the date #adha1 at ,pembroke ,college1 ,cambridge1 or the ,lynn ,cup1 a century earlier1 in possession of the corporation of ,king's ,lynn4 ,it must be remembered in the contemplation of our art treasures1 and more especially the plate that is left to us1 that the data upon which we may form conclusions are very slender4 ,happily much that is superlative is left to us1 unscathed through centuries of civil war and plunderings and meltings-down2 but often two pieces of the same period represent extreme types4 ,one may be a merely ordinary common vessel and the other may be of most exquisite and beautiful work1 which reached the summit of excellence even in its own day4 ,comparisons are odious4 ,but it is as though in five centuries hence all else were swept aside and all that the twenty-fifth century had upon which to pass judgment on the eighteenth century potter were sundry ornate ,wedgwood vases and certain crude cottage figures4 ,illustration3 ,,the ,,leigh ,,cup ,,and ,,cover4 ,with ,london hall-mark for #adii4 ,richly ornamented in ,gothic style4 ,having inscription on bands of blue enamel in letters of silver4 ,the second earliest cup known with a hall-mark4 7,see description p4 #ic47 7,by courteous permission of the ,mercers' ,company47 ,by the courtesy of the ,mercers' ,company an illustration of the famous ,leigh ,standing ,cup and cover is here produced4 ,the date of this is #adii4 ,the vessel is ornamented with raised crossed bands1 and in the panels formed by their intersection are alternate heads of maidens and flagons1 which are the badges of the company4 ,the foot rests on three miniature flagons1 and has a deep chased border with a pierced trefoil enrichment4 ,on the cover are the arms of the ,city of ,london and the company4 ,the cover is surmounted by a maiden seated1 with an unicorn reclining in her lap1 the word 8,desyer0 on its side4 ,round the cover and cup are bands of blue enamel1 with letters of silver1 with the following inscription3 ,to ,ellect the ,master of the ,mercerie hither am ,i sent ,and by ,sir ,thomas ,legh for the same entent4 ,this specimen exhibits the ,gothic style1 and this is the second earliest cup known with a hall-mark4 ,the 8,anathema0 ,cup bears the ,london hall-mark for #adha4 ,the antiquity of these early cups illuminate the field of collecting4 ,the ,leigh ,cup is contemporary with the magnificent chapel of ,henry ,,vii at ,westminster ,abbey4 ,here is a work of art wrought by the silversmith only two years after ,john ,cabot made his first voyage to the mainland of ,america1 and on the heels of the discovery of the sea route to ,india by ,vasco da ,gama4 ,the standing cup and cover carries with it rites and ceremonies that have been retained to the present day by all those corporations and companies and clubs who have a ritual extending into the past4 ,it is not always easy to give the exact reason why customs are still punctiliously observed4 ,to doff one's hat to a friend or a superior is an act which has a long history4 ,to take off one's casque of armour was to become at once unprotected from the sword-cut4 ,one can imagine two knights meeting showing this confidence in each other's honour in removing their casques4 ,similarly in the taking of wine the observances of to-day in regard to the loving-cup have equally sound reasons to support them1 as being a symbolic continuance of similar actions of the past when their meaning was more definitely prosaic than it is now4 ,illustration3 ,,elizabethan ,,cup ,,and ,,cover4 #aehe4 ,silver-gilt4 ,height #aj_/ in4 ,,elizabethan ,,stoneware ,,jug4 c4 #aegj4 ,with silver-mounted cover and foot4 7,in possession of ,a4 ,s4 ,m4 ,smedley1 ,esq47 7,photographs by courtesy of ,messrs4 ,crichton ,brothers47 ,there are many recorded instances where treacherous foes have stabbed a guest when in the act of drinking4 ,it is not difficult to realize the sequel and the necessity for the usage4 ,when one man drank1 his comrade stood by his side with dagger ready to defend his friend from treachery4 ,the custom to-day at civic banquets and in old clubs in regard to the loving-cup passed round is explained4 ,there are always three standing4 ,two face each other and the third stands behind the person drinking as a safeguard against perfidy4 ,poison and the fear of death were always prominently before our ancestors in the ,middle ,ages4 ,the wine cup was an easy means in perpetrating revenge2 in consequence crystal goblets1 which were supposed to split or change colour when poison was present1 were much in vogue4 ,there were various forms of standing cups4 ,the craftsman expended his skill and invention in producing novelties4 ,it thus happens that these creations exhibit the silversmith's cunning at its best4 ,a very interesting cup and cover is that known as the 8,westbury40 ,it is a fine example of the ,elizabethan silversmith's work1 and is silver-gilt4 ,it is1 as is shown in the illustration1 in the form of an acorn on a stem with flattened knob1 and spreading moulded base1 with turned knob to the cover4 ,the cup of the acorn is cleverly suggested by a series of stamped rings4 ,this cup has an inscription which runs3 ,given to the ,church of ,westbury by ,collonel ,waucklen and ,mary ,contes of ,malbrou4 #afga4 ,on the cover are the initials of the donors1 ,t4 ,w4 and ,m4 ,m4 ,according to ,hoare's ,wiltshire1 and ,cockayne's ,complete ,peerage1 ,extinct and ,dormant1 ,mary1 widow of the second ,earl of ,marlborough1 was married to one ,thomas ,waucklen1 son of a blacksmith4 ,this is not too great a demand on our credulity1 as a cause de clbre in the courts disclosed the fact only a few years ago that a countess was married to the son of a coachman who had posed as a prince4 ,we do not know in what manner ,colonel ,waucklen gained his military title4 ,he possibly may during the 8late wars0 have emulated ,hudibras1 ,when civil dudgeons first grew high1 ,and out he rode a-colonelling4 ,but scandal there is which has settled heavily on the cup and its donors4 ,it is stated that at the time of its gift to the church of ,westbury1 ,mary the ,countess had been dead a year and was buried in a turnip field4 ,this ,elizabethan cup made its public appearance in the middle of the reign of ,charles ,,ii1 and the said inscription would seem to have been placed upon it by the 8,collonel0 to screen the fact that his wife was dead4 ,it would appear to have been for a long time in domestic use before it was handed over to the custody of the ,church4 ,it bears the ,london hall-mark for #aehe4 ,illustration3 ,,pepys ,,standing ,,cup ,,and ,,cover4 c4 #afgg4 ,height #bc in4 ,with inscription in shield at base1 8,samuel ,pepys4 ,admiralitati ,angl3 ,secretis ,societ3 ,pannif3 ,lond3 ,mr4 ,an4 ,,mdclxxvii40 7,by courtesy of the ,company of ,clothworkers47 ,the ,stoneware ,jug ,as has already been said1 the stoneware vessels of the ,low ,countries came into ,england and were in common use in the time of ,elizabeth4 ,fine examples of mottled 8tiger ware0 with silver mounts were evidently used by more luxurious possessors1 and such specimens bring enormous prices under the hammer4 ,the celebrated ,west ,malling ,elizabethan jug sold at ,christie's1 in #aijc1 for #a1ebb4 ,this example was described as ,fulham delft or stoneware1 splashed purple1 orange1 green1 and other colours1 in the style of the old ,chinese1 and mounted with neck-band1 handle mount1 body-straps1 foot and cover1 of silver-gilt4 ,it has the ,london hall-mark of #aeha1 the year after ,drake returned in the ,golden ,hind from his voyage around the world4 ,the maker's mark is a fleur-de-lis stamped in intaglio1 repeated on cover1 neck-band1 and foot4 ,its height is #i_/ inches4 ,the weight of silver straps is only #i oz4 8,it may have been used for sacred purposes10 says one of the journalistic critics1 who marvelled at the price1 8but without doubt is nothing more than an old sack-pot40 ,we illustrate an example with silver-mounted cover and foot1 about #aegj in date1 which shows the type of jugs of ,tudor days of this class4 ,there are many examples of this kind of tankard4 ,the ,vintners' ,company has one of delft mounted in silver-gilt with cover with inscription1 8,think and ,thank10 and 8,thank ,david ,gitting for this40 ,it bears a date #aefc4 ,the dates of most of the specimens of this class of stoneware or delft flagon range from about #aefj to about #aeie4 ,the ,pepys ,standing ,cup and ,cover ,in continuing the examination of loving-cups the comparison can be made between the early ornate ,gothic type exemplified in the ,leigh cup2 the restrained and solid piece of craftsmanship in the ,westbury cup2 and the applied style of decoration1 ,french in character1 found in pieces from about #afgj for the next ten years or so4 ,the ,pepys cup is about #afgg1 and typifies this last period4 ,there is among the ,york ,corporation plate a silver-gilt cup1 #ag_/ inches high1 with cover surmounted by a lion couchant4 ,this 8,turner0 cup has the inscription3 8,iones ,turner serviens ad legem ,civitatis ,ebor ,recordator hoc ,majori et ,communitati ejus de gratitudinis ergo dedit1 #afgi40 ,the hall-mark is ,london1 #afgi4 ,there is a resemblance in this cup to the ,pepys cup3 it is finely decorated with acanthus leaves4 ,in #ahic a copy of the ,turner cup1 with the lion transformed into the lion of ,england1 and embellished with shields of the various ,dukes of ,york1 was presented to ,his ,majesty ,king ,george by the citizens of ,york on the occasion of his marriage4 ,in #afgg ,samuel ,pepys was elected ,master of the ,clothworkers' ,company1 to whom he presented this cup 7illustrated71 which is still used at their dinners4 ,its description is as follows3 ,standing cup and cover1 parcel gilt4 ,deep plain band round rim1 below which is a chased laurel wreath4 ,the rest of the cup is overlaid with an outer framework of pierced and embossed work of ornate character1 which is not gilt4 ,the design embraces foliated scrolls with griffin1 and included are teazles and two rams1 symbols of the ,clothworkers' ,company4 ,the cover is surmounted by a ram4 ,the cup bears an inscription3 8,samuel ,pepys ,admiralitati ,angl3 ,secretis ,societ3 ,pannif3 ,lond3 ,mr4 ,an4 ,,mdclxxvii10 and a monogram ,s4 ,p41 together with the arms of ,pepys4 ,this piece belongs to the ,charles ,,ii period1 and is typical of the characteristic style of applied decoration1 undoubtedly of ,french origin4 ,this cup has the maker's mark#c ,t ,g or ,j ,g interlaced1 and he evidently was an ,english craftsman working during the latter half of the ,charles ,,ii period and during the short reign of ,james ,,ii4 ,the vogue then disappeared4 ,english silver plate at the end of the seventeenth century is worthy of note1 on account of its technique4 ,a noticeable feature in this period of free chased work1 in pieces with large leaves and fruit or figure subjects1 is the bold manner in which the leaf springs from the collet of the foot4 ,among some of the most treasured objects of this late seventeenth-century outburst of fine craftsmanship are sconces and mirror frames1 and especially large beakers and oviform vases and covers with floriated ornament richly chased4 ,it was at that time that ,grinling ,gibbons the woodcarver revelled in his intricate flower and fruit pieces carved in the soft lime and chestnut woods4 ,there is little doubt that the same artistic impulses were in the air4 ,side by side with the silversmith's art were other fashions in furniture1 in silk hangings1 in costume1 in the building and architecture of houses and the habits of the people who dwelt in them4 ,in the sixteenth and seventeenth centuries with so many civil disturbances it was inevitable that easily movable possessions such as plate were the first to be realized4 ,it is not difficult to imagine from the remnants still remaining what the plate must have been like which graced the splendid banqueting halls of the days of ,elizabeth4 ,the massive flagons1 such as that illustrated page #aje1 and the gleaming dishes and lordly plates rightly belong to an age when courtiers wore doublets richly sewn with pearls1 when dreams of conquests in the ,new ,world set men's minds aflame1 when new trade routes were opened and great companies formed1 when the sturdy spirit of independence established itself in these realms to take root and develop into world supremacy on the seas1 and establish an abiding place in the council chambers of ,europe1 and when ,shakespeare and ,ben ,jonson1 and ,kit ,marlowe1 and ,edmund ,spenser with inspired vision penetrated into the domain of romance and won enduring fame4 ,but gold and silver plate hold a somewhat insecure place as historic records4 ,the thief with vandal hands put many a cunningly fashioned vessel into the melting-pot to escape detection4 ,the ,civil ,war with its burnings and plunderings on the one hand1 and the loyal devotion of cavaliers who gladly saw their plate go to equip ,charles's army1 on the other1 accounts for many more specimens of craftsmanship which can never come again4 ,other treasures left the country2 the retinue of ,queen ,henrietta ,maria1 her ,french retainers and her scullions and priests1 journeyed in forty coaches to ,dover with much plate4 ,charles ,i1 writing to ,buckingham1 calls upon ,steenie to help him and says3 8,i command you to send away to-morrow all the ,french out of the towne1 if you can by fair means1 but strike not long in disputing1 otherways force them away1 dryving them like so many wilde beasts1 until you have shipped them1 and the devil goe with them40 ,how they plundered the ,queen of jewels and plate1 and of the money they owed in ,drury ,lane1 and of the scuffle they had with the ,king's ,guards who turned them out of ,somerset ,house1 is a piquant story4 ,to this day in the vaults1 beside dusty documents1 three stones record the last resting-place of all that is mortal of three of the ,queen's faithful ,french servants1--a scullion1 a chaplain1 and a waiting-woman4 ,illustration3 ,,elizabethan ,,flagon4 ,with ,london date letter for #aeii4 ,decorated in formal strap work and foliated design incised in outline4 7,by courtesy of ,messrs4 ,crichton ,brothers47 ,illustration3 ,,elizabethan ,,flagon4 ,marked with leopard's head1 lion rampant1 and ,london date letter for #aegb4 ,decorated in chased floriated design4 7,by courtesy of ,messrs4 ,crichton ,brothers47 ,in these troublous ,stuart times many pieces of silver were buried by the owners who never came back1 and they may still lie buried to this day4 ,others were disinterred and proudly grace some of our fine collections4 ,one thinks of ,john ,rivett1 the blacksmith1 who delivered up broken pieces of copper to the ,puritan iconoclasts who had directed him to break up the equestrian statue of ,charles ,i4 ,but the statue itself he buried in his garden at ,holborn ,fields by night1 and at the ,restoration it was re-erected in its old place at ,charing ,cross1 where it now stands4 ,without doubt1 some of our most treasured plate has had as eventful a history as the 8,man on the ,black ,horse40 ,elizabethan ,flagons ,to leave standing cups and retrace our steps1 we may examine another class of vessel1 the flagon4 ,this is tall and usually rotund in shape1 having a narrow neck4 ,it belongs to the sixteenth century4 ,many of the specimens remaining are among communion plate1 but its use was not confined to ecclesiastical purposes4 ,the name is of ancient origin1 and was possibly at first applied to any vessel holding drink--the ,danish word flacon goes back many centuries4 ,we find various references to it in the older writers4 ,bacon writes3 8,more had sent him by a suitor in ,chancery two silver flagons10 and ,shakespeare1 in ,hamlet1 has 8,a mad rogue6 he pour'd a flagon of ,rhenish on my head once40 ,the relationship of the flagon to the tankard is a close one4 ,the form as it continued to the end of the eighteenth century was practically unchanged from that of the earliest known types4 ,it differs from the ,italianate ewer with its slender neck and graceful proportions4 ,ale obviously required a broad1 swelling vessel4 ,there is nothing finnicking about that old ,english beverage4 ,but wine necessitated something more delicate4 ,although nothing in silver has emulated the modern long1 thin-necked1 glass claret jugs with silver mounts1 yet there has always been a distinction between ale1 the popular drink of the people1 and wine of foreign origin more pleasing to the palate of the connoisseur4 ,in the two ,elizabethan examples illustrated 7page #aje71 it will be seen that although taller and more grandiose1 these are the prototypes of the later tankard1 of which the definite form was established in the seventeenth century4 ,the evolution of design1 whether it be a continuity of the same technique and medium1 or an adaption by the silver worker of the forms of the glass worker1 the potter1 or the woodworker1 is always interesting to the student4 ,there is little doubt that these silver tankards were in a measure derivative from ,scandinavian types belonging to the earlier era4 ,man did not on a sudden invent new shapes for everyday use which no other man1 in no other country or in no other age1 had ever conceived4 ,the salt-glazed stoneware of ,germany and ,flanders without doubt introduced new fashions to the silversmith4 ,the canettes of ,jacqueline ,countess of ,hainault in the fifteenth century1 ,vrouw ,jacoba's ,kannetjes1 the ,cologne cannette of stoneware of middle sixteenth century days1 and the ,flemish cruche1 a decorated jug with a pewter lid and mounts1 all had an influence on the silversmith4 ,but the law of supply and demand1 even in early days1 was something which could not be gainsaid4 ,man himself determined what was best fitted to his needs4 ,it will be seen that the earlier example of the two illustrated is dated in ,london1 #aegb1 the year of the ,massacre of ,st4 ,bartholomew4 ,it has the almost straight sides1 narrowing slightly towards the top and broadening towards the foot4 ,it is decorated with chased floriated design1 relieved by vertical bands continued on the cover to the apex4 ,the cover is surmounted by a button1 in form like a seal-top spoon of a later era4 ,the handle is bold1 and it lacks the strengthening band at the base which is shown in the adjacent example1 where the handle is joined to the barrel by a band4 ,the marks will be seen on the face of the piece in the middle of the surface below the cover4 ,the other example bears the ,london date letter for #aeii1 towards the close of ,elizabeth's reign4 ,the piece is of fine proportions1 with massive scroll handle4 ,the cover1 as in these earlier examples1 is dome-shaped1 and is surmounted by a circular radiating disc with baluster ornament4 ,the billet1 or thumb-piece1 is chased with a man's head4 ,the decoration of the barrel is of the style frequently found upon tankards and bell salts of the late ,elizabethan period and in the early years of ,james ,i1 that is formal strap work1 and scroll leafage incised in outline4 ,the ground between is matted4 ,in passing it may be noticed that this strap design was seized later by the woodworker in his panel work4 ,the body rests on an applied foot1 which is repouss and chased with scroll outlines1 similar to the cover4 ,two bands pass around the barrel and the lower one secures the handle4 ,a panel with female head in relief adds dignity to a specimen which is of exceptional character4 ,seventeenth ,century ,tankards ,the word 8tankard0 belongs to an earlier period than the seventeenth century4 ,it is of widespread derivation4 ,in old ,french it is tanquaerd1 in old ,dutch it is tankaerd1 and in ,irish it is tancaird4 ,and no doubt all three races drank well from these vessels4 ,in the sixteenth century ,ben ,jonson says3 ,hath his tankard touch'd your brain8 ,sure they're fall'n asleep again4 ,illustration3 ,,tankards4 ,,william ,,iii4 #agja4 ,maker1 ,david ,williams4 ,scroll handle with applique row of rosettes4 ,,charles ,,ii4 #afgi4 ,chased acanthus leaf handle with beaded ornament4 ,lower part chased with acanthus leaves4 ,illustration3 ,,charles ,,ii ,,tankards4 #afhd4 ,maker1 ,george ,gibson1 ,york4 ,maker1 ,william ,busfield1 ,york4 7,by courtesy of ,messrs4 ,crichton ,brothers47 8,when any calls for ale10 says ,swift1 8fill the largest tankard cup top full40 ,but silversmiths and collectors have their own nomenclature apart from poets1 and the tankard belongs1 in spite of literary proof to the contrary1 to the seventeenth and eighteenth centuries4 ,it is the poet1 again1 who has continued the use of the word flagon1 regardless of the anachronism4 ,be it a tankard1 a mug1 jug1 can1 pot1 bottle or glass1 such prosaic terms are swept aside in verse to figure as the 8flagon0 or the 8flowing bowl40 ,the tankard of the seventeenth and eighteenth centuries becomes more utilitarian1 and more national in character4 ,the body is drum-like in form1 and the cover is flat4 ,in order to show how little the form differed from ,charles ,,ii to ,william ,,iii1 the examples illustrated on page #aaa prove this point4 ,the earlier example1 on the right1 is chased with acanthus and palm leaves4 ,the beaded ornament on the handle is a feature in both4 ,two other specimens are illustrated on page #aaa1 both with the ,york date letter ,b for #afhd1 the year before the death of ,charles ,,ii4 ,one is made by ,george ,gibson and the other by ,william ,busfield4 ,the taller tankard has a flat two-membered lid1 and the other has a flat one-membered lid4 ,in both these examples it is observable that the scroll handles have an extension of no utilitarian value4 ,it is not beautiful nor useful4 ,in comparison with the ,william ,,iii example illustrated on same page1 the difference will at once be seen4 ,in these examples a noticeable feature is the moulded base4 ,gradually the spread foot became of diminished size4 ,it was of no practical use4 ,later forms show a restraint1 almost a poverty of symmetrical design1 by the absence of the foot4 ,the form becomes more squat4 ,we are accustomed to it in ,english plate1 but it compares slightly unfavourably with foreign plate1 where the balance is more sustained4 ,the massive handle really demands a more solid base4 ,in the ,york examples1 where the finials of the handle trail on the ground1 it is especially noticeable4 ,the billets or thumb-pieces are evidently designed for ornament1 and follow earlier examples of greater proportions4 ,if they err1 they err on the side of strength4 ,in the ,exeter example illustrated on page #aae1 the maker's mark is ,ao41 and the piece also bears the stamped marks of ,britannia and the lion's head erased1 denoting the higher standard4 ,the date letter is for #agje4 ,this is typically ,queen ,anne style1 and is a year after ,marlborough's great victory at ,blenheim4 ,the scroll handle is massive and the terminal is level with the base4 ,the marks are illustrated at the foot of the page1 and can be seen clearly on the body of the piece below the cover4 ,it is an extremely interesting specimen1 worthy of the cabinet of the collector4 ,the thumb-piece is in the form of a convoluted scroll resembling the shell-like ornament placed on early salt cellars4 ,it is essentially a metal-worker's device1 but it may be remarked that in salt cellars of faience the same ornament is used4 ,the ,lambeth delft salt cellar of the late seventeenth century1 illustrated on page #afa1 indicates this parallel between the potter and the silversmith4 ,illustration3 ,,queen ,,anne ,,tankard4 ,with ,exeter marks for #agje4 ,maker's mark ,ao4 ,including the ,higher ,standard marks4 7,illustrated above47 7,by courtesy of ,spencer ,cox1 ,esq47 ,illustration3 ,,george ,,ii ,,mug4 ,with ,exeter marks for #agcc illustrated4 ,,george ,,ii ,,tankard4 ,with ,exeter marks for #agdh 7illustrated p4 #cia74 7,by courtesy of ,messrs4 ,ellett ,lake ,son1 ,exeter47 ,the other two ,exeter examples are illustrated on page #aag1 and are of the period of ,george ,,ii4 ,it will be seen that the cover leaves the flat form hitherto fixed during a long period extending back to ,charles ,,ii1 and begins to resume the domed shape of the early ,elizabethan types4 ,but there is no knob or button with baluster ornament such as in the earlier forms4 ,the dome top of the later period is exceptionally reticent4 ,in turning back to the ,william ,,iii example illustrated on page #aaa1 in date #agja1 it will be seen that the flat top did1 on occasion1 have an ornament2 in this example the ornament takes an elaborate form1 but as a rule the flat-topped tankard without ornament may be said to extend from about #afdj to #agdj4 ,in the ,exeter tankard1 dated #agdh1 the handle still follows the previous styles1 and adds an ornamental form in its terminal which gives a pleasing effect with its terminal in double curves4 ,the adjacent mug is the precursor of the new form of vessel which became individual4 ,the tankard was passed around and followed the custom observed in the loving-cup4 ,but the mug was personal and exhibited a change in the drinking habits of the common folk4 ,it became a common utensil in inns in pewter1 and its proportions were governed by statute4 ,the date of this silver mug is #agcc1 in the reign of ,george ,,ii4 ,the marks1 with the ,exeter date letter for the year #agcc1 are shown under the illustration 7page #aag74 ,the ,stuart ,beaker ,the potter and the glassworker were always dogging the heels of the silversmith4 ,now and again the silversmith borrowed an idea from the other arts4 ,the ,stuart beakers are a class apart4 ,we illustrate examples from the opening years of the seventeenth century--,james ,i1 #afjf1 to the days of ,charles ,,ii4 ,the ,james ,i beaker1 in date #afjf1 shows the engraved floral design of well-balanced proportions4 ,it is a tall1 cylindrical vessel1 and the decoration is in keeping with the surface to be ornamented4 ,the engraving slightly suggests in its character1 though not in its technique1 the strapwork decoration of the same period4 ,the marks of this piece are given on page #cfa4 ,these are interesting illustrations of evolution4 ,the second example of the time of ,charles ,i shows a slackness in design which compares unfavourably with the specimen of the previous reign4 ,this is a piece just prior to the outburst of the ,civil ,war4 ,even here1 slight as is the engraving1 we catch the suggestion of the later ,stuart lozenge decoration employed in other arts1 as for instance in furniture1 notably in ,stuart chair backs of this period4 ,the love for the parallelogram was not confined to the silver worker4 ,the ,charles ,,ii beaker1 in date #afga1 is without ornament4 ,it was made a year after the infamous secret treaty of ,dover1 when ,charles ,,ii became a pensioner of ,louis ,,xiv to the tune of #aej1jjj down and #bbe1jjj a year4 ,illustration3 ,,james ,i ,,beaker4 #afjf4 ,,charles ,i ,,beaker4 #afca4 ,,charles ,,ii ,,beaker4 #afga4 ,marks 7illustrated p4 #cfa47 7,by courtesy of ,messrs4 ,elkington ,co47 ,the process of evolution is plain4 ,first the tall shape with the spreading foot1 followed by the squatter form with less ornament where the foot disappears1 and is succeeded in a short time by the plain type4 ,here we have the precursor of the glass tumbler4 ,what the silversmith made was obviously too expensive for the ordinary person4 ,the glass workers introduced by the ,duke of ,buckingham from ,venice in the reign of ,charles ,,ii found a fashion ready to their hands4 ,this silver beaker of the days of the ,merry ,monarch stands as a prototype of the modern glass tumbler4 ,the succession of forms is something to be proud of in the history of a country4 ,the peculiar usage of words1 the continuance of old observances1 and the development of costume1 have each found exponents to specialize on the evolution of types and the succession to present forms4 ,but who has idealized the glass tumbler of the public-house bar8 ,here in silver is the definite prototype1 and no glass maker has invented anything more suitable4 ,for wear and tear he has made the base thicker1 or shall we say to disguise the fact that the glass contains less than it purports to hold8 ,the ,wine ,cup ,the ,stuart wine cups of silver are of exceptional interest4 ,they are of graceful form and exhibit a variety of baluster ornament of pleasing character4 ,the tall wine cup of the time of ,james ,i is the work of ,peter ,peterson1 a noted silversmith of ,norwich4 ,the ,norwich mark of the castle and the maker's mark of the orb and cross are clearly visible in the illustration of the cup itself1 and are further illustrated on page #cie4 ,the stem is slender and of baluster form4 ,the upper part of the bowl has small trefoils of engraved ornament depending on the line running around the brim4 ,the lower part of the bowl is embossed with leaves and floral conventional pattern4 ,the foot is similarly embossed4 ,sometimes these wine cups1 or grace cups as they are termed1 because it is believed that they were used at the end of a banquet to drink a grace1 have octagonal bowls4 ,these are found in the early seventeenth century4 ,other forms are like the modern open-bowled champagne-glass4 ,charles ,i wine cups obviously are not common4 ,the ,civil ,war laid a heavy toll on such portable articles4 ,during the ,commonwealth1 according to all report1 in the words of ,butler in his ,hudibras1 the ,roundheads had a tendency to ,compound for sins they are inclin'd to ,by damning those they have no mind to1 and we have ,lord ,macaulay's well-known pronouncement that the ,puritans condemned bear-baiting not so much for the pain which it gave to the bear1 as for the pleasure which it gave to the spectators4 ,it is not to be supposed1 therefore1 that wine cups of the ,commonwealth period were much in evidence4 ,to come to the days of ,charles ,,ii1 the ,great ,fire of ,london in #afff did enormous damage4 ,the ,clothworkers' ,hall burnt for three days and nights on account of the oil in the cellars4 ,the ,pepys ,cup happily was saved1 as we have seen4 ,this was in ,september1 but so great was the area of the fire in the city that the ground continued to smoke in ,december4 ,lady ,carteret told ,pepys that pieces of burned paper were driven by the wind as far as ,cranborne in ,windsor ,forest4 ,london remained in ruins till #affh4 ,pepys goes to ,whitehall at the outset of the fire to tell the ,king what he had seen1 and he suggested precautions by blowing up houses to stop the spread of the fire4 ,pepys is solicitous for the safety of the ,navy ,office1 which was between ,crutched ,friars and ,seething ,lane1 and ,sir ,william ,penn brought the workmen from ,woolwich and ,deptford yards to demolish houses on the 8,tower ,street and ,fenchurch sides40 ,it is interesting to read that the ,diarist sent off his money1 plate1 and valuables to ,sir ,w4 ,rider at ,bethnal ,green1 and then he and ,sir ,william ,penn dug a hole in their garden in which they put their wine and ,parmezan cheese4 ,all this is piquant in regard to the vicissitudes of fortune through which our old plate has passed4 ,illustration3 ,,james ,i ,,tall ,,wine ,,cup4 ,norwich hall-mark4 ,maker1 ,peter ,peterson4 7,marks illustrated p4 #cie47 7,by courtesy of ,messrs4 ,crichton ,brothers47 ,the examples of wine cups illustrated on page #abi show two forms4 ,one is taller than the other1 and they stand as the great prototypes in solid silver of our modern wine glasses4 ,indeed1 there is nothing to indicate that they are of silver in the illustration1 save the dark surface of the bowl4 ,it is pleasant to be able to give a ,charles ,i piece dated #afca4 ,the maker of this is ,william ,shute4 ,this belongs to the earlier period of the reign of ,charles ,i1 when the shadows were deepening4 ,it is a delicately balanced cup with slender stem and finely proportioned baluster ornament4 ,the marks are illustrated page #cfa4 ,the other cup is of the ,charles ,,ii period1 and the marks are shown beneath1 the maker's being ,p4 ,d4 and the date letter being h for #affe1 an eventful year4 ,the ,plague of ,london was now at its height4 ,the first ,dutch war commenced1 and in ,june the ,dutch were defeated under ,van ,tromp at ,lowestoft4 ,the adjacent illustration 7page #abi7 shows other contemporary metal work4 ,here is a brass candlestick of the middle seventeenth century4 ,the baluster ornament is common to the silver cup and to the brass candlestick4 ,no two of these candlesticks are alike1 the baluster ornament varying according to the individual mood of the maker4 ,it is the same factor which predominates in ,jacobean furniture with turned rails with varying ornaments4 ,the chain is complete4 ,the silversmith1 the brass-worker1 the woodcarver1 and the glassblower each found1 according to his technique1 this style of ornament pleasing to his mind4 ,accordingly the collector who comes after may see for himself the influence each has had on the other4 ,the student may see in the established form of the stem of the modern wine glass something tempting him to linger over the process of evolution4 ,the ,punch-bowl ,artists and writers have made the punch-bowl of the eighteenth century familiar4 ,the china collector well knows that it was not always of silver4 ,the amateur collector is always to the fore with his punch-ladle with silver bowl and ebony handle1 and the said ladle must always have a coin of the period soldered at the bottom of the bowl to denote its genuineness4 ,alas6 so few of these are authentic4 ,the coin1 which among other things should be the stamp of veracity1 does not agree with the hall-marks--and one lie in a piece damns it in its entirety4 ,it is a sad story1 but punch-ladles seem to be the first step in obliquity of the faker4 ,they are easy to make1 and apparently easy to palm off on the young collector4 ,there are hundreds of people who have a punch-ladle with a history--not the real history--but they have not a punch-bowl4 ,it is like having a bridle without a horse4 ,illustration3 ,,stuart ,,silver ,,wine ,,cups4 ,taller1 #afca 7,charles ,i74 ,maker1 ,william ,shute4 7,marks illustrated p4 #cfa47 ,smaller1 #affe 7,charles ,,ii74 7,marks illustrated beneath47 7,in possession of ,messrs4 ,garrard47 ,illustration3 ,,brass ,,candlestick4 ,english ,middle ,seventeenth ,century4 ,height #g in4 7,in collection of author47 ,the 8,monteith0 form of punch-bowl1 with removable rim of scalloped form1 made thus for the insertion of wine glasses1 was known as early as #agja4 ,nobody can say why the term 8,monteith0 was applied to this1 but presumably it was taken from the inventor or first user1 much in the same manner as our current words1 sandwich1 orrery1 cardigan1 wellington1 identify objects first used by1 or contemporary with1 the persons whose names they bear4 ,the punch-bowl is comparatively modern1 inasmuch as the beverage itself is not of ancient date4 ,the word 8punch0 is said to have been derived from the ,hindustani1 signifying the five ingredients--spirit1 water1 sugar1 lemon1 and spice4 8,a quart of ale is a dish for a king10 says ,shakespeare in ,a ,winter's ,tale2 8,then to the spicy nut-brown ale10 says ,milton in his ,l',allegro4 ,with the advent of ,william ,,iii there is no doubt that spirit drinking became prevalent1 though it was not till the middle of the eighteenth century that the evil became a national crime fostered by the greed of the ,government for taxes4 ,the drunkenness in the reign of ,george ,,ii was appalling4 ,william ,hogarth1 the great satirist of the eighteenth century1 holds the mirror to his day in the two prints1 ,beer ,street and ,gin ,lane1 published in #agea4 ,in the former1 though it cannot be said to be idyllic1 the comparative prosperity of the populace under the beer-drinking regime is satirically compared with their condition under the dominion of ,gin in his companion picture1 where for gruesome details the graver of the satirist is unsurpassed4 ,in the foreground of this truly horrible print is a woman half in rags1 evidently in a drunken condition1 while the infant is slipping from her arms into a cellar1 from which hangs the distiller's spirit measure4 ,hogarth does not believe in half-truths4 ,a stupefied wretch close by is clutching a keg of gin4 ,on an adjacent parapet a dog is sharing a bone with a sot4 ,the pawnbroker is shown as doing a busy trade4 ,a woman is giving gin to her infant from a glass4 ,the tottering buildings with falling bricks are symbolic of the utter rottenness of the social fabric4 ,the spire of ,st4 ,george's1 ,bloomsbury1 stands out as indicative of the aloofness of the ,church to this devilish orgy4 ,st4 ,giles is triumphant4 ,the lurid background completes a terrible indictment of the ,government of the day--the ghouls lifting a man into a coffin with a naked child at the foot1 the bandaged heads and lifted stools of a drunken mob1 the drunken man in a wheelbarrow with more gin being poured down his throat4 ,hogarth with his touch of irony combines the pathos of tears1 young children standing innocently apathetic to all this1 the everyday environment of their lives4 ,this was ,hogarth's biting criticism on the attempt to stimulate the drinking of spirits and decrease the consumption of beer4 ,hogarth is coarse1 he is offensive1 he is brutal2 but he deserves well of all who love truth4 ,rabelais had to paint his satires in gigantic gruesomeness to reach the ear of his day4 ,brutishness cannot be exorcised by the sprinkling of rose-water4 ,the punch-bowl comes straight from this period4 ,we take it as we find it1 symbolic of days when ,members of ,parliament did not disdain to hiccough their drunken speeches in the ,house1 when ,cabinet ,ministers were not ashamed of being drunk4 ,this belongs to the early ,georgian era2 it is associated with ,jacobite plots1 with suppers held in secret1 with toasts drunk in solemn ritual to the ,king over the water4 ,it belongs to the hunting squires and parsons too1 to the nabobs from 8,john ,company10 and to the nebulous period of ,hanoverian ascendancy4 ,the ,stuarts were dead with their fateful1 romantic1 and final downfall4 ,their memory lingered in the people's hearts2 it was kept alive by the old religion1 and it haunted the songs of the people4 ,but the ,georges1 by law elect1 had planted their feet firmly--and the ,house of ,hanover survived all romance4 ,among the classes of punch-bowls the ,monteith takes the aristocratic place4 ,its decoration is pretentious4 ,its utility1 with its removable rim with the scalloped edge1 is its claim to recognition1 by the collector4 ,the specimen illustrated 7page #ace71 in date #agjd1 comes straight from the days when ,charles ,mordaunt1 ,lord ,peterborough1 performed his marvellous exploits in ,spain4 ,he captured ,barcelona in #agje4 ,scholar1 wit1 man of fashion1 he was ,commander-in-,chief of the armies and the fleet in the ,spanish ,war4 ,he was as chivalrous as ,don ,quixote4 ,he married ,anastasia ,robinson1 the prima donna of her day4 8,brave to temerity1 liberal to profusion1 courteous in his dealings with his enemies1 a protector of the oppressed1 an adorer of woman--the last of the knights-errant4 ,he lived10 says ,walpole1 his biographer1 8a romance1 but was capable of making it a history40 ,this specimen comes straight from these days of sea fight and land fight in ,spain and in the ,low ,countries under ,marlborough1 when 8our army10 to quote ,uncle ,toby1 8swore terribly in ,flanders40 ,the ,queen ,anne soberness of design seems to have been discarded in these ,monteiths4 ,there is something rococo and elaborate1 as though in defiance of established reticence4 ,the heavy ornament of lion's head and handles1 the massive gadrooned edge of the scalloped design1 the bowl deeply fluted1 the embossed medallion with coat of arms1 and the foot enriched with beaded ornament1 all indicate that such specimens were regarded as the ,standing ,cup1 so to speak1 of the period4 ,with the punch-bowl an end practically is made of silver vessels for drinking4 ,the sovereignty of glass was now established4 ,porcelain and even earthenware had made inroads into the silversmith's domain4 ,the age of modernity was at hand4 ,illustration3 8,,monteith0 ,,punch ,,bowl4 ,,london1 #agjd4 ,higher ,standard ,marks and ,maker1 ,andrew ,fogelberg4 7,by courtesy of ,messrs4 ,elkington ,co47 ,,sale ,,prices ,prices are always problematical4 ,specimens vary according to state1 and other factors determining the price per ounce at which they are sold4 ,some of the following prices obtained at auction may be of interest to readers3-- ,,standing ,,cups4 ,these are among the most sumptuous pieces of ,english silver4 ,prices always range high4 ,tudor cup1 #f oz4 #ae dwt4 7#aebe7 #hhj 8 on foot1 #ad oz4 #c dwts4 7#aeba7 #d1acj 0 and cover 7,james ,i7 7#afdj71 #ff oz4 #d1jjj ,standing cup1 ,charles ,i1 #dgjs4 per oz4 #hb 8 ,charles ,,ii1 #a oz4 #ac dwts41 #ebjs4 per oz4 #db ,loving-cup1 ,charles ,,ii 7#afgh71 #agjs4 per oz4 #fi 0 ,william and ,mary 7#afhh71 #afes4 per oz4 #hh 8 ,queen ,anne 7#agjc71 #abjs4 per oz4 #adj ,,tankards4 ,james ,i tankard 7#aejd7 #a1gbj ,elizabethan tankard and cover 7#aeii71 #ba oz4 #ae dwt4 7a record price7 #b1cjj ,elizabethan 7,huth sale7 7#aegc7 #a1gjj ,charles ,i plain tankard 7#afbi71 #gejs4 per oz4 #ffg ,plain tankard2 ,york2 maker1 ,marmaduke ,best 7#afga71 #aies4 per oz4 #bcd ,commonwealth 7#afdi71 maker ,,af41 #bijs4 per oz4 #dac ,the range of prices is3 ,commonwealth1 about #bj per oz42 ,charles ,,ii1 #h to #aj per oz42 ,william and ,mary1 #d per oz42 ,anne1 #b per oz42 ,george ,i1 #bjs4 per oz4 ,,beakers4 ,henry ,,vii1 silver-gilt 7#adif71 #f oz4 #af dwt4 sold in #aijb #a1bgj ,elizabethan 7#aeii71 #dijs4 per oz4 #aig ,charles ,i 7#afce71 #caes4 per oz4 #gc ,charles ,,ii 7#affb71 #bijs4 per oz4 #df ,william ,,iii 7#afii71 #agjs4 per oz4 #ff ,,wine ,,cups4 ,elizabethan goblet1 #g oz41 #ecjs4 per oz4 #ahh ,charles ,i1 wine cup 7#afch71 #c oz4 #ad dwts4 #hh ,commonwealth ,goblet 7#afej72 maker1 ,,hs41 #hjjs4 per oz4 #aah ,,punch-,,bowls4 ,william ,,iii 8,monteith0 7#agja71 #ajjs4 per oz4 #cih ,queen ,anne 8,monteith0 7#agje71 #gjs4 per oz4 #bfg ,punch-bowl 7#agej71 #bcs4 per oz4 #ae ,,footnotes3 #c ,these initials1 found on a ,james ,,ii mug1 with the date letter for #afhe1 are illustrated p4 #cfi4 ,,iv ,,the ,,salt ,,cellar ,,chapter ,,iv ,,the ,,salt ,,cellar ,early salt cellars--,the standing salt--,the hour-glass form--,the bell-shaped salt--,the seventeenth century--octagonal and circular types--,the eighteenth century--trencher salts--,tripod salts--,the openwork style with glass liner--,the evolution of form in the salt cellar of the later periods4 ,in the old days when costume determined the gentle from the simple1 when demarcations of rank were definitely pronounced1 when men wore feathers in their hats and swords at their sides1 when retainers and menials sat at the same board with their lord and lady1 the customs of the table were not our customs4 ,it was only in ,elizabeth's day1 when dinner was served at a long table1 that the oaken floor replaced rushes4 ,the diners threw bones to the dogs1 and although sweet sounds came from the musician's gallery1 the scene one may recall is one rather of barbaric splendour than of luxurious refinement4 ,to him who loves to quicken the dry bones of collecting into something pulsating with life1 the salt cellar provides a delight which is not easily equalled4 ,it was an honoured guest at every feast4 ,it was the social thermometer which marked the exact degree of rank of the sitters4 ,persons of distinction sat above the salt1 and between it and the head of the table4 ,those who sat below the salt were dependents and inferior guests4 ,if only these salt cellars reproduced as illustrations could give tongue to the secrets they caught in whisper from the upper end of the table before the withdrawing chamber1 prototype of our modern drawing-room1 became a necessity6 ,if walls had ears1 and if the salt cellars of ,tudor ,england or of the stormy days of the ,stuarts could have been fitted with ,american gramophone wax cylinders1 the by-ways of secret history would be less tangled to the historian4 ,had this been the case1 modern millionaires would have been in competition with one another to secure precious records1 as it is only a rich man who can afford to gather together a representative collection of old salt cellars4 ,but for all that1 the collector with small means1 who is less ambitious1 may obtain specimens that are of exceptional interest1 and in his quest he may1 even in these days when collectors scour ,europe1 come across an example which may be antique4 ,as may be imagined1 these 8salts0 are very varied in character4 ,they may be of silver1 of earthenware1 or of ivory4 ,they may be of simple form with little to distinguish them artistically1 or1 on the other hand1 of such intricate design and rare workmanship as to make them superb examples of the art of the jeweller or silversmith4 ,illustration3 ,,standing ,,salt ,,cellar4 ,,gothic ,,period4 c4 #aejj4 ,hour-glass form4 ,height #i_/ in4 ,from a drawing by ,de la ,motte4 7,at ,christ's ,college1 ,cambridge47 ,take1 for instance1 the salt cellar sold at ,christie's in #aijb for #c1jjj4 ,it was only #g_/ inches in height4 ,it is silver-gilt1 bearing the ,london hall-mark for #aegg1 and the maker's mark1 a hooded falcon1 probably the work of ,thomas ,bampton1 of the 8,falcon40 ,the receptacle for the salt is of rock crystal1 and the base stands upon claw feet1 which are of crystal4 ,the cover is square1 having a circular dome top1 above which stands a delicately modelled figure of a cherub as an apex4 ,a standing salt of the time of ,james ,i1 with the ,london hall-mark for #afac1 was sold at ,christie's in #aijc for #a1aej4 ,the height of this is #aa_/ inches1 and beyond its special value on account of its age and rarity1 its form is not possessed of greater elegance than many a lowly pepper caster whose presence it would scorn on the same board4 ,from the rare ,henri ,,ii majolica of the sixteenth century to the humble trencher salt1 the range of salt cellars is a comprehensive one4 ,the most sumptuous examples1 set in a magnificence of chased design exhibiting the finest craftsmanship of the goldsmith and silversmith1 command high prices on account of their rarity1 and old salts of exceptional character place their collecting in the hands of the elect whose cabinets are known all over the world4 ,but there are many lesser examples of the silversmith's work1 and it is not yet too late to acquire pieces suggestive of days when at the table 8the jest was crowned at the upper end and the lower half made echo40 ,the ,city ,companies possess many fine examples1 and among the college plate at ,oxford and ,cambridge there are many unequalled specimens of the high-standing old salts4 ,there is the silver-gilt plain salt presented by ,roger ,dunster to the ,clothworkers' ,company in #afda1 and another a drum-shaped salt1 silver-gilt1 the 8,guift of ,daniel ,waldo1 ,clothworker1 ,esquire1 ano #affj40 ,then there is the circular salt and cover1 #bb inches high1 of the ,goldsmiths' ,company1 with the date letter of the year #afja1 which was 8the guift of ,richard ,rogers1 ,comptroller of ,his ,majties ,mynt0 444 8desiring the same may bee used at their solemne meetings and to bee remembered as a good benefactor1 anno dni #afcb40 ,this salt has a body of glass1 round which are two silver-gilt collars in chased and repouss work4 ,the ,goldsmiths' ,company have other salts1 notably one the 8,gift of ,thomas ,seymour0 in #afic4 ,the ,haberdashers' ,company have a circular salt the gift of ,sir ,hugh ,hammersley in #afcf4 ,the ,innholders' ,company have two circular salts the gift of ,john ,wetterworth in #afbf1 and a circular salt1 silver-gilt1 #af inches high1 with a dome raised on four scrolls1 terminated by an obelisk1 the gift of ,anne1 widow of ,john ,sweete1 #afce4 ,the ,ironmongers' ,company have two fine silver salts1 parcel gilt1 shaped like hour-glasses1 having six-foiled sides1 in three of which is foliage engraved4 ,the date of one is #aeah and of the other #aebb4 ,the ,skinners' ,company have a silver-gilt octagonal salt #i inches high1 the gift of ,ben ,albin1 a member1 in #afgf4 ,the ,mercers' ,company salts we are enabled to illustrate by courteous permission4 ,the ,vintners' ,company have a fine silver-gilt salt1 the gift of ,john ,powel1 ,master of the ,company1 in #agjb4 ,it is like a square casket in form1 with panels richly decorated in bold relief with figures1 and the cover surmounted by an urn upon which stands a female figure4 ,illustration3 ,,elizabethan ,,bell-,,shaped ,,salt ,,cellar4 ,having compartments for salt and spices4 ,on three ball feet4 ,london #afja4 ,decorated with designs of roses in flat chasing in upright panels4 7,by courtesy of ,messrs4 ,crichton ,brothers47 ,some rare examples are in the possession of corporate bodies4 ,there is the silver-gilt salt and cover1 #ae_/ inches high1 belonging to the ,corporation of ,norwich4 ,this is1 as the inscription indicates1 8,the ,gyfte of ,petar ,reade ,esqviar40 ,the plate marks are a roman capital letter ,d1 the arms of ,norwich1 and a cross mound within a lozenge4 ,it was made at ,norwich1 and its date is not later than #aefh1 for ,peter ,reade died in that year4 ,then there is the wonderful ,ashburnham salt cellar and cover of the time of ,henry ,,vii1 the earliest standing salt1 #ab_/ inches high1 bearing the ,london hall-mark of the year #aejh1 and the maker's mark1 a rising sun4 ,this was bought by ,messrs4 ,crichton ,brothers for #e1fjj4 ,later salt cellars1 while still being collectors' pieces1 depart from the older form when 8below the salt0 had no meaning4 ,the old silver salt cellars of ,queen ,anne and ,georgian days are another story4 ,the elegance of form and the quaint reticence of design make them desirable acquisitions for any modern dining-table4 ,during the past twenty years1 when the furniture of ,chippendale and of ,sheraton has been collected with such avidity to refurnish old homes and to give age to modern mansions1 the demand for old silver accessories of the table has been equally great4 ,in consequence1 spurious silver of later date1 with the old hall-marks cunningly inserted1 has appeared in great quantities4 ,as a warning to the collector of 8old salts10 it cannot too strongly be urged that in his earliest flights he should consult a friend who has passed through the same stages before him4 ,the same advice is1 unfortunately1 necessary in connection with collecting old china and old furniture4 ,the literature of these two subjects is more ready to hand1 and there are many popular handbooks designed to set the feet of the novice in collecting on the right path4 ,in silver collecting there is always a sure road4 ,in furniture or in china there is no puissant company of furniture experts or china moralists4 ,the buyer may be advised to use his common sense and demand that the dealer put on the invoice the exact description of the goods he is selling4 ,if after expert advice the purchaser finds he has been deceived1 he has his remedy in a court of law4 ,but with silver1 there are the hall-marks determined by law for the protection of the public4 ,the ,goldsmiths' ,company exist to safeguard the public against fraud1 and their honourable traditions extend1 as we have seen1 over four hundred years4 ,if any buyer has any doubt as to the ,london marks or the provincial marks on a piece of silver he has purchased1 it is easy to establish their authenticity4 ,if1 for instance1 the mark is a ,london one1 the ,goldsmiths' ,company would obviously be pleased to discover the identity of any one counterfeiting their ancient marks4 ,they have statutory powers to inflict fines on persons convicted of such malpractices1 and in the public interest they would naturally prosecute inquiries as to how false marks came to be placed on silver purporting to be assayed by an old and honourable company4 ,illustration3 ,,circular ,,salt ,,cellar4 ,silver-gilt4 ,dated #afch1 and having ,london hall-mark of that date4 ,greatest height #f_/ in4 ,engraved with the arms of the ,mercers' ,company and the arms of ,john ,dethick1 the donor4 7,see marks illustrated p4 #cfe47 7,by courtesy of the ,mercers' ,company47 ,you may search the chronological tables of the statutes through and through1 and you will find nothing relative to punishments specially laid down to meet the case of fabricators of old furniture or old china1 but in regard to forging old silver marks there are a multitude of protective measures4 ,there is reform needed in the laws relating to silver1 and urgently needed4 ,we offer this suggestion to some ,member of ,parliament bursting to distinguish himself4 ,it was urgently recommended by the ,committee of #ahef1 and a ,bill was prepared by the ,commissioners of ,inland ,revenue in #aheg1 but nothing came of it4 ,the ,select ,committee of the ,house of ,commons1 again1 in #ahgi made further recommendations1 but no restrictive measure has ever been laid before ,parliament4 8,there is much to say for the old demand of the ,goldsmiths' ,company for further powers of enforcing the law than the mere right to sue for penalties4 ,sales by auction now take place with practical impunity1 no matter how spurious and debased the goods may be1 and there is evidence and to spare to show that the general sense of the trade and the public is in favour of the preservations of the old guarantee40 ,the study of salt cellars suggests a flying word on the salt spoon4 ,to quote from an essay by ,addison1 dated #agaa1 the ,spectator says1 in an account he gives of dining with a fine lady3 8,in the midst of these my ,musings she desires me to reach her a little ,salt upon the point of my ,knife1 which ,i did in such ,trepidation and hurry of ,obedience1 that ,i let it drop by the way1 at which she immediately startled and said it fell towards her4 ,upon this ,i looked very blank2 and1 observing the ,concern of the whole ,table1 began to consider myself with some confusion1 as a person that had brought some ,disaster upon the ,family40 ,this is a pretty picture of eighteenth century 8high life40 ,the superstition concerning the spilling of salt is still with us1 but helping salt with a knife is no longer in fashion in 8polite society40 ,in general salt cellars may be classified as follows1 commencing with the ,standing ,salt1 with its determination of rank as to those who sat above the salt and those who sat below it3-- ,standing ,salts4--,the earliest are shaped like hour-glasses4 ,these belong to the fifteenth and first half of sixteenth century4 ,cylindrical and casket forms1 with rich ornamentation in repouss work1 with chased figures and surmounted by cover with standing figure1 are found in the sixteenth century4 ,e4g4 the ,standing ,salt1 part of the ,stoke ,prior treasure1 dated #aefc 7at the ,victoria and ,albert ,museum74 ,the ,bell-shaped ,salt is of the late sixteenth and early seventeenth century1 and the tall ,steeple ,salt belongs to the same period4 ,the above types often had compartments in tiers reserved for spices4 ,illustration3 ,,octagonal ,,salt ,,cellar4 ,with four guards4 ,london1 #afgi4 ,having the arms of the company and inscribed 8,ex dono ,henrici ,sumner4 ,mr40 ,this is known as the ,sumner ,salt1 the gift of the ,master of that date4 ,greatest height #h_/ in4 7,for marks see p4 #ceg47 7,by courtesy of the ,mercers' ,company47 ,the circular and octagonal forms of lesser height1 with three and sometimes four guards with scroll ends1 belong to the seventeenth century4 ,trencher ,salts4--,these were in use contemporaneously with the tall standing salts1 either on less formal occasions or at the lower end of the table below the salt4 ,early forms in the first half of the seventeenth century are circular 7#afjc7 or triangular 7#afcj74 ,these were diminutive1 measuring only some #c inches across1 and being sometimes only #a inch high4 ,eighteenth-century ,salts4--,a great variety of form is apparent1 and many styles succeeded each other1 disappearing only to be revived a quarter of a century later4 ,circular 7#afih-agaj71 oval1 octagonal 7#agae-dj71 tripod 7#agej74 ,circular with three feet2 oblong and octagonal1 slightly taller 7#agge71 with pierced work on four feet1 and with glass liner4 ,oblong1 plain1 with four feet4 ,tureen-shaped or boat-shaped1 plain1 with swelling foot1 sometimes with rings as handles1 or with two handles 7#aghj74 ,shell-shaped salts in vogue #aghh2 circular1 vase-shaped1 with lions' heads and tripod feet 7#agih74 ,early ,nineteenth-century ,salts4--,george ,,iv and ,william ,,iv styles1 a reversion to some of the older types4 ,the tureen and the circular-shaped salt1 with four or three feet 7#ahbj-ahcj74 ,circular bowls on stands1 with tripod and elaborate feet1 the fashion 7#ahaj-ahcj74 ,many pieces betray classical influence4 ,the illustrations of the various types of salt cellars should be sufficient to indicate to the reader the great field which is open to him4 ,the examples range from the rarer earlier periods to the beginning of the nineteenth century4 ,the descriptions given of the successive stages in fashion and in design should stimulate the interest of the student in regard to the undercurrents of evolution progressive1 and often retrogressive1 through three centuries of the silversmith's art4 ,the standing salt1 in hour-glass form1 of the ,gothic period at ,christ's ,college1 ,cambridge1 illustrated 7page #adc71 is in date about #aejj4 ,its height is #i_/ inches4 ,it belongs to that great period of ,henry ,,vii4 ,it is contemporary with the magnificent chapel in ,westminster ,abbey4 ,it has survived the spoliation of the days of ,henry ,,viii4 ,its perfect symmetry1 its delicate ornament1 its exquisite grace delight the eye4 ,there is nothing redundant1 nothing that calls for amendment4 ,it stands as a perfect creation of the ,english silversmith4 ,the unwritten1 and never to be written1 history of such a piece is not the least which appeals to us nowadays4 ,we may revere the exquisite craft of the designer4 ,but there is a tribute we owe to the sagacious custodians who1 possibly in fear of death1 preserved this for posterity4 ,its hiding-places1 its narrow escapes1 its glorious emerging into the light of day1 to occupy a niche1 almost sacred1 in modern regard1 these are happenings that cannot be chronicled4 ,as an historic relic1 a page remaining from the old history of these realms1 such an example claims adoration4 ,a fine bell salt is illustrated 7page #adg74 ,it is on three ball feet4 ,it has the ,london mark1 the letter ,d in ,lombardic capitals1 for #afja4 ,it is decorated in upright panels1 with flat chasing with floral design of roses4 ,it is constructed in compartments for salt and spices and pepper4 ,these bell salts belong to the end of the sixteenth and beginning of the seventeenth century2 they are mostly on three feet4 ,at the ,dunn-,gardner sale1 in #aijb1 #fjj was paid for a specimen4 ,they stand1 in point of time1 between the hour-glass form and the steeple salts4 ,few appear to have been made1 or1 at any rate1 few are now in existence1 and in consequence they bring great prices on account of their rarity4 ,the ring at the top is noticeable1 mainly as the prototype of the ring-handle of cruets1 with the same contents now in use three hundred years afterwards4 ,and the ball foot1 peculiar to the silversmith as something especially applicable to his technique is still retained in silver cruets of to-day4 ,the circular ,stuart salt cellar comes straight from the days of ,charles ,i4 ,it has the date letter for #afch4 ,see ,marks illustrated page #cfe4 ,this salt stood on the ,mercers' ,company table in #afdb--;eventful year1 when ,charles was misguided enough to go in person to the ,house of ,commons with his guards to arrest the five members4 ,this was the signal for the ,civil ,war4 ,the salt cellar we now see was hurriedly put in the vaults of the ,mercers' ,company4 ,the trained-bands of ,london were up4 ,the city declared for the ,parliament1 and ,charles raised his standard at ,nottingham4 ,john ,dethick1 the donor1 may have fought in the civic cause4 ,here is the salt he gave to his ,company in those stirring days1 an illustration of which we are enabled to produce by the courtesy of the ,mercers' ,company4 ,it has three handles with scroll ends4 ,it is an important piece4 ,it is silver-gilt1 and engraved with the arms of the ,mercers' ,company and the arms and crest of ,john ,dethick4 ,the octagonal salt illustrated 7p4 #aee7 shows the style of ,charles ,,ii4 ,it has four handles with scroll ends4 ,these handles were for supporting a napkin which was placed around the salt4 ,it is of the year #afgi1 and the marks are illustrated on page #ceg4 ,it is inscribed1 8,ex dono henrici ,sumner ,mr40 ,this is known as the ,sumner ,salt1 and ,henry ,sumner1 the donor1 was ,master of the ,mercers' ,company at that date4 ,its diameter is #i_/ inches and its greatest height is #h_/ inches4 ,this is the year of the ,habeas ,corpus ,act4 ,this ,act defines the liberties of the subject4 ,all prisoners except those charged with felony or treason can demand that they be brought before a judge to test the validity of their detention4 ,all persons charged with felony or treason must be tried at the next sessions or else admitted to bail1 or1 failing this1 be discharged4 ,no person could be recommitted for the same offence and no person imprisoned beyond the sea4 ,heavy penalties were imposed on those who violated this ,act4 ,illustration3 ,,specimens ,,of ,,earthenware ,,salt ,,cellars4 ,,lambeth ,,delft ,,salt ,,cellar4 ,late seventeenth century4 ,height #d_/ in4 ,,rouen ,,faience ,,salt ,,cellar4 ,early eighteenth century4 ,height #c in4 7,in collection of author47 ,contemporary with the silversmith's work it is interesting to notice in passing what the potter was doing4 ,we illustrate 7p4 #afa7 a ,lambeth delft salt cellar of the late seventeenth century4 ,its height is only #d_/ inches4 ,it simulates the silver style4 ,the guards or handles are more shell-like in form than those of the silversmith4 ,the technique of the potter with his twisting of the plastic clay is responsible of this4 ,but the furniture maker of the period has something to add1 too1 in regard to this form of ornament4 ,in his technique it is termed the 8,spanish foot40 ,it appears in feet and in the scrolls of handles for chairs4 ,a salt cellar of ,rouen faience is illustrated 7p4 #afa7 of the early eighteenth century4 ,in height this is #c inches4 ,it shows the square form1 with slight depressed surface at apex for the salt1 as though the salt were a rare commodity4 ,it is interesting1 and should help the student to cast his eyes farther afield in attempting to arrive at conclusions in regard to definite styles4 ,of ,trencher salts there is much to say4 ,all that is not poetry is prose1 as ,monsieur ,jourdain found out4 ,a salt may be ,standing--that is1 it may be a ceremonial piece demanding the ritual of its order--or it may be a mere trencher salt2 the name indicates its usage4 ,instead of being among the great folk1 it was among the dependents at the lower stratum of the table4 ,trencher salts were once menial in the earlier periods1 but as time went on the great standing salt disappeared and trencher salts became general for gentle and simple4 ,throughout the eighteenth century1 from ,queen ,anne to ,george ,,iv 7#ahbj71 and in succeeding years the salts were all trencher salts--because there were none other4 ,in the early days trencher salts were associated with servility or with dependence1 but later the salt at the elbow of the master of the feast carried with it nothing derogatory4 ,from ,queen ,anne1 #agjb1 to the end of the reign of ,george ,i1 #agbg1 little difference is noticeable and the lowly trencher salt changes very slightly4 ,it is oblong or it becomes octagonal4 ,but in practical form it is substantially the same4 ,two specimens exhibiting this are given 7p4 #afe74 ,the circular salts1 with three feet1 belong to the early ,george ,,iii period4 ,the feet in these are in hoof form with cone-shaped terminals 7see illustration1 p4 #afe74 ,the early ,george ,,iii period exhibits other varieties of the salt cellar4 ,there was the wire-work cellar with cast additions1 and the pierced and cut sheet silver4 ,most of these types are oblong in shape and were designed to receive a glass liner4 ,these specimens are usually with four feet4 ,the example dated #agfi is of wire work4 ,the other example adjacent with floral wreath1 dated #aghe1 is in the ,french style1 which became prevalent at the last quarter of the eighteenth century4 ,the feet of these examples are usually claw-and-ball or lion's paw feet4 ,it may be interesting to note the contemporary styles of the chair maker4 ,the same influences were at work governing the worker in wood and the craftsman in metal4 ,illustration3 ,,trencher ,,salts4 ,,queen ,,anne4 #agab4 ,,george ,,ii4 #agcj4 ,,circular ,,salt ,,with ,,three ,,feet4 ,,early ,,george ,,iii4 #agfh4 ,,george ,,iii4 #aghe4 ,feet with hoof-shaped and cone-shaped terminals4 7,by courtesy of ,messrs4 ,elkington ,co47 ,illustration3 ,,salts ,,with ,,glass ,,liner ,,and ,,four ,,feet4 ,,early ,,george ,,iii4 #agfi4 ,floral wreaths and chain period in ,french style4 ,,george ,,iii4 #aghe4 ,claw and ball feet and lion's paw feet4 ,wire work with cast additions and pierced and cut sheet silver4 ,illustration3 ,,circular ,,salt ,,with ,,three ,,feet4 ,,oblong ,,salt ,,with ,,four ,,feet4 ,,george ,,iii4 #aghf4 ,cloven hoof feet4 ,,george ,,iii4 #aghi4 ,feet with club terminal4 7,by courtesy of ,messrs4 ,elkington ,co47 ,the cloven-hoof foot or the club terminal are found in the round shaped salt cellar in the same period or slightly later4 ,usually this type is found with three feet4 ,this plain form dispenses with the glass liner4 ,towards the close of the eighteenth century the styles become varied4 ,there is the tureen form1 from which type many variations are based4 ,similarly the boat-shaped salt is typical of many similar plain designs of this nature--some with two handles4 ,the examples illustrated 7p4 #aga71 in vogue from #agha to #agig1 show the generic type from which similar forms deviate4 ,as in the above types the swelling foot is a feature1 so with other examples1 from #aghi to #ahjc1 the foot disappears4 ,the piece in date #aghi1 illustrated 7p4 #aga71 may be compared with similar circular forms made by the ,staffordshire potters in lustreware for cottage use4 ,the washing-tub shaped salt cellar1 in date #ahjc1 indicates the decadence of design4 ,the opening years of the nineteenth century show these poor forms in replacement of the early designs4 ,specimens of the days of ,george ,,iv and ,william ,,iv 7one in date #ahbj and the other #ahcb7 are illustrated 7p4 #agc74 ,here is a reversion to older forms1 the tureen shape with gadrooned edge and with four legs1 and the circular form with three legs4 ,of the circular form the classic rotund urn or vase shape seized the fancy of the silversmith at various periods4 ,as early as #agga we find the form in the perforated work1 with swags and classic ornamentation1 rather suggestive of ,french fashions1 and obviously intended for use with a glass liner4 ,this is illustrated 7p4 #agc71 and adjacent is a piece dated #ahaj1 made by ,messrs4 ,rundell1 ,bridge1 and ,rundell1 of the late ,george ,,iii period4 ,it is important1 as it is silver-gilt4 ,it stands as typical of the attempt to popularize the ,pompeiian forms4 ,the winged figure1 found on tables of the period1 the tripod feet of club or goat-like form1 the base with key-pattern ornament1 stamp it as of the ,first ,empire4 ,george ,,iii was not yet dead1 he was only insane1 and ,bonaparte had not been banished to ,st4 ,helena4 ,in fact1 ,wellington was fighting in ,spain1 and ,waterloo had yet to be fought in #ahae4 ,but here is a piece with the same artistic impulses as the chairs and tables at ,fontainebleau4 ,the story of the salt cellar comes to an end4 ,its customs and its dignities are lost except to those who love the delving into the record of the manners of past days1 8now here1 at upper end o' the table1 now i' the middle40 ,the salt cellar has a complete history for three hundred years1 and with its evolution pari passu is the march of social custom4 ,,sale ,,prices ,,standing ,,salts4 ,elizabethan 7#aegc71 #aj oz4 #bde 8 7#aegg71 #ac oz4 #ah dwts4 #gbj ,james ,i 7bell-shaped7 7#afjh7 #ccf 0 8 7#afac7 #a1aej ,illustration3 ,,george ,,iii ,,salts ,,with ,,swelling ,,foot4 #agha-agij4 ,the tureen-form salt1 from which type many variations are based4 #agia-agig4 ,the boat shaped salt1 typical of many similar plain designs1 some with handles4 ,illustration3 ,,the ,,disappearance ,,of ,,the ,,foot4 ,,george ,,iii4 #aghi4 ,the circular salt4 ,simultaneously with this the ,staffordshire potters made similar forms in lustre ware for cottage use4 ,,george ,,iii4 #ahjc4 ,the washing-tub salt4 ,the decadence of design is shown in the opening years of nineteenth century1 when poor forms replaced the early styles4 7,by courtesy of ,messrs4 ,elkington ,co47 ,illustration3 ,,reversion ,,to ,,older ,,forms4 ,,george ,,iv4 #ahbj4 ,,william ,,iv4 #ahcb4 ,three feet and four feet both employed4 ,illustration3 ,,circular ,,salt ,,cellars ,,in ,,vogue4 ,,george ,,iii4 #agga4 ,perforated work with classic ornament4 ,,late ,,george ,,iii4 #ahaj4 ,made by ,rundell1 ,bridge ,rundell4 ,attempt to adopt new forms1 ,pompeian and others2 tripod feet very small4 7,by courtesy of ,messrs4 ,elkington ,co47 ,,trencher ,,salts4 ,william and ,mary1 #bces4 per oz4 #bj ,william ,,iii 7#c7 7#afih71 #acbs4 per oz4 #fj ,queen ,anne 7#b71 oval 7#agjh71 #afes4 per oz4 #dj 8 7#b71 circular 7#agac71 #aies4 per oz4 #bh ,george ,i bring from #fjs4 to #hjs4 per oz4 ,george ,,ii bring about #cjs4 to #djs4 per oz4 ,sets of four and six bring higher prices per oz4 ,after this date prices drop considerably4 ,v ,,the ,,spoon ,,chapter ,v ,,the ,,spoon ,early spoons and their rarity--,the ,apostle spoon--,the seal-top spoon--,the slipped-stalk spoon--,the ,puritan spoon--,the ,trifid spoon--,the lobed-end spoon4 ,from ,elizabeth to the late ,georges the range of spoons is a long one1 and comprehends1 in the early days1 classes that are prohibitive in price for the pocket of the average collector4 ,there are spoons and spoons4 ,from the early elaborations in ,apostle1 or ,maidenhead1 or lion-sejant forms to the later styles of rat-tail teaspoon or the fanciful caddy-spoon there is choice enough to suit the idiosyncrasies of most collectors4 ,indeed1 it may be said that the collecting of spoons is a thing apart4 ,silversmiths themselves became specialists when they made spoons2 the craftsmen were on a plane by themselves1 and so it comes to pass that the collector1 following in their wake a couple of centuries afterwards or more1 has to give special study to this branch of silver plate4 ,it is not necessary1 to trace the antiquity of the spoon1 to revert to ,roman days1 to enumerate what has been found in ,saxon graves1 or to wander through the medival period to show the use and development of the spoon4 ,it is sufficient1 in the present volume1 to take spoons as found in the realm of collecting4 ,practically this may be said to begin at the reign of ,elizabeth1 though in #aijc a set of thirteen apostle spoons was sold at ,christie's1 of the reign of ,henry ,,viii and having the ,london hall-mark for #aecf1 for #d1ijj4 ,but this is sensational4 ,there is no doubt that the most popular spoon of the ,tudor period1 that is including the reigns of ,henry ,,vii 7#adhe-aeji71 ,henry ,,viii 7#aeji-dg71 ,edward ,,vi 7#aedg-ec71 ,mary 7#aeec-eh71 and ,elizabeth 7#aeeh-afjc71 was the well-known apostle spoon4 ,it is rare to find any examples before #aejj4 ,the oldest known is dated #adic4 ,they were called apostle spoons because each spoon was surmounted with a figure of one of the apostles with his customary emblems1 such as ,st4 ,peter with the key1 ,st4 ,john with the cup of sorrow1 etc4 ,they were thirteen in number to make a complete set--that is1 the twelve apostles and the ,master spoon1 bearing an image of ,jesus ,christ1 although the thirteenth in some cases was ,st4 ,paul4 ,the study of apostle spoons does not begin or end with ,english silver4 ,they originated on the ,continent1 and the goldsmiths of ,nuremburg and of ,paris1 of ,milan and of ,madrid1 fashioned them in like form1 each according to the traditions and technique of his school4 ,illustration3 ,,seventeenth-,,century ,,spoons4 ,,slipped ,,in ,,the ,,stalk4 #afea4 ,,puritan4 c4 #affj 7,norwich74 ,,charles ,,ii ,,flat ,,stem4 #affe4 ,showing changing form of bowl and handle4 7,at ,victoria and ,albert ,museum47 ,it was apparently the custom in ,tudor days to offer a set of these spoons1 or1 if the donor were less rich1 a fewer number1 as a christening gift4 ,sometimes only four were given1 representing the four evangelists4 ,in modern days the gift of a christening spoon still continues1 though the spoon is shorn of its former apostle head4 ,there are many passages in the old ,english authors referring to this custom1 and numerous references in old wills bequeathing sets of these apostle spoons as heirlooms4 ,in ,shakespeare's ,henry ,,viii1 v4 #b1 ,cranmer1 who declares his unworthiness to act as sponsor--is met with the rebuke from the ,king3 8,come1 come1 my lord1 you'd spare your spoons40 ,it is interesting to note the emblems usually found associated with the different apostles4 ,the following list will enable the collector to identify the one from the other3-- ,st4 ,peter--with a key or a fish4 ,st4 ,thomas--a carpenter's square or a spear4 ,st4 ,andrew--a transverse or saltire cross1 on which he suffered martyrdom4 ,st4 ,john--a cup with a winged serpent4 ,st4 ,philip--a cross of varying form1 usually on a long staff4 ,st4 ,bartholomew--a large knife1 because he was flayed in his martyrdom4 ,st4 ,matthew--a wallet or purse1 or sometimes a spear or an axe4 ,st4 ,jude--a lance or a saw2 sometimes a club4 ,st4 ,james the ,great--a pilgrim's staff1 as pioneer missionary4 ,st4 ,matthias--a halbert or an axe4 ,st4 ,james the ,less--a fuller's pole1 because he was killed by a blow on the head dealt him by ,simeon the fuller4 ,st4 ,simon ,zelotes--a saw1 in allusion to his martyrdom4 ,the thirteenth is either ,st4 ,paul with a sword1 or the ,master spoon1 with orb and cross and hand raised in blessing4 ,sometimes ,judas ,iscariot takes his place in lieu of one of the others1 usually of ,st4 ,matthew with the purse2 and ,st4 ,mark1 in some sets1 replaces ,st4 ,simon2 and ,st4 ,luke occurs in lieu of ,st4 ,matthias in others4 ,there is no doubt that apostle spoons have been largely sought after by collectors as something desirable and antique4 ,they have accordingly been manufactured by the thousand to meet such a demand1 and young collectors cannot be too careful in accepting authenticity by word of mouth from any seller4 ,there are always the museum examples for ready reference4 ,they are in glass cases easy of access1 and a close inspection can be made at the ,victoria and ,albert ,museum1 which is little short of actually handling the specimens4 ,this remark applies equally to seal-top and other older forms of spoons not frequently handled by the beginner4 ,illustration3 ,,seventeenth ,,and ,,early ,,eighteenth-,,century ,,spoons4 ,,apostle ,,spoon4 ,st4 ,andrew4 #afdh4 ,,seal-,,top ,,spoon4 #afeb4 ,,trefoil-,,shaped ,,top4 #agjc4 ,newcastle4 ,,trefoil-,,shaped ,,top4 #agjc4 ,london4 ,marked with ,britannia and lion's head erased4 ,the later spoons show the commencement of form of modern bowls4 7,by courtesy of ,messrs4 ,crichton ,brothers47 ,sets of thirteen apostle spoons are very rare4 ,there is ,archbishop ,parker's set at ,corpus ,christi ,college1 ,cambridge1 and including the rare ,master spoon and also ,st4 ,paul with a sword1 which spoon bears the date mark for #aeae1 while the others are hall-marked #aeff4 ,there is the ,swettenham set1 which belonged to the ,cheshire family of that name1 hall-marked #afag4 ,the ,goldsmiths' ,company have a set with the hall-mark #afbf1 which was presented to them some years ago by ,mr4 ,george ,lambert4 ,we illustrate two examples of apostle spoons1 one made at ,exeter in #afgd1 representing ,st4 ,simon ,zelotes 7p4 #ahi71 and the other made in ,london in #afdh1 with the figure of ,st4 ,andrew with the saltire cross 7p4 #ahe74 ,single specimens can be obtained1 though prices range high2 what could be procured for #e ten years ago now fetches #cj4 ,whether the war will bring prices down remains to be seen4 ,sixteenth-century apostle spoons realize from #cj to #ij under the hammer1 according to style1 age1 condition1 and other determining factors4 ,earlier spoons than the sixteenth century bring higher prices1 anything from #ej to #ajj4 ,the ,seal-top ,spoon ,contemporary with the apostle spoons were other types4 ,the terms now applied to them are purely collectors' names4 ,there was the acorn terminal1 the seated lion with a shield 7lion sejant71 the seated owl1 the pineapple1 the mitre1 and the head of the ,virgin1 which continued for a long period and is now known as the ,maidenhead variety4 ,but the most common was the seal-top with baluster ornament1 which form lasted well into the seventeenth century4 ,we illustrate an example with the ,london hall-mark for #afeb4 ,it will be noticed that the hall-mark appears in the bowl of the spoon4 ,this is the leopard's head1 and may be observed in all early spoons of the apostle and kindred classes4 ,the ,slipped-stalk ,spoon ,during the reign of ,charles ,i 7#afbe-di7 the bowl of the spoon began to take different proportions1 and to depart from the pear-like form4 ,it became more oval and narrower at the base and wider near the stem4 ,but in regard to evolution of form1 the modern spoon1 as is readily seen1 is an inversion of the bowl4 ,it is egg-shaped1 but the narrowest part is now away from the handle1 whereas formerly the narrowest part was joined to the handle4 ,all the sixteenth and seventeenth century spoons show the old form and the later spoons show the opposite4 ,the innovation is shown in the illustration1 given on page #ahe1 of early eighteenth-century examples4 ,the slipped-stalk spoon was simply a radical departure from excessive ornament4 ,it may have been on account of religious motives1 it may have been by reason of economy4 ,obviously such a spoon cost less to produce without its terminal figure4 ,hence we have the slipped-in-the-stalk variety which was cut off transversely as shown in the illustration 7p4 #aha7 of an example dated #afea1 during the ,civil ,war1 which form readily developed into the so-called ,puritan spoon with plain1 flat handle1 which shortly exhibited wider ends4 ,of this style two examples are illustrated 7p4 #aha74 ,illustration3 ,,seventeenth ,,and ,,early ,,eighteenth-,,century ,,spoons4 ,,apostle ,,spoon4 ,st4 ,simon ,zelotes4 ,exeter hall-mark4 ,date pricked on back1 #afgd4 ,,flat-,,stem ,,spoon4 ,trefoil top4 ,rat's-tail back4 ,maker1 probably ,thomas ,simpson4 ,exeter hall-mark #agab4 7,in possession of ,messrs4 ,j4 ,ellett ,lake ,son1 ,exeter47 ,,lobed-,,end ,,spoon4 ,showing both sides4 #afgi4 7,at ,victoria and ,albert ,museum47 ,the ,trifid ,spoon ,this style was a passing fashion4 ,it is obvious that such a shape with split ends was not for posterity4 ,the design was not pleasing nor was the form utilitarian4 ,the example illustrated 7p4 #ahe7 was made at ,newcastle in #agjc1 and is marked with the figure of ,britannia and the lion's head erased4 ,the adjacent illustration with the ,london hall-mark of the same date shows the form which was calculated to last for a longer period4 ,the beginning of the eighteenth century shows the attempt of the spoon-maker to invent new forms4 ,the ,exeter example of trifid form with the hall-mark for #agab exhibits the rat's-tail back1 merely a device in technique to strengthen the bowl1 although this is found as early as #afgj4 ,in #agej this rat-tail at the back became shorter and was known as a 8crop40 ,its purpose was the same1 to strengthen the handle in its juncture with the bowl4 ,various varieties claimed recognition for the moment4 ,they were ornamental and essayed to fix new styles1 but their day was short4 ,they stand now as collectors' examples4 ,the lobed end specimen illustrated 7p4 #ahi7 shows this type with ornament on the back of the bowl1 which still retains its rat-tail form in subjection4 ,it is now merely an ornament or a relic of a former style1 as the handle ends abruptly and somewhat clumsily before the rat-tail commences as an adjunct or ornament4 ,such a fashion was not destined to live long4 ,this has the ,london hall-mark for the year #afgi4 ,the modern spoon comes in process of evolution from these earlier forms4 ,the straight stem of apostle or seal-top days was still retained in the flat ,puritan form4 ,we have seen that the bowl underwent a change in form1 but the stem or handle similarly was the subject of inventive caprice4 ,it became 8wavy0 in form in the time of ,william ,,iii4 ,the ,queen ,anne type1 apart from its pronounced rat-tail back1 became developed in the reign of ,george ,i into a type which may be termed the ,hanoverian spoon4 ,the outline of the end is continued in a curve without a break4 ,this is the new form which has continued to the present day4 ,whatever ornament was introduced1 whether as additional to the bowl or to the handle1 the form became established4 ,simultaneously with this form1 simple and utilitarian1 was what is termed the 8old ,english10 which is found in the middle of the eighteenth century4 ,the handle was bent back and the rat-tail became a crop4 ,the fiddle pattern in common use to-day was a late eighteenth-century innovation4 ,there is nothing beautiful in the ears of the fiddle pattern1 which might well be lopped off4 ,it will be seen that the history of spoons is a long one and complicated by fashions4 ,nor is the study lightened by the various usages to which spoons may be put4 ,it may readily be imagined that the use of coffee and tea brought the small spoon into commoner use4 ,to-day the dainty spoon at five o'clock tea is a modern usage4 ,but there is some suggestion that in eighteenth-century days the spoon of fashion was trivial in character in comparison with the larger spoons in use4 ,pope1 the man of the town and depicter of the beau monde1 has the lines3 ,or o'er cold coffee trifle with the spoon1 ,count the slow clock and dine exact at noon1 suggesting the dilettante late at breakfast4 ,evidently the spoons were at that date made for toying and corresponded with our modern tea and coffee spoons4 ,something should be said of the manner of marking spoons4 ,the positions of the hall-marks are worthy of the collector's notice4 ,before the ,restoration1 and for some time afterwards1 the leopard's head was placed inside the bowl1 as is shown in the illustrations we give of various examples4 ,during the reign of ,charles ,,ii the style of marking may be said to be transitional4 ,in the early years some examples have all the marks on the handle4 ,even towards the last years of the reign other examples have the leopard's head in the bowl and the rest of the marks on the handle4 ,after this the marks appear on the handle1 and about #agha they were placed at the end of the handle instead of close to the bowl1 as was the former practice4 ,,sale ,,prices ,,apostle ,,spoons4 ,it is impossible to fix prices4 ,in ,july #aijc a set of thirteen with hall-mark for #aecf realized #d1ijj4 ,single specimens may roughly be valued as follows3 ,fifteenth century1 anything from #ej to #cjj2 sixteenth century1 from #cj to #ajj2 seventeenth century1 #c to #dj4 ,six spoons 7#afca7 brought #bhj and a pair 7#afbb7 only #g4 8,fakes0 are abundant in this class4 ,,seal-,,top ,,spoons4 ,prices range from #h to #be apiece4 ,,caddy-,,spoons4 ,these from middle of eighteenth century are a large class1 which should appeal to the collector of limited means4 ,but even in this modest field the faker has been busy4 ,,vi ,,the ,,posset-,,pot ,,and ,,the ,,porringer ,illustration3 ,,commonwealth ,,porringer4 #afec4 7,marks illustrated p4 #cfe47 ,illustration3 ,,charles ,,ii ,,posset-,,pot ,,and ,,cover4 #affb4 ,,charles ,,ii ,,porringer4 #affi4 ,silver-gilt4 7,with marks below47 ,maker1 ,i ,n 7possibly ,euodias ,inman74 7,in possession of ,messrs4 ,garrard47 ,,chapter ,,vi ,,the ,,posset-,,pot ,,and ,,the ,,porringer ,the antiquity of the ,posset-pot--,its national use--,the ,porringer--,the two forms contemporary with each other--,stuart examples--,the seventeenth and eighteenth century potters--,the merging of the two types into the bowl4 ,a cold climate demands hot cordials4 ,there was no elaborate system of hot-water pipes in the draughty1 cold1 and damp ,elizabethan mansions with their rush-covered floors4 ,it was a necessity1 apart from long and deep potations of strong drinks1 to take a nightcap or caudle-cup of something hot4 ,in the eighteenth century the drinking of hot punch superseded this4 ,but in the sixteenth and seventeenth centuries the custom of the posset of hot sack with spices and having milk and eggs1 as a supper beverage was universal4 ,not that the posset-cup was idle in the daytime4 ,it succeeded1 even if it did not replace1 the standing or loving-cup at weddings and other ceremonies4 8,mix a posset for the merry ,sir ,john ,falstaff10 might1 and possibly did1 refer to any hour of the day1 for that jovial soul did not stand on ceremony as to when he drank1 so long as it was copious and oft-repeated4 ,that the posset-cup was of something thicker than mere spiced ale or hot wine is shown by ,shakespeare's 8,thou shalt eat a posset to night at my house0 7,merry ,wives of ,windsor74 ,and ,lady ,macbeth1 as a last act before the final commission of the treacherous crime1 says3-- ,i have drugged their possets1 ,that death and nature do contend about them1 ,whether they live or die4 ,we have seen that the caudle was curdled milk1 with wine and hot spices1 and that it was smoking hot4 ,shakespeare says1 8,we'll have a posset for't soon at night1 i' faith1 at the latter end of a sea-coal fire40 ,it was undoubtedly hot1 and it seems to have been1 sometimes for medical reasons1 made doubly so4 ,hence ,dryden writes3 ,a sparing diet did her health assure2 ,or sick1 a pepper posset was her cure4 ,the object of a vessel1 in the end1 determines its established form4 ,its purpose being to receive a hot caudle1 demanded that the posset-pot or cup should have a cover to keep its contents warm4 ,its two handles never seem to have deserted it1 until it became a shallow dish or bowl for broth4 ,these handles undoubtedly served a purpose1 but the love of ornament and the balance of vessels which were always of beautiful form and perfect symmetry demanded two handles1 by which design they succeeded the style of the loving-cup handed around1 but it is not possible to conceive that the posset-cup was other than for personal use4 ,illustration3 ,,posset-,,cup ,,and ,,cover4 ,london1 #afgi4 ,cover1 #affj4 ,height #g_/ in4 7,by courtesy of ,lord ,dillon47 ,illustration3 ,,charles ,,ii ,,porringer4 ,london1 #afff4 7,photograph by courtesy of ,messrs4 ,crichton ,brothers47 7,in possession of ,a4 ,s4 ,m4 ,smedley1 ,esq47 ,in regard to early days the posset-cup has not survived4 ,we have mainly posset-cups of the ,stuart period which ran contemporary with the porringer4 ,we might almost term this the transitional period4 ,but the difference is apparent4 ,whereas the posset-cup or pot had a cover1 the porringer had no cover4 ,otherwise in form there is little difference4 ,but it must be borne in mind that the covered vessel was a protection against poison4 ,when this fear was no longer prevalent the open vessel became safe4 ,the illustrations show the various types4 ,they belong mainly to the ,stuart period4 ,it is not possible to give a posset-pot from which the contemporaries of ,falstaff drank their caudle4 ,we can only conjecture from frequent literary references that such vessels were in common use4 ,apparently they have long disappeared1 as there are few ,tudor examples4 ,there is a fine posset-pot and cover1 of gold1 of the sixteenth century1 at ,exeter ,college1 ,oxford4 ,the earliest example illustrated is a ,commonwealth porringer1 with the hall-mark for #afec 7illustrated p4 #aig74 ,here evidently is a vessel open-mouthed1 and there was no intention that it should possess a cover4 ,it is of different form to the contemporary posset-cup1 and was not used for the same purpose4 ,apparently it was for something intended to retain the heat to a lesser degree1 hence the absence of the lid4 ,it is futile nowadays to conjecture with exactitude for what purpose these vessels were used4 ,but1 presumably1 the porringer was for something more solid and less stimulating4 ,the date of this ,puritan porringer is a memorable one4 ,it belongs to the year when the ,dutch were defeated off ,portland in ,february1 again off the ,north ,foreland in ,june1 and off ,texel in ,july1 when ,van ,tromp was killed4 ,in the year of this porringer ,oliver ,cromwell forcibly dissolved the ,rump ,parliament4 8,clad in plain grey clothes and grey worsted stockings10 ,oliver sat in the ,house listening impatiently to ,sir ,harry ,vane1 till at length he could bear it no more4 ,he rose1 and after charging the ,house with injustice and self-interest1 he cried1 8,your hour is come2 the ,lord hath done with you40 ,clapping his hat on his head1 he strode into the middle of the ,house with 8,it is fit you should sit here no longer6 ,you should give place to better men6 ,you are no ,parliament60 ,thirty musketeers entered at a sign from their general1 and the thirty members crowded to the door4 ,the ,speaker refused to quit his chair1 till ,harrison offered to 8lend him a hand to come down40 ,cromwell lifted the mace from the table4 8,what shall we do with this bauble80 he said2 8,take it away60#d ,on the same page is illustrated a ,charles ,,ii posset-pot and cover1 with the date mark of ,london for #affb1 and by its side is a small porringer of the date of #affi4 ,this was evidently for the use of a child1 which is some indication that these smaller vessels were actually used for something in the nature of food1 and the possibility that they derive their name from the word 8porridge0 is a conjecture not to be easily dismissed4 ,illustration3 ,,posset-,,pot ,,and ,,cover4 #afhc4 7,with marks illustrated beneath47 7,at ,victoria and ,albert ,museum47 ,the bowl of ,stuart days has an ogee outline contracted towards the mouth1 giving it a pear-shaped form2 this is common in porringers and posset-pots of the seventeenth century4 ,in the example with the ,london hall-mark for #affb the body is decorated with spheroidal swelling lozenges1 giving character to the piece4 ,the cover is plain1 and heightens considerably the fine proportions1 and is surmounted by a knob in baluster form4 ,the handles are delicate and of gracefully curved form4 ,the handles of the adjacent porringer1 it will be seen1 are flat4 ,from #afec1 the date of the ,commonwealth porringer1 to this latter small porringer1 it will be seen that the handles are in a transitional stage4 ,the upper half of the handle may be likened to a fanciful letter ,c1 the bottom curve of which ends half-way in the interior of the handle1 the handle being continued until it joins the bowl lower down4 ,in the second example1 #affb1 the ,c stretches from the juncture of the handle with the bowl at the top to its juncture again at the lower end1 the continuation of the handle below this is a slight additional outward curve4 ,in #affi the handle had become a letter ,s4 ,the ,c form is slightly indicated by a break in the upper curve on the inside of the handle4 ,a comparison of the various forms of handle illustrated in this chapter shows that the ,c form in combination with the ,s form oscillated throughout the seventeenth century4 ,in the elaborate posset-cup and cover of #afgi 7illustrated p4 #bja7 the ,s form would seem to have become established2 but another example1 #afhc 7illustrated p4 #bje71 shows the letter ,c again in strong combination with the letter ,s in the handle4 ,in #afhe the potter1 we see1 was troubled by no such fanciful problems4 ,in the pot illustrated he makes a straightforward simple handle1 best suited to his technique4 ,of the same date and illustrated on the same page 7p4 #bac7 is a fine ,james ,,ii posset-cup1 and here the handle takes the form of the letter ,c1 and again a second ,c for the lower half of the handle4 ,by the year #afij the letter ,s form handle in graceful curves had become established4 ,the illustration on page #bja shows a posset-cup and cover1 which is produced by the kindness of ,lord ,dillon4 ,in date it is #afgi and the cover is #affj4 ,the bowl is embossed with tulips4 ,the handles are scrolled terms and cast4 ,the cover is a flattened dome with plain flanged edge and embossed with tulips4 ,the knob is a casting of four grotesque faces conjoined4 ,its height is #g_/ inches4 ,this cup is stated to have been presented by ,charles ,,ii to his daughter1 the ,countess of ,litchfield4 ,the marks are 8,london0 and ,i4 ,s4 in shaped shield4 ,mark on cover ,w4 ,b4 in a heart4 ,it will be seen in comparison with the porringer of the date of #afff1 illustrated on the same page1 that the caryatides handles which are similar to early ,italian metal-work1 are part of the handle itself1 and the female bust forms the swelling curve4 ,here in the first example of the posset-cup the head is set as though it were a thing apart and unconnected with the design of the handle in its entirety4 ,in the lower example of the porringer the head actually becomes full face1 and consequently is merely a meaningless survival of the older form and not an integral part of the design of the handle4 ,illustration3 ,,charles ,,ii ,,porringer4 #afgb4 7,by courtesy of ,messrs4 ,elkington ,co47 ,illustration3 ,,queen ,,anne ,,porringer4 ,exeter hall-mark1 #agjg4 ,maker1 ,edmund ,richards4 7,marks illustrated47 7,by courtesy of ,messrs4 ,j4 ,ellett ,lake ,son1 ,exeter47 ,the posset-pot and cover1 with the ,london date mark for #afhc1 exhibits another form2 its body has straighter sides4 ,the scroll handles are similar to some of the older forms1 and the woman's head is retained4 ,the acanthus-leaf decoration occurs on the lower part of the body1 the rest being plain4 ,here the proportion of decorated and undecorated surface introduces another factor4 ,it is seen on the lower portion of the ,charles ,,ii porringer of the date of #afff1 and it lingers in the ,exeter piece of the ,queen ,anne period1 #agjg1 with the addition of a decorative band three-quarters of the way up the bowl 7illustrated p4 #bji74 ,in the ,tudor period we have seen1 in regard to the mottled stoneware tankards1 that the potter and the silversmith worked in sympathy with each other4 ,in late ,stuart days it cannot be said that the silversmith and the potter had very much in common4 ,we illustrate two specimens of the days of ,james ,,ii of the same date1 #afhe4 ,the first is a posset-pot and cover of unusual form1 with steeple-like cover and baluster terminal4 ,this is on a high foot1 and the handles have a massiveness about them not usually associated with posset-cups4 ,the year #afhe is an important date in the art of the silversmith4 ,the ,edict of ,nantes was revoked1 and in consequence many hundreds of ,huguenot refugees1 silk-weavers and metal-workers1 came to this country4 ,the ,spitalfield looms and the names of ,french makers on the silver plate date from this influx of foreign craftsmen4 ,below this is a posset-cup made by the ,staffordshire potter1 racy of the soil1 and far removed from the subtleties of the worker in silver4 ,this is dated #afhe1 and inscribed 8,william ,simpson ,his cup40 ,the handles1 six in number1 are eminently suited to the plastic clay4 ,the convolutions of the smaller handle are suggestive of the glass-worker4 ,here the potter and the silversmith join hands1 for the handle of the more elaborate piece is suggestive of the glass-worker too4 ,it must be remembered that ,venetian glass-workers had settled in ,london under the patronage of the ,duke of ,buckingham in the days of ,charles ,,ii4 ,it is not unnatural to suppose1 seeing that the glass-blower1 the silversmith1 and the potter were all working in competition1 that they cast an eye on each other's work4 ,there is a peculiar design embodied in the work of the old glass-workers of ,venice1 for centuries embosomed on the lagoons at ,murano1 which design is taken straight from the waters of the ,adriatic4 ,there is a little denizen of those waters1 delicate and of extreme beauty1 only some #c or #d inches long1 known as the sea-horse4 ,he swims in the blue water or curls his tail around a weed4 ,his head is like a ,roman horse with arched neck4 ,those who know the delightful configuration of this creature1 the hippocampus antiquorum1 will realize the parallel4 ,the ,venetian glass-worker adapted this design1 ready to hand1 as the ,copenhagen potters have taken the figures of birds and animals of the ,baltic to give form and colour to their work4 ,all craftsmen have done this1 from the ancient cave-dweller in ,bordeaux who scratched the reindeer in motion which he has left for posterity to criticize1 to the ,japanese with their fishes and birds and insects4 ,the short-nosed sea-horse with its beautiful and graceful form has been snatched by the glass-blower and transfused in the furnace1 with skilful and adept art in manipulating the pliant metal1 into a handle with conventionalized form4 ,the arched back becomes a row of bead-like ornament in the bow of the handle1 a style of ornamentation which peeps out from old ,italian glass goblets1 still in due subjection4 ,when it crosses the ,alps into ,germany the foreign glass-worker1 knowing nothing of the delicate suggestion of the origin of the ornament1 straightway makes the handles into huge appendages1 departing more and more from the initial source of inspiration4 ,illustration3 ,,james ,,ii ,,posset-,,cup ,,and ,,cover4 #afhe4 ,of unusual form4 ,with inscription1 8,the legacy of your dear grandmother1 ,mary ,leigh40 7,by courtesy of ,messrs4 ,crichton ,brothers47 ,illustration3 ,,the ,,potter ,,and ,,the ,,silversmith4 ,,staffordshire ,,earthenware ,,posset-,,cup4 ,with inscription1 8,william ,simpson ,his ,cup #afhe40 ,the glass-blower of ,stuart days1 a craftsman in metal1 and the silver worker meet at this point1 and the bead-like ornament is derivative from this old form4 ,it is shown in simpler style in the ,charles ,,ii porringer of #afgb 7illustrated p4 #bji71 and in more elaborate development in the ,james ,,ii posset-pot4 ,the former is nearer to nature1 and possibly nearer to the glass-worker4 ,the potter has similarly twisted his clay with equal swiftness and ease into convolutions similar to the glass-blower's technique1 but he has gone away from the original4 ,with an elaboration far and above the three bends he has given to his plastic body in his handle1 the ,german glass-blower has essayed to improve on this form1 according to his lights2 the result is that some of the ,german glass consists mainly in a fine elaboration of handle4 ,in regard to the evolution of design1 something should be said of the ,exeter piece with the hall-mark of that city1 #agjg1 straight from the days of ,queen ,anne4 ,the maker of this piece was ,edmund ,richards4 ,did he know that in his crane-head handle he was perpetuating something that was to live to the twentieth century8 ,to-day modern ,japan has run the crane to death4 ,in textiles and in metal-work the design of the crane appears again and again4 ,it is found in scissors2 we have before us an elaborate pair1 made for the ,great ,exhibition in #ahea1 with crane handles1 elaborately finished and gilded4 ,our last illustration terminates the history of the silver vessel intended for use for posset1 or caudle1 or porridge1 or broth4 ,the bowl 7p4 #bag71 or1 as it is termed in the old inventory which has come down with the piece1 a 8,plum ,broth ,dish10 dates from #afig1 the year of the ,treaty of ,ryswick1 when ,louis ,,xiv recognized ,william ,,iii as ,king of ,great ,britain and ,ireland4 ,the maker is ,john ,bodington4 ,prior to ,queen ,anne1 this example shows all the reticence of design usually associated with the ,queen ,anne style4 ,it begins a new area4 ,the posset-pot and the silver porringer were dying or dead2 the days of the punch-bowl1 the tureen1 and all the intricacies of the modern silver vessel for tea1 for coffee1 for soup1 and fitted for the complexities of a more modern life1 were at hand4 ,illustration3 ,,plum ,,broth ,,dish ,,and ,,ladle4 ,,william ,,iii4 #afig4 ,maker ,john ,bodington4 7,marks illustrated47 7,in possession of ,messrs4 ,garrard47 ,it is thus seen that the design of the metal-worker is perennial2 it belongs to no especial period and to no particular country4 ,the working of silver is one of the oldest arts crafts of man4 8,there is nothing new under the sun10 said ,solomon1 and although his mind was not fixed on the arts and crafts1 there is an applicability about the adage4 ,the caprice of fashion has determined for how long a period a certain form should be in use1 till it was replaced by some other form--a deviation from the former or a reversion to an older form4 ,it is the pleasure of the collector to unravel the motives which led to changes or which put a dead stop to inventiveness4 ,every object he examines1 every specimen he owns1 is another fact which stands in the long chain enabling him to pick his way from one conclusion to another4 ,the premises are there1 the data is his1 if only his conclusions be sound4 ,,sale ,,prices ,,posset-,,pots4 ,prices vary considerably1 according to the character of the example4 ,charles ,,ii examples being from #ajjs4 to #cjjs4 per oz4 ,four examples have sold for as much as #djj4 ,,porringers4 ,unique and early examples are just as expensive as posset-pots4 ,charles ,,ii specimens have realized from #cjj to #fjj4 ,exceptional pieces have brought sensational prices4 ,a ,charles ,,ii example of #affa1 maker ,i4 ,w41 sold in #aiji for #a1jae at #bgjs4 per oz4 ,in the same year a smaller one1 made by ,george ,gibson in #afhj1 sold for #ccjs4 per oz41 realizing #ge4 ,the differences in prices discernible from ,charles ,,ii to late ,georgian are roughly3 ,william ,,iii1 #e to #ab per oz42 ,queen ,anne1 #c to #f per oz42 ,george ,i and ,,ii1 #ejs4 per oz4 ,the faker has been active with so-called 8,queen ,anne0 porringers1 with special fluting and marked with the ,britannia or higher standard mark4 ,collectors who have been taken in by these can have them assayed at the ,london ,assay ,office or elsewhere1 and if the mark is forged there is a legal remedy4 ,,footnotes3 #d ,short ,history of the ,english ,people1 by ,j4 ,r4 ,green4 ,,vii ,,the ,,candlestick ,illustration3 ,,charles ,i ,,candlestick4 #afcg4 7,marks illustrated p4 #cfa47 7,by courtesy of ,messrs4 ,crichton ,brothers47 ,illustration3 ,,lambeth ,,delft ,,candlestick4 ,with coat of arms1 and dated #afdh4 ,,chapter ,,vii ,,the ,,candlestick ,the seventeenth-century candlestick--,early examples--,the contemporary potter--,charles ,,ii examples--,the eighteenth century--,queen ,anne and early ,georgian types--,provincial makers--,the classic style--,the ,sheffield candlestick4 ,ecclesiastical candlesticks have been in use from earliest times4 ,the pricket form1 that is with the spike for sticking the candle on1 may be seen in use to-day4 ,this form has survived in spite of its obvious inconvenience4 ,it might have been of use for candles of great size1 but even then long candles were apt to turn over if not kept upright by the attendant priests4 ,the pricket or spike form may be at once dismissed1 although older1 as being outside the field of the domestic candlestick4 ,whatever may have been the receptacle for candles in common domestic use in ,elizabethan days1 it is now lost4 ,the candlestick has not been so fortunate as the spoon to escape the melting-pot4 ,even early ,stuart examples are rare4 ,specimens of candlesticks of the first half of the seventeenth century are so rare as to be beyond the average collector's pocket4 ,we are enabled to produce an early example of the time of ,charles ,i1 bearing the ,london hall-marks for the year #afcg4 ,this is the very year that ,hampden refused to pay ship-money as taxes4 ,under cold and unimpassioned examination1 it would appear that these patriots stood really on technicalities4 ,the country gentleman1 the man of ,buckinghamshire environed by cornlands1 refused to pay ship-money2 that is1 money to be devoted to safeguarding our coasts4 ,the men of ,devon1 the men of the ,kentish coasts and the ,essex estuaries1 the ,lincolnshire ports1 the ,yorkshire seaboard1 the city of ,bristol1 and estuary of the ,thames guarding ,london1 these were the fit and proper persons to pay for safeguarding the shores2 the country gentleman whose thoughts could not soar above the soil1 straightway became a patriot because he would not co-operate with the rest of his country in paying taxes for common defence4 ,the ,dutch could sweep the ,channel and ,van ,tromp could carry a broom in derision at his masthead1 but many of the country gentlemen of the ,puritan days talked of turnips1 and to resist payment of ship-money was deemed patriotic4 ,it will be seen that the example illustrated is simple in form4 ,it is not so delicate as the brass candlestick of a slightly later day 7illustrated p4 #abi74 ,the bottom is like an inverted wine cup1 and the straight pillar holds the candle4 ,the marks on this are on the rim of the bottom1 upside down1 which has led some persons to suppose that the base might be used as a wine cup1 which is absurd4 ,illustration3 ,,charles ,,ii ,,candlesticks4 ,,london1 #afgc4 ,height #aa in4 7,by courtesy of ,messrs4 ,crichton ,brothers47 ,this type is the plainest possible1 and suggests that little of any value preceded it4 ,it leaves one with queer imaginings as to what the ,tudor form may have been like4 ,but one must not be too exacting4 ,a glance at table manners gives modern precisians a shock4 ,there was a common dish1 at which all helped themselves4 ,the habit of putting the hands into this dish to seize bits of meat does not seem to have been regarded as objectionable4 ,this was in the fifteenth century4 ,there were no soup plates till about the year #afjj4 ,nor was there any large spoon for serving from the tureen till about a hundred years later1 that is about #agjj4 ,the ,lambeth delft candlestick1 with coat of arms1 dated #afdh1 is more symmetrical than the example of the silversmith4 ,it has the platform for the grease1 similar to later examples in the next reign made of gun-metal1 and very heavy4 ,charles ,,ii ,examples ,there was an extraordinary demand for silver plate in the reign of ,charles ,,ii4 ,this is indicated in the diaries of ,pepys and of ,evelyn4 ,we illustrate a pair of especial beauty and delicacy 7p4 #bbg74 ,these candlesticks were sold at ,christie's in #aijh for #a1dbj4 ,they are #aa inches in height1 and they bear the ,london hall-mark for #afgc4 ,the barrel is short1 and fluted to represent a cluster of eight small columns4 ,the barrel is connected with a cast and vase-shaped stem1 ornamented with four lobes and four acanthus leaves4 ,the platform has voluting shells1 and the base is composed of four escalop shells4 ,there is a delicacy about these candlesticks which is ,italianate in character4 ,from the barrel to the base the lines are graceful and subtle4 ,there is nothing like them in ,english silver4 ,they suggest the fanciful design of the best ,japanese art1 centuries before that art had penetrated ,europe4 ,remarkable in many respects1 it is representative of the joyousness and vivacity of the ,restoration2 they have no forbears and no successors4 ,they are unique4 ,the fluted column was a form which appealed to the ,carolean maker4 ,in square bases with platforms inverted1 this type departs from the fanciful curves of the pair illustrated4 ,the straight line is predominant in the base1 the platform1 and the socket4 ,sometimes the baluster ornament of the seventeenth century is introduced in the stem4 ,other late ,stuart forms include the type with octagonal base1 sometimes plain hammered1 and deep1 from which the stem springs as from a pan1 and other forms with fluted column still on octagonal base1 which in the later days of the seventeenth century began to be more subdued in character4 ,by the middle of the seventeenth century the platform disappears in silver candlesticks4 ,an interesting specimen is the ,charles ,,ii snuffers and tray1 of the date of #afhb4 ,the snuffers are plain and flat and have the character of the handles of the porringer1 of the date #affi 7illustrated p4 #bca74 ,this flat openwork is peculiarly ,english1 and belongs to the late ,stuart period4 ,it is exhibited on the handle at the back of the tray4 ,the tray is as reticent as the silver of the ,queen ,anne period of the early eighteenth century4 ,illustration3 ,,early ,,eighteenth-,,century ,,candlesticks4 ,,queen ,,anne4 ,london1 #agjd4 ,,queen ,,anne4 ,exeter1 #agjf4 ,,george ,i4 #agba4 ,maker1 ,john ,newton1 ,london4 7,in possession of ,messrs4 ,garrard47 ,illustration3 ,,charles ,,ii ,,snuffers ,,and ,,tray4 #afhb4 7,with marks illustrated47 7,at ,victoria and ,albert ,museum47 ,the ,eighteenth ,century ,the candlesticks of the eighteenth century vary considerably in character4 ,the fluted column dependent on the octagonal base1 with the relic of the old platform1 is retained in a band with gadrooned edge4 ,the illustration 7p4 #bca7 shows various styles1 in the opening years of the eighteenth century4 ,the baluster ornament1 so common in ,stuart days1 was adopted1 and ran through the eighteenth century1 until classic influences swept it aside4 ,this ornament1 found as a terminal in silver knobs of early date1 now became elongated and assumed various forms1 with swelling and undulating form1 sometimes with ornamented edge1 till it became absorbed with the classic form of upright fluting and urn-like nozzle4 ,candlesticks with removable nozzles were first introduced about #ageh2 the tall ,corinthian column form is noticeable at this period4 ,the urn sockets were in vogue from #agij to #agih4 ,it should be noted that removable nozzles when found on seventeenth-century pieces may be regarded as a later addition4 ,the provincial candlestick maker was not behind the ,london maker at the end of the eighteenth century4 ,for instance1 when the ,sheffield ,assay ,office commenced operations in #aggc the classic style was at its height4 ,the ,adam brothers had impressed their personality on furniture and on architecture4 ,wedgwood had diverted ,staffordshire into the paths of ,olympus4 ,here it should be said that 8,sheffield plate10 so called1 is not ,sheffield silver plate4 ,it is difficult to explain4 ,plate is the technical term we employ in regard to solid gold or silver4 ,plated things which may be either gold plated or silver plated1 are of baser metal1 more frequently copper1 covered with a layer of gold or of silver4 ,sheffield has won a renown for her antique silver plated ware4 ,but here we have ,sheffield silver plate1 that is ,sheffield silver1 with the marks of the assay office4 ,we give an example 7illustrated p4 #bce71 twenty years after the granting of the charter to ,sheffield4 ,candlesticks1 silver and silver-plated1 were the specialties of ,sheffield1 and very beautiful they are4 ,the ribbon festoon with knots suggests the ,louis ,quinze period4 ,this indicates the departure from the stern classic types2 and the nozzle is removable1 a style which was then in common use4 ,as a study1 the candlestick exhibits infinite variety4 ,the eighteenth century1 from ,queen ,anne to the late ,george ,,iii period1 offers many forms4 ,the ,stuart candlestick is on another plane1 and appeals to the collector of rare examples4 ,the candle is something dead and gone2 it stands on the threshold of modernity like some dim ancestral ghost of former days4 ,the electric bulb is triumphant1 paraffin is plebeian1 and gas stretches back a century when ,westminster ,bridge was first lit by gas in #ahac4 ,nobody has apostrophized a gas bracket or a paraffin lamp4 ,but the candle is both historic and poetical and the candlestick offers a pleasing field to the collector4 ,illustration3 ,,eighteenth-,,century ,,candlestick4 ,classic style4 ,made at ,sheffield4 7,at ,victoria and ,albert ,museum47 ,,sale ,,prices ,prices vary to a considerable extent4 ,as in the case of the salt cellars1 sets bring higher prices than the single examples4 ,the differences in prices are3-- ,,early ,,eighteenth ,,century4 ,sets of four #hj to #ajj ,sets of two #dj to #gj ,,late ,,eighteenth ,,century4 ,sets of four #bj to #dj ,sets of two #g to #bj ,single specimens vary from #b to #aj1 according to design4 ,in buying candelabra at so much per ounce1 beginners should carefully ascertain weight1 as examples sold at #es4 per ounce have realized over #bjj owing to their massiveness4 ,,viii ,,the ,,teapot ,,the ,,coffee-,,pot ,,the ,,tea-,,kettle ,,the ,,tea-,,caddy ,,chapter ,,viii ,,the ,,teapot1 ,,the ,,coffee-,,pot1 ,,the ,,tea-,,kettle1 ,,the ,,tea-,,caddy ,the teapot1 its early form--,the seventeenth century--,the eighteenth-century coffee-pot--,the tea-kettle and stand--,late ,georgian teapots and coffee-pots--,the tea-caddy and its varieties4 ,the silver plate of a country undoubtedly reflects the manners and customs of its users4 ,the growth of luxury undoubtedly has had its influence upon the manufacture of a great number of silver articles employed in everyday use4 ,but although the field be larger1 the class of articles1 to say nothing of the average artistic quality1 differs in the same measure as the habits of the users4 ,the antiquary of the twenty-first century who turns to the late nineteenth century will find marmalade-pots and pickle-forks in lieu of posset-pots and punch-ladles4 ,he will find that cheap chemists have disseminated hair-brushes and cheap scent-bottles of inferior glass with silver rims4 ,the earliest known teapot is of the year #afgj1 although ,pepys tells of drinking tea in #affj4 ,this fine specimen is a lantern-shaped teapot with a history1 and is illustrated page #bdc4 ,it is inscribed1 8,this ,silver tea ,pott was presented to ye ,comttee of ye ,east ,india ,company by ye ,right ,honole ,george ,lord ,berkeley of ,berkeley ,castle4 ,a member of that ,honourable and worthy ,society and ,a true ,hearty ,louer of them4 #afgj40 ,it is engraved with the arms of the donor and of the ,east ,india ,company4 ,the maker's mark is ,t4 ,l41 and the date letter and hall-marks of ,london are of the year #afgj4 ,in the year #afij the form of teapot was melon-shaped1 still tall1 and still suggestive of a coffee-pot1 made more manifest by the stopper attached at the spout by a chain4 ,but in the eighteenth century1 teapots underwent a change2 they began to assume styles which have endured to the present day4 ,since ,queen ,anne sat in the ,orangery in ,kensington ,gardens with her bosom friend 8,mrs4 ,freeman0 over a dish of tea to hear of ,marlborough's victories1 the habit has become established in popular favour4 ,the rivalry between coffee and tea and the attempt of chocolate to obtain supremacy are interesting side-lights in social history1 tinctured by political bias and prejudice4 ,coffee claims the field first4 ,the honour of introducing tea remains between the ,english and the ,dutch1 while that of coffee rests between the ,english and the ,french4 ,the price of tea in #affj was sixty shillings per pound1 and ,thomas ,garway1 tobacconist and coffee-man1 was the first who retailed tea4 ,his shop bill is the most curious and historical account of tea we have3 8,tea in ,england hath been sold in the leaf for six pounds1 and sometimes for ten pounds the pound weight1 and in respect of its former scarceness and dearness it hath been only used as a regalia in high treatments and entertainments1 and presents made thereof to princes and grandees till the year #afeg4 ,the said ,garway did purchase a quantity thereof1 the first publicly sold the said tea in leaf or drink1 made according to the directions of the most knowing merchants into those ,eastern countries4 ,on the knowledge of the said ,garway's continued care and industry in obtaining the best tea1 and making drink thereof1 very many noblemen1 physicians1 merchants1 etc41 have resort to his house to drink the drink thereof4 ,he sells tea from #afs4 to #ejs4 a pound40 ,illustration3 ,,coffee-,,pot4 #agcg4 ,newcastle-on-,tyne4 7,marks illustrated p4 #cii47 7,in possession of ,messrs4 ,garrard ,co47 ,,seventeenth-,,century ,,teapot4 #afgj4 ,presented by ,lord ,george ,berkeley to the ,honourable ,east ,india ,company4 7,at ,victoria and ,albert ,museum47 ,here is a seventeenth-century advertisement3 can ,mincing ,lane in the twentieth century go better8 ,as to coffee1 it is interesting to read the women's petition to ,parliament1 in #afgd4 ,they complained that coffee 8made men as unfruitful as the deserts whence that unhappy berry is said to be brought2 that the offspring of our mighty ancestors would dwindle into a succession of apes and pygmies1 and on a domestic message1 a husband would stop by the way to drink a couple of cups of coffee40 ,this is in the vein of the modern ,suffragist and on the same sub-head4 ,in #afgc the men of ,england were fighting against the ,dutch at the engagement off ,texel to defend their hearths and homes1 coffee or no coffee4 ,apart from the peculiar lantern shape of the first examples1 teapots assumed various forms4 ,they were tall and pear-shaped about #afij4 ,by #agjg1 is ,queen ,anne's day1 we find them gourd or melon-shaped till about #agbj4 ,in #agbe they were of lesser height4 ,from the opening years of the eighteenth century to #agfe1 the teapots began to assume round proportions in the body4 ,at a later date they were octagonal4 ,in #aggf they inclined to the ,sheraton style1 and in #aghi to the ,hepplewhite style of design1 both these latter with the straight spout4 ,that the handle was early of ebony is shown in the example illustrated 7p4 #bdg71 with the ,london hall-marks of #agde1 with the gourd-shaped body4 ,there is something about this example which places it in the realm of the posset-pot4 ,its cover is surmounted by a cone ornament4 ,its form1 strikingly apart from modern tea-table niceties1 marks it as a collector's piece4 ,its inscription is of historic interest4 ,a ,kettle and ,stand1 with spirit-lamp1 is of the next year1 #agdf 7illustrated p4 #bea74 ,it is the work of the celebrated ,paul de ,lamerie1 whose genius in working in plate placed him in the leading position among the silver designers of his period4 ,it must be remembered that about this time the potter came into serious competition with the silversmith1 especially in regard to teapots and coffee-pots4 ,he actually did produce1 in the early examples of ,bow and ,worcester and ,coalbrookdale1 teapots in blue and white with the same round body as this tea-kettle4 ,the spout of the potter always presented greater difficulties in technique than did the spout of the silversmith4 ,in early types of porcelain it is in form similar to the two silver examples of teapot and tea-kettle of #agde and #agdf4 ,but the potter could not attain to the flutings and chased ornament of the worker in metal4 ,the silversmith's spout soldered on the body1 has spreading ornament eminently suitable to afford strength at the juncture4 ,illustration3 ,,george ,,ii ,,teapot4 ,,london1 #agde4 ,with pear-shaped body standing on graduated foot1 with finely shaped ebony handle4 ,panel bearing inscription3 8,in token of sincere ,friendship and in ,honour of ,success at the conquest of the ,island of ,cape ,breton1 ,peter ,warren1 ,esqr41 ,rear-,admiral of the ,blue presents this piece of plate to ,sir ,willm4 ,pepperrell1 ,bart41 ,louisbourg1 ,commander to ,his ,majesty's ,forces4 #ag ,june1 #agde40 7,by courtesy of ,messrs4 ,crichton ,brothers47 ,in ,paul de ,lamerie's work there is1 in the graceful convolutions of the handle and the equally delightful curves in the tripod legs1 something essentially proper to his craft4 ,no potter could emulate this work4 ,it would be too capricious in firing1 and if made in porcelain it would be too fragile for use4 ,it is therefore of interest in comparing the potter's work with that of his contemporary the plate-worker to see how in rivalry the masters of the latter craft surpassed the worker in clay by making the full use of their own particular technique4 ,in all possibility the eighteenth century teapots were taken by silver-worker and potter alike from ,chinese porcelain prototypes1 which must have come over in considerable numbers in the trading days of ,john ,company1 as we see that the earliest lantern example of the seventeenth century proceeded from that worthy company1 and there was a great number imported from ,holland4 ,whether this be granted or not1 it may be laid down as a rough rule for guidance that whenever the silver-worker and the potter produced results closely approaching each other in form1 the worker in metal was not availing himself of the best qualities of his art4 ,he may have been following the trammels of fashion1 or he may have been a mediocre worker on a lower plane4 ,that the potter did actually emulate the silversmith can be seen at once in the ,staffordshire silver-lustre teapots1 which followed as far as possible the silver shapes4 ,they were in use in cottages1 and set on the dresser looked very imposing4 ,if the squire's lady had her silver1 or the farmer's wife her ,sheffield plated set1 the cottager had her lustre ware4 ,in the museum at ,etruria are some models carved in pear-wood of urns and bowls which ,josiah ,wedgwood had executed for reproduction in his ware4 ,these remarkable carved wood vessels exhibit a strong similitude to the designs of contemporary silver plate4 ,they illustrate the point that the potter at his highest actually did look with delight on the creations of the silversmith4 ,it was natural that he should do so1 and it was equally natural that the contemplation of them should influence his own art4 ,there is a silver teapot designed by ,john ,flaxman 7,wedgwood's great designer74 ,it is melon-shaped1 silver gilt1 chased with scrolls1 medallions1 and cupids riding on dolphins4 ,it is inscribed3 8,designed by ,john ,flaxman for his esteemed friend and generous patron ,josiah ,wedgwood1 #aghd40 ,the maker's mark is ,i4,b4 under a crown1 and the date letter is for #aghi4 ,illustration3 ,,kettle ,,with ,,stand ,,and ,,spirit ,,lamp4 #agdf4 ,maker1 ,paul de ,lamerie4 7,by courtesy of ,messrs4 ,elkington ,co47 ,the ,coffee-pot ,in regard to the coffee-pot1 there is an example of the date of #afhf1 now on view at the ,london ,museum from the collection of ,mr4 ,h4 ,d4 ,ellis4 ,it will be seen that the coffee-pot was always tall2 it never lessened its height to become possessed of the pear or gourd-shaped or circular body of its rival4 ,it actually influenced the height and form of the teapot and it was not until the end of the first quarter of the eighteenth century that the teapot threw off its similitude to the coffee-pot in regard to height2 and from that date when tea-drinking had become established1 it pursued its own way in design4 ,the chocolate-pot followed in the wake of the coffee-pot and has never departed very materially from its early form4 ,it is always rather smaller than its prototype1 and may be distinguished from the coffee-pot by the handle1 which in the chocolate-pot is not set opposite the spout1 as is the case in the teapot and the coffee-pot1 but is in the middle1 set at right-angles to the spout4 ,it is necessary to examine the customs of the period to arrive at conclusions in regard to silver4 ,in #afig the ,earl of ,bristol notes in his diary the payment 8of a bill in full to ,mr4 ,chambers for tea-kettle and lamp1 weight ninety oz4 eleven dwts41 at six shillings and two pence40 ,these tea-kettles were probably no new thing1 and1 as coffee came first1 were possibly a continuation of similar forms for the decoction of coffee4 ,they were the forerunners of the tea-urns which became popular a century later 7see illustration p4 #cbe74 ,tea and coffee and chocolate1 ale and broth1 and possibly canary1 were all drunk by different classes of the community at the same time4 ,before the introduction of the eighteenth-century teacups--first from ,holland and the ,east and later from our own porcelain factories1 in the first stages without handles--the new beverage1 especially in remote and unfashionable districts1 was drunk from the silver porringers then in use4 ,at the date of the ,tatler the middle classes in the country were still content with milk1 water-porridge1 broth1 ale1 or small beer for breakfast4 ,the family of ,john ,wesley drank small beer at every meal4 ,by the third quarter of the eighteenth century ,jonas ,hanway1 who introduced the umbrella to ,england1 and ,john ,wesley1 both declaimed in vain against the prevalent tea-drinking4 ,just as in earlier days ,london apprentices were to have meat in lieu of salmon1 then plentiful in the ,thames1 so country maids accepting service in ,london stipulated that they were to have tea twice a day4 ,we are indebted to ,catherine of ,braganza1 the ,queen of ,charles ,,ii1 for the introduction of tea4 ,edmund ,waller1 the ,court poet1 who made an oration to the ,puritan ,parliament and saved his neck1 has an 8,ode on ,tea0 eulogizing ,catherine and the herb4 ,by the time of ,queen ,anne tea-drinking had become a fixed habit4 ,bishop ,burnet1 who died in #agae1 drank twenty-five cups in a morning4 ,there was ,dr4 ,johnson at the other end of the century who drank his sixteen cups at a sitting4 ,illustration3 ,,coffee-,,pots4 ,,george ,,iii4 c4 #aggj4 ,,george ,,ii4 c4 #agcj4 ,,george ,,iii4 c4 #agge4 ,illustration3 ,,coffee-,,pots ,,and ,,teapots4 ,,late ,,george ,,iii ,,period4 7,by courtesy of ,messrs4 ,crichton ,brothers47 ,a page of teapots and coffee-pots of varying periods of the eighteenth century shows the styles in vogue 7illustrated p4 #bee74 ,the upper group shows a coffee-pot about #agcj with ebony handle1 and rather smaller than some of the later forms4 ,this may be compared with the ,newcastle coffee-pot1 of #agcg1 showing similar character 7p4 #bdc74 ,this really is the established form of the coffee-pot1 which has lasted to the twentieth century1 in spite of various deflections in style which were only transitory4 ,by the last quarter of the eighteenth century it had become more ornate in character4 ,its decoration was rococo in style1 and it became massive and impressive in size4 ,it will be observed that in the specimen of about #agge1 on the right1 the festoons had become a prominent form of ornament4 ,the handles in both these larger and later types are broken1 with a point on the lower half turning outwards4 ,the ,edinburgh example of #agfi 7illustrated p4 #cba7 shows the same character4 ,an illustration of a fine coffee-pot with the ,london hall-mark for #agda is given as a ,frontispiece to this volume4 ,it was made by ,peter ,archambo1 and bears his initials ,p4,a4 in script in an oval1 broken shield4 ,the lines of this example are of exceptional grace4 ,the proportions of the body are well balanced4 ,the circular foot with its fine gradations adds a lightness to the design4 ,the lid is of fine proportions1 and is terminated by a plain cone ornament giving height to the piece4 ,the handle is of ebony and of pleasing curves4 ,the shaped spout has a terminal ornament of baluster form joined to the body1 which produces an effect at once original and exquisitely harmonious4 ,this example is produced by the kindness of ,messrs4 ,carrington ,co4 ,it belongs to the stormy years of ,george ,,ii and the war of the ,austrian ,succession4 ,frederick of ,prussia had seized the rich province of ,silesia1 as one of the claimants for the dominions of ,maria ,theresa of ,austria4 ,carteret came into power on the fall of ,walpole4 8,what is it to me10 he said1 8who is judge or who is bishop8 ,it is my business to make kings and emperors1 and to maintain the balance of ,europe40 ,in #agdc1 at the ,battle of ,dettingen1 was the last occasion an ,english sovereign was in the field1 until ,his ,majesty ,george ,v broke that precedent by visiting the ,british trenches in ,flanders4 ,the lower group on page #bee belongs to the late ,george ,,iii period4 ,the coffee-pot and teapot on the left belong to the same set4 ,the flat1 spreading knob to the lid is a form of ornament which succeeded the long-established baluster form and continued with variations to modern days1 and is found in cheap ,britannia metal teapots for common use in early nineteenth-century days4 ,the others on the right exhibit novel features4 ,the spreading mouth of the pot surmounted by an overhanging lid is a form which was readily seized by the potter4 ,some of the early ,staffordshire teapots1 notably those by ,wedgwood1 are in this style1 as it was an easy shape for the potter to work4 ,the spout1 apart from its position low down on the body1 is especially a potter's form4 ,the coffee-pot at the top1 in urn form1 with its long foot to give it the requisite height1 is uncommon and did not long survive4 ,the teapot beneath it has a stand1 another innovation adopted by the potter4 ,illustration3 ,,early ,,forms ,,of ,,tea-,,caddy3 ,,square ,,and ,,round4 ,,george ,i4 #agah 7,,exeter74 ,,george ,,ii4 #agcj 7,,london74 ,illustration3 ,,late ,,eighteenth-,,century ,,types3 ,,oval ,,in ,,form4 ,,george ,,iii4 #agge 7,,london74 ,,george ,,iii4 #aghd 7,,london74 ,showing evolution in form culminating in the ,sheraton tea-caddy4 7,by courtesy of ,messrs4 ,elkington ,co47 ,the ,tea-caddy ,the early forms of tea-caddy were square or round4 ,it may be imagined that so precious a beverage had to be stored carefully4 ,hence the receptacles for tea were somewhat luxurious in character4 ,we illustrate a square type representative of the early days of the eighteenth century 7illustrated p4 #bei74 ,this example was made at ,exeter4 ,the ,south ,sea ,bubble was just about to be blown at the formation of the ,south ,sea ,company to take over the national debt4 ,such a specimen is of rarity and is worth about #dj or #ej4 ,the round example adjacent is of ,london make with the hall-marks for #agcj1 in the opening years of ,george ,,ii1 straight from the days when ,sir ,robert ,walpole governed ,england4 ,the late eighteenth-century types were oval in form4 ,the illustration of two examples 7p4 #bei7 shows this style4 ,the left-hand one is in date #agge1 and its fellow has the ,london hall-marks for #aghd4 ,these show very clearly the evolution in form culminating in the satinwood ,sheraton variety tea-caddy so much sought after by collectors4 ,the lines of the silversmith became coincident with the worker in rare woods4 ,they touch at this date4 ,if one takes ,chippendale's ,director or ,sheraton's design books we can see the progress of the cabinet-maker1 first in mahogany and then in satin and other beautifully coloured woods1 in arriving at a casket similar in character to the silver-worker's design4 ,half-way between the early and late eighteenth century styles we illustrate 7p4 #bfc7 a set of ,tea-caddies and a ,sugar-box1 in date #agfj1 showing where the silversmith adhered to the higher plane of his technique1 equally evading the plagiarism of the potter or the cabinet-maker4 ,this set of three vessels is indisputably metal in every inch of their construction4 ,the bases are reminiscent of the floral refinements of the ,charles ,,ii and ,james ,,ii periods4 ,the bowls have a rotundity and exquisite sprightliness in form1 relieved by chasing that defies the woodworker and cannot be imitated by the potter4 ,the knobs appertain so strongly to the metal-worker that they are inimitable4 ,this set1 therefore1 stands as being exceptionally interesting in exhibiting the work of the artist in silver kept on a high level apart from extraneous influences4 ,the later teapot cannot be said to have much to commend it1 if it be with straight spout and of oval or geometric form4 ,oftentimes it is a woodworker's design with additions4 ,the cabinet-maker has not essayed to make a wooden teapot4 ,but the silversmith has completed the hiatus4 ,take the tea-caddy of #aghd 7illustrated p4 #bei71 add a straight metal spout and a handle2 the result is a teapot2 but it can hardly lay claim to being in the first rank of design4 ,it stands with the modern potter's results1 exceptionally fine in their own field--round1 hexagonal1 octagonal1 oval1 square1 or of many other forms1 all suited to his plastic art1 but the silver-worker should stand on a plane apart1 and in the best periods he did4 ,,sale ,,prices ,,coffee-,,pots4 ,queen ,anne coffee-pots realize from #ejs4 to #fjs4 per oz4 ,george ,i coffee-pots about #a per oz41 and ,george ,,ii from #ajs4 to #acs4 per oz4 ,george ,,iii coffee-pots bring from #gs4 to #ajs4 per oz4 and ,george ,,iv and ,william ,,iv about #es4 or #fs4 per oz4 ,illustration3 ,,pair ,,of ,,george ,,ii ,,tea-,,caddies ,,and ,,sugar-,,box4 ,,london1 #agfj4 7,by courtesy of ,messrs4 ,elkington ,co47 ,,teapots4 ,all teapots before ,george ,i are rare1 and bring large prices4 ,queen ,anne teapots bring #e to #aj per oz41 and specimens sell for #ej to #hj4 ,on the other hand ,george ,,ii teapots are sold from #aes4 to #djs4 per oz42 ,george ,,ii and ,george ,,iv examples sell for #ajs4 to #aes4 per oz4 ,,tea-,,kettles4 ,queen ,anne1 with stand and lamp 7#agji71 by ,n4 ,locke1 sold in #aiji for #bjjs4 per oz41 #bdc4 ,george ,i1 with stand and spirit-lamp 7#agae71 #acjs4 per oz41 #aeh4 ,george ,,ii1 with stand and spirit-lamp 7#agch71 #chs4 per oz41 #ajc4 ,,tea-,,caddies4 ,queen ,anne1 octagonal 7#agaj71 #ges4 per oz41 #bg4 ,caddies 7#b7 by ,paul de ,lamerie 7#agdg71 #afjs4 per oz41 #bdc4 ,george ,,iii1 oblong 7#agfj71 #cjs4 per oz41 #ab4 ,,ix ,,the ,,caster ,,the ,,centre-,,piece ,,the ,,sugar-,,bowl ,,the ,,cream-,,pail ,,the ,,cake-,,basket ,illustration3 ,,casters4 #agab 7,,queen ,,anne74 ,maker1 ,ti4 7,see marks above47 #agja 7,,william ,,iii74 ,maker1 ,christopher ,canner4 7,see marks above47 7,by courtesy of ,messrs4 ,elkington ,co47 ,,chapter ,,ix ,,the ,,caster1 ,,the ,,centre-,,piece1 ,,the ,,sugar-,,bowl1 ,,the ,,cream-,,pail1 ,,and ,,the ,,cake-,,basket ,the ,queen ,anne and ,early ,georgian ,caster--,its evolution in form--,the eighteenth-century ,centre-piece--,the ,sugar-bowl--,classic influence--,late eighteenth-century silver bowls with glass liners--,the ,cream-pail--,the ,cake-basket--,pierced and interlaced work--,the eighteenth-century potter4 ,the classes referred to in this chapter embrace the most delightful of the eighteenth-century silver plate1 and appeal intimately to the decorative instincts of the collector4 ,the pieces range from the utilitarian caster capable of varied ornament1 to the elaborate table centre1 an object of exquisite grace and capable of rising to perfection in the hands of an accomplished craftsman4 ,pierced work of great delicacy was a feature of the eighteenth-century decoration4 ,as with furniture1 the silver in the middle of the century began to grow complex in its character1 in keeping with the growth of luxury4 ,the century which began with the sober furniture and homely interiors of ,queen ,anne1 closed with the magnificence of ,chippendale and the subtleties of ,sheraton4 ,the ,caster ,the caster can be traced in an unbroken line as an article of table use from the end of the seventeenth century to the present day4 ,even with so simple an object1 apparently incapable of much variation in form1 it is interesting to note the successive stages of fashion and the different phases of its history4 ,at first it was of lesser height4 ,the examples illustrated on pages #bfi and #bgg show this4 ,the straight cylindrical form1 illustrated on page #bfi1 similar to that made by ,christopher ,canner1 appears to have been the earliest type1 and this lasted from about #afhj for a quarter of a century4 ,there is a set of three ,charles ,,ii casters of this style made by ,anthony ,nelme in #afhd4 ,there is also a simple form about the opening of the eighteenth century with plain round top4 ,a fine ,irish example1 made by ,george ,lyng1 and marked with the ,dublin hall-marks for #afii 7illustrated p4 #cca71 shows a more ornate character not infrequent in ,irish silver4 ,the ,irish silversmith was often ahead of his ,english contemporaries4 ,by #agab the ,queen ,anne caster was becoming taller and the body retained the band found in the straight cylindrical form4 ,the cover offered a field for delightful and varied patterns in pierced work4 ,there is a charm about these individual patterns which is irresistible to the collector4 ,the cover is surmounted by a baluster knob which it retained throughout the successive changes in the body4 ,these ornaments are delicately symmetrical1 and in one instance coming under the writer's observations the knob was a miniature of the caster it crowned4 ,the marks on casters are placed at the top of the neck near the cover4 ,illustration3 ,,george ,,ii ,,caster4 ,,exeter1 #agbh4 ,maker1 ,richard ,freeman4 7,in possession of ,messrs4 ,j4 ,ellett ,lake ,son1 ,exeter47 ,in #agcj1 at the ,court of ,wardens at the ,london ,assay ,office1 it was laid down that the marks be struck as far distant from each other as possible1 so that the series of marks could not be cut out in one piece and soldered into another piece4 ,it had been found that it was 8an antient practice among evil-disposed goldsmiths0 of converting new plate into old by this means4 ,variations in the body took place2 sometimes the band around took an octagonal form and the concave body above and the convex body below followed this geometric form in their curve4 ,there is an example of this type with the hall-marks for ,london for #agaf1 and the maker's mark ,a4 ,d4 in shield1 wrought by ,charles ,adam4 ,this is among the ,chester ,corporation plate4 ,the ,george ,,ii sugar caster with the ,exeter hall-marks for #agbh1 made by ,richard ,freeman1 is unique4 ,its beautifully shaped body is exquisitely suited to the technique of the metal-worker4 ,the plain band at base and the graduated foot carry out the symmetrical form1 and help to give effect to the cover with its delightful pierced ornament4 ,it will be observed that this pierced design is exactly in keeping with the reticence of the rest of the piece1 and the baluster knob1 almost acorn-like in form1 completes a very fine piece of craftsmanship4 ,the progress in form from the days of ,george ,,ii to the end of the century is shown in the group illustrated on page #bgg4 ,these casters1 as will be noticed1 are all circular in body1 and do not include geometric forms4 ,the ,george ,,ii example 7#agdg7 was the fixed type from ,george ,i to the early years of ,george ,,iii4 ,a ,scottish example of a sugar caster 7illustrated p4 #cag71 having the ,edinburgh hall-marks for #agdf1 shows this established form4 ,at the latter end of the reign of ,george ,,ii and in the early years of ,george ,,iii1 from #agfj1 it is noticeable that the body swells in bulbous form1 increasing in height from the foot4 ,the next example 7#agga7 shows the new top1 pear-shaped2 the swelling lower part of the body is still pronounced and the foot is taller1 as in the cream-jugs of the period4 ,in both these ,george ,,iii examples the cover is surmounted by a pine-cone knob4 ,illustration3 ,,casters4 ,,william ,,iii4 #agja4 ,,george ,,ii4 #agdg4 ,,george ,,iii4 #agfj4 ,,george ,,iii4 #agga4 #a4 ,the plain form with circular top4 #b4 ,the fixed type from ,george ,i to early ,george ,,iii4 #c4 ,the swelling body increasing in height from foot2 the pine-cone top4 #d4 ,the new pear-shaped top4 ,the swelling lower part of body leaving foot as in cream-jugs of the same period4 7,by courtesy of ,messrs4 ,elkington ,co47 ,illustration3 ,,early ,,george ,,iii ,,centrepiece #agfa4 ,height1 highest part1 #ad_/ in4 ,diameter #bj_/ in4 ,illustration3 ,,early ,,george ,,iii ,,centrepiece4 c4 #agge4 ,maker's mark1 ,t4,f4 7,by courtesy of ,messrs4 ,crichton ,brothers47 ,the ,centre-piece ,the caster never attempted to be other than reticent4 ,it was like a poor relation at the table in company with the magnificence of the centre-piece4 ,the pierced work in subdued ornament pales before the elaboration in such a centre-piece as that illustrated on page #bgi1 with the ,london hall-marks for #agfa4 ,the basket is of elaborate and graceful form1 and the eight branching candlesticks mark it as a sumptuous specimen4 ,the feet are elaborate and in rococo style4 ,it belongs to the early years of ,george ,,iii1 of ,garrick1 of ,macklin1 and of ,foote4 ,it was contemporary with the enormous head-dresses1 the subject of so many caricatures1 which followed the indecorous hoop-petticoats of the dissolute days of ,george ,,ii4 ,paste and plaster and powder raised these head ornaments to a superstructure representing chariots1 and a fureur des cabriolets1 related by ,horace ,walpole4 ,men had them painted on their waistcoats1 and women stuck a one-horse post-chaise on the top of their elaborate head-dress1 which said head-dress was not changed for some weeks4 ,medical men of the day speak of this in terms which we will not introduce here4 ,sir ,joshua ,reynolds had commenced to paint his immortal portraits1 ,handel had found congenial soil under the ,house of ,hanover to settle here1 providing satirists with subjects as to his gluttonous habits1 and producing music that has become ,english to those who like oratorio4 ,thomas ,chippendale had published his ,director in #aged1 with its wonderful designs2 and ,robert ,adam1 in #ageh1 had put his screen and gateway across the ,admiralty in ,whitehall1 and was translating dull ,london streets into classic style4 ,these were the nights at the 8,turk's ,head0 with ,dr4 ,johnson1 the supporter of the ,royal ,house1 the upholder of purity and piety in an impure and irreligious age1 ,burke with his flashing conversation1 and ,goldsmith and ,david ,garrick1 and a circle of men who counted for more than the macaronis and the fops of ,pall ,mall and ,st4 ,james's ,street4 ,wealth was pouring into the country from ,india1 and with it came rapidly acquired habits of luxury--habits that quickly reflected themselves in the furniture and domestic appurtenances4 ,this silver centre-piece of #agfa1 therefore1 tells the story of these days of the eighteenth century1 8remarkable for the great industrial revolution1 which gradually transformed ,england from an agricultural to a manufacturing country1 depending for food supplies on foreign countries40 ,a second examination of the silver centre-piece1 #agfa1 with the above notes in view1 at once discloses its character--out of ,france and of ,italy1 with here a touch and there a touch from continental styles4 ,if trivial toys such as the pantin1 a pasteboard figure on strings1 could take the town by storm1 the craftsman in metal1 with fashions streaming from over the ,channel1 could not and did not hold aloof4 ,traditional features linger or become rejuvenated1 such as the sconces of the candlesticks which revert to the leaflike form of those of ,charles ,,ii4 ,the basket with interlaced work stands parallel with the similar work in porcelain from the ,meissen factory with raised flowers at each intersection1 just as in this silver centre-piece1 and the old ,saxon factory made this type of vase and basket as early as #agdj in the 8,krinolinengrappen0 period4 ,but the feet might have come straight out of ,chippendale's ,director1 with their curves and shoulders and peculiar style4 ,if ,chippendale borrowed wisely from the cabinet-maker of ,france1 the ,english silversmiths1 many with ,french blood in their veins1 found in ,french design something too alluring to ignore4 ,illustration3 ,,sugar ,,bowl4 ,with ,london hall-marks1 #aggc4 ,made by ,s4 ,j4 ,crespell4 7,marks illustrated p4 #cgg47 7,at ,victoria and ,albert ,museum47 ,illustration3 ,,sugar ,,bowl ,,and ,,cream-,,pails4 ,pierced sheet silver with blue glass liners4 ,,london1 #aghb4 ,,london1 #aghf4 ,,london1 #aggf4 7,at ,victoria and ,albert ,museum47 ,take another centre-piece1 about #agge in date 7illustrated p4 #bgi74 ,here are features equally interesting4 ,the rococo form has become subdued4 ,there are still branching curves1 and plain baskets with interlaced work take the place of the floriated style candle-holders4 ,the festoons with medallions indicate the classic style then in vogue4 ,in this centre-piece the classic style is seen in combination with1 almost in opposition to1 the moribund rococo style4 ,these may be compared with an earlier ,irish centre-piece1 #agdj in date 7illustrated p4 #cce74 ,the ,sugar-bowl ,in the specimen illustrated 7p4 #bhc7 the classic style is seen at its best4 ,the body is decorated with festoons1 rosettes1 and the rim and foot have a plain bead ornament4 ,the handles are snakes with the head terminating at the rim of the bowl4 ,it suggests that it might be a bowl of sculapius rather than a homely sugar-bowl4 ,pompeii and ,rome1 translated through the brain of ,sir ,william ,hamilton1 the ,brothers ,adam1 and the metal-worker of the ,louis ,seize period1 have each contributed to this composite style4 ,it is not of the purity of form of silver vessels found in the tombs4 ,it merely borrows ornament from classic originals2 it is like ,sir ,bulwer ,lytton's translation of ,horace1 rather more ,sir ,bulwer than ,horatius ,flaccus4 ,in date this is #aggc and was made by ,s4 and ,j4 ,crespell4 ,it belongs to the same period as the ,sheffield silver candlestick illustrated on page #bce4 ,there is another sugar-bowl 7illustrated p4 #bhe71 with the ,london hall-marks for #aghf1 showing the style ,louis ,seize l',anglaise which came into ,english cabinet design after #agic1 when ,sheraton published his book of designs4 ,this is an exceptionally dainty piece of work4 ,the classic influence is still to be observed1 but changed into something more sprightly1 savouring of the boudoir of ,marie ,antoinette1 and the metal-work on tables and lock escutcheons in the ,petit ,trianon4 ,it is especially a silversmith's piece4 ,it is a beautiful metal framework for a blue glass liner4 ,the ,cream-pail ,taller vessels with a handle are usually termed cream-pails1 though some collectors believe they were used for sugar4 ,as they are of cut work they must have been used with a glass liner4 ,they present some beautiful forms still clinging to classic ornamentation in combination with whatever new forms the craftsman could invent in conjunction with a severe style4 ,the two illustrated 7p4 #bhe7 show slightly differing intentions4 ,the first on the right1 with the ,london hall-marks for #aggf1 with its undulating top is in keeping with the wavy rims of the salt cellars of the same period1 of ,french influence4 ,the festoon of drapery with rosettes is in classic style and the foot and lower body has the traditional acanthus-leaf decoration4 ,the handle and broad cut pattern ornamenting the body may be compared with the ,irish example 7illustrated p4 #cdc71 made in #aggj4 ,illustration3 ,,bread-,,baskets ,,with ,,handles4 ,,london1 #agde-agge4 ,wire and sheet silver with cast and chased ornament4 7,by courtesy of ,messrs4 ,crichton ,brothers47 ,the other example on the same page 7p4 #bhe7 is in date #aghb1 the year when1 after three years' siege of ,gibraltar1 the ,french and ,spanish made a supreme effort by sea and land to win the key of the ,mediterranean1 but were beaten with heavy loss by ,general ,eliot4 ,the festoons and the vase in panel are now in incised decoration and are subservient4 ,the style begins to break away from traditional severities and establish something original and as reticent as the classical forms without being so coldly formal and unnational4 ,illustration3 ,,cake-,,basket4 #agfa4 ,maker1 ,edward ,romer4 7,in possession of ,messrs4 ,garrard ,co47 ,illustration3 ,,wedgwood ,,cream-,,ware ,,basket4 7,in collection of author47 ,the ,bread-basket ,the last half of the eighteenth century saw the growth and development of pierced sheet silver with its varied styles1 and concomitant with the sheet work there are examples exhibiting a fine perfection in wire work4 ,pierced bread- or cake-baskets with cable band are features of this period4 ,the pierced mustard-pot1 decanter stand1 and other similar articles were common4 ,oval pierced baskets were introduced1 with handles1 in the reign of ,george ,,ii 7#agbg-fj74 ,originally they were possibly for bread only4 ,some collectors determine this by the pattern on some of them of wheat-ears 7see example illustrated p4 #bhi74 ,by the time of ,george ,,iii they were elaborately pierced and chased and massive1 and had feet4 ,in other examples about the middle of the century they had no feet1 and were more basket-like in form4 ,there was an example in the ,dunn-,gardner collection of a bread-basket in imitation of wicker basket-work4 ,this bears the ,london hall-marks for the year #agcc and the maker's initials ,p4 ,l41 a crown and star above1 and a fleur-de-lis below1 for ,paul de ,lamerie1 the maker4 ,the page of four examples 7p4 #bhi7 illustrates the types prevalent from #agde to #agge4 ,the top left-hand specimen is of wire work ornamented by wheat-ears4 ,a plain cake-basket with the ,london mark for #agfa1 the first year of the reign of ,george ,,iii1 is illustrated 7p4 #bia72 the maker is ,edward ,romer4 ,below this is shown a contemporary ,wedgwood cream-ware basket in imitation of wicker-ware4 ,here the technique of the silversmith and the potter may be compared4 ,the ,eighteenth-century ,potter ,in connexion with pierced and interlaced work the potter did attempt to run side by side with the worker in silver plate4 ,the two ,wedgwood pieces 7illustrated p4 #bie7 show this parallel4 ,the upper one is a chestnut basket and cover4 ,while adhering in a measure to the strict technique of the worker in clay--and here be it said it comes near to the fine reticulated work of some of the highest ,chinese porcelain--it1 at the same time1 approaches the contemporary refinements in perforated sheet metal executed by the silversmith4 ,the lower example is even more remarkable2 it is a ,wedgwood cream-ware fruit-basket and cover4 ,this centre-piece1 though not emulating the grandiose proportions and elaborate branches of the silver centre-pieces such as we have seen1 accomplishes what was apparently impossible1 the manipulation of plastic clay as though it were silver wire4 ,the result is delightful and surprising4 ,in regard to the elaboration of this cut-and-drawn work1 the ,leeds potters who followed ,josiah ,wedgwood's style produced tall centre-pieces in cream-ware with branches having baskets and trays4 ,it is an undoubted proof that imitation is the sincerest form of flattery4 ,illustration3 ,,wedgwood ,,cream-,,ware ,,perforated ,,chestnut-,,bowl4 ,late eighteenth century4 ,illustration3 ,,wedgwood ,,cream-,,ware ,,perforated ,,dessert-,,basket4 ,late eighteenth century4 ,,the ,,potter ,,and ,,the ,,silversmith4 ,,sale ,,prices ,,casters4 ,ordinary ,queen ,anne examples bring #ejs4 to #fjs4 per oz42 ,george ,i and ,george ,,ii1 #bes4 to #ces4 per oz42 ,george ,,iii and ,george ,,iv1 #ahs4 to #bjs4 per oz4 ,later specimens only fetch #es4 to #abs4 per oz4 ,rare and earlier examples bring higher prices1 e4g43 ,william and ,mary 7#agja71 #bbes4 per oz4 #aab ,queen ,anne 7#b71 7#agac71 #aaes4 per oz4 #gb ,,sugar-,,bowls4 ,the average prices are roughly as follows3 ,george ,i1 #fjs4 to #hjs4 per oz42 ,george ,,ii1 #bjs4 to #ejs4 per oz42 ,george ,,iii1 #hs4 to #ejs4 per oz4 7varying from engraved and fluted to pierced and applied ornament72 ,george ,,iv1 #gs4 7fluted7 to #ces4 per oz4 7pierced and applied ornament72 ,william ,,iv1 #fs4 to #bjs4 per oz4 ,exceptional pieces of course bring exceptional prices4 ,a sugar-basket of #agbe1 by ,paul ,lamerie1 sold in #aiji for #aac1 at #aies4 per oz4 ,a set of three ,george ,,iii 7#agfc7 sugar vases and covers were sold at the ,ashburnham ,sale in ,march #aiad1 for #bad1 at #aces4 per oz4 ,x ,,the ,,cream-,,jug ,illustration3 ,,george ,,ii ,,helmet-,,shaped ,,jug4 ,,london1 #agcf4 ,maker1 ,paul de ,lamerie4 7,by courtesy of ,messrs4 ,crichton ,brothers47 ,,chapter ,x ,,the ,,cream-,,jug ,the eighteenth-century tea-table and its accessories--,the beauty of the cream-jug--,its evolution in form during a century4 8,i must further advise you1 ,harriet10 says a lady in the ,fool of ,quality1 in admonishing her daughter1 8not to heap such mountains of sugar into your tea1 nor to pour such a deluge of cream in2 people will certainly take you for the daughter of a dairymaid4 ,there is young ,fanny ,quirp1 who is a lady by birth1 and she has brought herself to the perfection of never suffering the tincture of her tea to be spoilt by whitening1 nor the flavour to be adulterated by a grain of sweet40 ,this was published from #agff to #aggj and indicates that a set of rules for observance was afoot in a time when etiquette was formal4 ,but if cream was neglected by some precisians1 the cream-jug bears evidence that in many circles it was a welcome and possibly very necessary addition to the strong green tea then drunk4 ,it was etiquette to place the spoon in the cup to show the hostess that no more tea was required4 ,it was the custom at ,scottish tea-tables and possibly elsewhere to have numbered spoons4 ,the guests did not ask for a second cup until all the other guests had finished the first4 ,hence the cups were passed up to the hostess and the spoons numbered to ensure that each got his own again4 ,sir ,alexander ,boswell in his poem 8,edinburgh0 writes3 ,the red stone teapot with its silver spout1 ,the teaspoons numbered and the tea filled out2 ,though patience fails1 and though with thirst he burns1 ,all1 all must wait till the last cup returns4 ,the silver strainer had apparently become obsolete in ,sir ,walter ,scott's day1 for he writes in ,st4 ,ronan's ,well3 8,a silver strainer1 in which in times more economical than our own1 the lady of the house placed the tea-leaves after the very last drop had been exhausted1 that they might hospitably be divided among the company to be eaten with bread and butter40 ,the ,scots are a hardy race4 ,in lieu of the strainer a long-handled spoon with pierced bowl was used to thrust down the spout1 as sometimes the tea refused to pour out4 ,etiquette forbade the hostess to blow down the spout4 ,the beauty and variety of the cream-jugs may be traced for a whole century4 ,one of the earliest examples 7illustrated p4 #cja7 shows a fine helmet-shaped jug1 having the ,london hall-marks for the year #agcf1 and the mark of ,paul de ,lamerie the maker1 renowned for his superlative work4 ,the handle is original in conception and has a grotesque head as a terminal4 ,the ornament is elaborate and representative of the best types of the ,george ,,ii era4 ,a cream-jug of about #agdj1 made in ,dublin by ,john ,hamilton 7illustrated p4 #cci7 may be compared with the above example4 ,the helmet form with the undulating rim is common to both specimens1 but the treatment differs in character4 ,the ,irish example has three feet and possesses beauties peculiarly its own4 ,illustration3 ,,cream-,,jugs4 ,,george ,i4 #agbf4 ,,george ,,iii4 #agfd4 ,evolution from rotund form of early eighteenth century to slender shapes4 ,the handle becomes broken in its curves4 ,three feet are in frequent use4 ,the lip pointed and elongated4 7,see ,irish cream-jugs1 p4 #cci47 ,illustration3 ,,cream-,,jugs4 ,,george ,,iii4 #aggi4 ,,george ,,iii4 #aghj4 ,the single foot varying in length and the body becoming elongated4 ,compare with casters of same period as to elongation from foot4 7,by courtesy of ,messrs4 ,elkington ,co47 ,that early eighteenth-century examples were not always highly ornate is shown by the cream-jug with ,london hall-marks for #agbf4 ,this represents the transitional stage between the simple character of the ,queen ,anne styles and the elaboration found in those of the reign of ,george ,,iii4 ,the series of cream-jugs illustrated 7p4 #cje7 shows the evolution in form from the ,queen ,anne rotundity to more slender examples2 the handle becomes broken in its curves and three feet are in frequent use4 ,the lip is pointed and elongated4 ,this latter style lasted from about #agdj to about #agfe 7see a fine ,irish example of this type illustrated1 p4 #cci74 ,this specimen is in date #agfd4 ,illustrated on page #cje are two typical examples of the last quarter of the eighteenth century4 ,it will be observed that the three feet have in #aggi disappeared4 ,the single foot is now fashionable and varies in height4 ,the body becomes elongated4 ,the handles still retain the older mid-century forms1 with slight variations4 ,the tendency to increased height in the cream-jugs at this date may be compared with the casters illustrated in ,chapter ,,ix4 ,a selection of late ,george ,,iii cream-jugs 7illustrated p4 #cji7 shows the classic tendency at the closing years of the eighteenth century and the first decade of the nineteenth century4 ,the example1 in date #agij1 is tall and has a foot terminating in a square base1 like a classic vase4 ,the adjacent example1 ten years later1 is a reversion to the potter's form with flat bottom4 ,the flat-topped handle is a reminiscence of the classic urn4 ,the evolution in form1 as is seen1 is steadily towards the fuller body4 ,the examples shown on the same page1 in date #ahjd and #ahji1 indicate new tendencies4 ,it is merely the swing of the pendulum of fashion4 ,in the first example the foot is beginning to appear in the form of a narrow rim at the base4 ,the handle in the last specimen returns to the severe classic circular shape4 ,,sale ,,prices ,,cream ,,jugs ,the prices of these vary according to the style of ornament1 chasing1 and general character4 ,queen ,anne plain examples have brought as much as #abes4 per oz41 realizing #be4 ,early eighteenth-century specimens bring as a rule from #fjs4 to #ajjs4 per oz4 ,later eighteenth-century drop considerably in value1 from #djs4 to #fjs4 per oz4 ,a ,george ,,iv cream-jug1 made by ,paul ,storr in #ahbj1 sold for #cfs4 per oz4 and realized #ag4 ,illustration3 ,,late ,,eighteenth-,,century ,,cream-,,jugs4 ,,george ,,iii4 #agij4 ,,george ,,iii4 #ahjj4 ,the beginning of classic type4 ,foot frequently following classic vase form4 ,the reversion to the potter's style with flat bottom4 ,illustration3 ,,late ,,eighteenth-,,century ,,cream-,,jugs4 ,,george ,,iii4 #ahjd4 ,,george ,,iii4 #ahji4 ,the evolution towards the fuller body4 ,the reappearance of foot as a narrow rim at base4 ,the handle assuming its former circular shape4 7,by courtesy of ,messrs4 ,elkington ,co47 ,,xi ,,scottish ,,silver ,illustration3 ,,scottish ,,quaich4 ,,edinburgh1 #agje4 ,maker1 ,robert ,inglis4 7,marks illustrated p4 #dje47 7,in possession of ,messrs4 ,garrard ,co47 ,illustration3 ,,mug4 ,,edinburgh1 #agij4 7,chasing added later47 ,assay ,master1 ,archibald ,ure4 ,maker1 ,joseph ,kerr4 ,marked ,a ,u1 ,i ,k1 and date letter ,k4 7,at ,royal ,scottish ,museum1 ,edinburgh47 ,,chapter ,,xi ,,scottish ,,silver ,the ancient history of the silversmiths' craft in ,scotland--,peculiarities in marking--,the standard mark of the ,thistle introduced in #agei 7,edinburgh71 the ,lion rampant 7,glasgow7 in #ahai4 ,the study of ,scottish silver is a special one4 ,its manufacture and the statutes governing the goldsmiths and silversmiths extend back to the fifteenth century4 ,the chief centres of marking and assaying were primarily ,edinburgh and latterly ,glasgow in addition4 ,but it is remarkable how many towns and burghs assayed silver4 ,in comparison with ,england the manufacture of silver plate seems to have covered a wider area in ,scotland4 ,examples are extant showing that ,dundee assayed silver as early as the seventeenth century1 with the town mark of the two-handled pot with lilies1 and the same mark was used in the late nineteenth century4 ,perth had its lamb and the flag1 emblem of ,st4 ,john4 ,aberdeen had the letters ,,abd2 ,elgin had ,,eln2 ,banff had ,,ba2 and ,inverness had ,,ins1 or its mark of a camel4 ,this is enough1 meagre though it be1 to indicate that the identification of ,scottish silver requires no little close study into the records covering an intricate field1 and many marks unattributed to any special place are believed to be ,scottish in origin4 ,of the ,scottish silver-plate1 illustrated in this chapter1 it may be said that1 whenever possible1 details are given of the peculiarities of marking to enable the student to familiarize himself with the differences in comparison with ,english silver4 ,the assay master's initials1 the maker's initials1 and the date letter are an array of letters possibly puzzling to the beginner4 ,the quaich 7illustrated p4 #cac7 was made at ,edinburgh in #agje4 ,the maker was ,robert ,inglis1 and the assay master1 ,james ,penman4 ,the marks are illustrated p4 #dje4 ,these old vessels were used for drinking spirits1 and the two handles denote that1 like the ,english loving-cup1 they were passed around4 ,they are not used over this side of the border4 ,they are sometimes made of hard dark wood1 and possibly their origin may be traced to ,scandinavian forms4 ,the ,dutch have similar vessels4 ,in the ,willet-,holthuysen ,museum at ,amsterdam there is a silver brandy- or loving-cup with ears in form like the ,scottish quaich or quaigh4 ,this is of the first half of the seventeenth century4 ,it measures #i centimetres in height by #aa centimetres in width4 ,the side of the cup is divided into six embossed parts1 each encircling an engraved medallion of four symbolic figures--,faith1 ,justice1 ,science1 and ,labour4 ,all these are surrounded by medallions in ,renaissance style3 the well-known conventional dragons1 garlands of flowers1 and cherubs' heads4 ,the handles are also ornamented4 8,it is a truly ,dutch sweetly pretty little thing10 says ,frans ,coenen1 the curator1 the author of a brochure on the collection1 8and seems to have been made on purpose to be held by a strong1 powerful fist at the festive board4 ,and festive boards were of frequency in the days of the ,great ,republic1 when the merry cup went round with snapdragon1 or even brandy pure and undiluted1 as a kind of ,english loving-cup4 ,and the ladies partook as well as the gentlemen4 ,neither did they refuse the weed which cheers but not inebriates40 ,the author laments that this form has disappeared from use in ,holland4 8,in course of time10 he says1 8bitters and gin took the place of brandy1 and the pretty vessel degenerated into a characterless bottle or jug1 which in its turn was replaced by the teapot40 ,illustration3 ,,sugar-,,caster4 ,,edinburgh1 #agdf4 ,marked with ,maker's mark1 ,e ,o1 and ,assay ,master's initials ,h ,g 7,hugh ,gordon71 castle1 and date ,letter ,r4 7,at ,royal ,scottish ,museum1 ,edinburgh47 ,the quaich illustrated1 in date #agje1 exhibits the purity of design of the early years of the eighteenth century4 ,it belongs to the year prior to the appointment of a commission to arrange the terms of union between ,england and ,scotland4 ,in #agjg this was legally effected4 ,the ,united ,kingdom was to be called ,great ,britain4 ,there was to be one ,parliament for the ,united ,kingdom1 in which ,scotland was to be represented by forty-five members in the ,commons and sixteen peers in the ,upper ,house4 ,the ,union ,jack was to be the flag of ,great ,britain4 ,the cup with the flat handle1 or 8lug0 as it is termed in ,scotland1 level with the brim1 was sometimes of more ornamental form1 with six spheroidal sides1 and the handles were chased4 ,there is also the 8bleeding-cup0 used by barber-surgeons so freely in the late seventeenth and eighteenth century4 ,there is a specimen of this class of silver vessel1 diminutive in character1 at the ,victoria and ,albert ,museum4 ,the marks for the year #afih are taken from this bowl 7see p4 #cgc74 ,a quaich made by ,thomas ,moncur at ,glasgow in #affe sold in #aiji for #djh1 at #efjs4 per oz4 ,on the same page as the quaich is illustrated a mug1 in date #agij4 ,it is the other end of the century from the simple quaich4 ,it marks the beginning of decadent styles2 the overloaded ornament1 the want of subtle suggestiveness in the design1 shows that the nineteenth century was at hand4 ,it has an interest as being contemporary with ,robert ,burns4 ,tam ,o',shanter was written in this year4 ,to this year belongs ,burke's ,reflections on the ,french ,revolution1 which work had a great influence in turning ,english opinion against the revolutionists4 ,many replies were published to refute ,burke1 the most important being the ,rights of ,man by ,thomas ,paine4 ,the sugar-caster 7illustrated p4 #cag7 belongs to the ,george ,,ii epoch of silver4 ,evidently the rich and varied styles extended to ,scotland4 ,the same impulses influenced both nations before the union2 in date this is #agdf4 ,this is marked with the maker's initials1 ,e4 ,o41 and the assay master's initials1 ,h4 ,g4 7,hugh ,gordon72 there is1 in addition1 the mark of the castle and the date letter ,r4 ,the baluster ornament is in almost acorn form4 ,the top with its perforated design is always a pleasing feature in casters4 ,the floriated ornament in this example is of fine character4 ,illustration3 ,,early ,,george ,,iii ,,coffee-,,pot4 ,,edinburgh1 #agfi4 ,height #ab_/ in4 ,maker ,patrick ,robertson4 7,marks illustrated p4 #dje47 7,at ,royal ,scottish ,museum1 ,edinburgh47 ,the year #agdf is a notable one in ,scottish history4 ,in #agde the ,young ,pretender1 ,charles ,edward ,stuart1 dear to memory in ,scotland1 landed4 8,charlie is my darlin'0 was a forbidden tune at ,balmoral as late as the reign of ,victoria4 ,the entry of the ,prince into ,edinburgh in #agde resulted in the defeat of ,sir ,john ,cope1 and the victorious army invaded ,england and reached ,derby4 ,the year #agdf saw the ,battle of ,culloden and the defeat of the ,pretender4 ,here is a caster of these romantic days1 days that find expression in various romances--romances that are true to the life4 ,simon ,fraser1 ,lord ,lovat1 was beheaded on ,tower ,hill for his duplicity4 ,many great ,scottish families tried to sit on both sides of the fence4 ,one son went to the ,hanoverian forces and the other to the ,stuart invader4 ,robert ,louis ,stevenson's ,master of ,ballantrae shows the poignancy of the situation4 ,but ,england held aloof in #agde4 ,in #agae1 when the elder ,pretender essayed to claim his own1 ,england was lukewarm1 but in #agde the ,house of ,hanover had become deeply rooted and no leniency was shown to the invaders4 ,the ,edinburgh coffee-pot 7illustrated p4 #cba71 in date #agfi1 is a delightful piece4 ,it was made by ,patrick ,robertson2 the marks are illustrated p4 #dje4 ,this was in the early ,george ,,iii period4 ,in this year was published the first of the 8,letters of ,junius10 an acrid attack on the ,government in the ,public ,advertiser on behalf of ,john ,wilkes1 the demagogue4 ,this year saw the birth of ,english ,radicalism4 ,wilkes was elected as member for ,middlesex for the fourth time1 but ,parliament declared his opponent1 ,colonel ,luttrell1 at the bottom of the poll1 to be elected4 ,the meaning of the motto 8,wilkes and ,liberty0 is thus understood4 ,this coffee-pot of those days claims recognition by reason of its beauty of form4 ,the spout with dragon head is graceful and original4 ,the handle1 in ebony1 follows the broken curves of the period1 the cone-top and the somewhat elongated foot and narrow base to the body proclaim the contemporary style4 ,the tea-urn of #aggh 7illustrated p4 #cbe71 also made by ,patrick ,robertson1 is marked with the castle of ,edinburgh1 the ,thistle standard mark1 the date letter ,z1 and the maker's initials ,p4 ,r4 ,it is a beautiful piece in classic style1 with fluted oviform body2 it is decorated at summit and base with acanthus ornament4 ,it has flat scroll handles with delicate beaded ornament4 ,on tall fluted foot with bold spreading terminals1 it stands on square base decorated with classic chasing4 ,it is as classic as ,princes ,street1 ,edinburgh4 ,it is delightfully ,scottish1 and represents the northern ,athens as exemplified in the minor art of the silversmith4 ,it is just prior to the days of ,sir ,walter ,scott1 the 8,wizard of the ,north10 who has charmed ,scot and southron alike by his magic spell4 ,illustration3 ,,tea-,,urn4 ,,edinburgh1 #aggh4 ,maker1 ,patrick ,robertson4 ,marked with castle1 ,p ,r1 thistle1 and date letter ,z4 7,at ,royal ,scottish ,museum1 ,edinburgh47 ,this is a very meagre exposition of the art of the silversmith in ,scotland1 but space does not permit of further details in a volume of this size4 ,in the examination of ,scottish silver one is confronted with so much that is excellent4 ,the subject is like ,scottish poetry2 one turns to the anthology of ,sir ,george ,douglas and one finds a race of nightingales4 ,,xii ,,irish ,,silver ,illustration3 ,,caster4 ,,dublin1 #afii4 ,maker1 ,george ,lyng4 7,marks illustrated p4 #dji47 ,illustration3 ,,loving-,,cup1 ,,with ,,harp ,,handles4 ,,cork1 c4 #afid4 ,maker1 ,robert ,goble4 7,marks illustrated p4 #dji47 7,by courtesy of ,messrs4 ,harris ,sinclair1 ,dublin47 ,,chapter ,,xii ,,irish ,,silver ,the ancient art of the silversmith--,the seventeenth century--,the inventiveness and originality of the ,irish craftsman--,eighteenth-century marks--,the figure of ,hibernia--,the ,harp and ,crown--,the ,potato or ,dish ,ring4 ,there is no doubt that the art of the goldsmith and silversmith was practised at a very early period in ,ireland1 as the various ornaments discovered in excavation clearly prove4 ,there is something characteristic in this early ,irish metal work1 as especially noteworthy in its ripe and accomplished art as is the illumination in the ,book of ,kells4 ,old records show that goldsmiths were working in ,dublin in the thirteenth century1 though there is no mention of the actual formation of a guild or company till #adih4 ,apparently these early records do not determine what marks were in use4 ,it is not till #afje that mention is made of a maker's mark and a town mark on ,dublin plate4 ,in #afcg a charter was granted to the goldsmiths of ,dublin by ,charles ,i1 and it was laid down that no gold or silver was to be of less fineness than the standard of ,england4 ,from #afch onwards there appears to have been a date letter1 though in some cases its use was erratic1 the same stamp being used for succeeding years4 ,in #agbi the ,irish ,parliament enacted that plate should be assayed by the assay master and bear the maker's stamp1 the harp crowned1 and the date letter4 ,in #agcj1 by the order of the ,commissioners of ,excise1 a fourth stamp was added1 the figure of ,hibernia1 to denote that the duty had been paid4 ,in #ahjg the sovereign's head was ordered to be placed on all plate as a duty mark1 and the figure of ,hibernia was allowed to remain1 so that till #ahij1 when the duty was taken off silver1 the two duty marks ran together4 ,but ,hibernia may be regarded as a hall-mark1 though that was not its original purpose4 ,the city of ,cork never had a date letter4 ,prior to #agae the city arms1 a ship in full sail between two castles1 was used together with the maker's mark1 which latter embodied some heraldic device4 ,later the only mark used at ,cork was the maker's initials and the word ,,sterling1 or the word ,,dollar2 this took the place of the town mark4 ,the official guide to the ,irish metal work at the ,dublin ,museum1 to which we are indebted for much information1 states that 8,immense quantities of silver were manufactured in ,cork during the eighteenth century1 but comparatively little remains at the present day1 most of it having been melted down as the fashions changed40 ,illustration3 ,,centrepiece4 ,,dublin1 #agdj4 ,maker1 ,robert ,calderwood4 7,the design of a ,potato ,ring by same maker is shown on cover of this volume47 7,at the ,metropolitan ,museum1 ,new ,york47 ,the word 8dollar0 alludes to the silver that was used for plate1 much of it being obtained from ,spanish dollars4 ,this is parallel to the usage on the coinage4 ,the word 8,portobello0 is found on ,english silver coined about the year #agci from silver taken at ,portobello by ,admiral ,vernon2 and the word 8,lima0 on ,george ,,ii gold coins1 signifying that they were from bullion captured from the ,spaniards at that place4 ,anne's guineas1 of #agjc1 have the word 8,vigo10 relating to ,sir ,george ,rooke's captures4 ,at the end of the eighteenth and beginning of the nineteenth century1 silver coins were so scarce that ,spanish dollars were made legal tender with the head of ,george ,,iii stamped on them4 ,in the early nineteenth century the ,dublin marks appear added to the ,cork mark ,,sterling4 ,the following are among some of the ,cork marks found3 ,,sterling and maker's mark1 ,c4 ,t4 7,carden ,terry7 about #aghj4 ,,sterling and maker's mark ,c ,t ,i ,w 7,carden ,terry and ,john ,williams71 about #ahjj4 ,and there is ,robert ,goble1 #afid1 a piece of whose delightful work we illustrate with marks2 the ,cork mace at the ,victoria and ,albert ,museum1 a specimen of beautiful craftsmanship1 is marked with the ,cork castle and ship1 and the letters ,r4 ,g4 ,there is also ,jonathan ,buck1 #agfd1 and a fine cream-jug of his superb work is illustrated 7p4 #cci74 ,besides ,dublin and ,cork there were other places at which silver was assayed and marked3 at ,limerick1 in the seventeenth century1 with the mark of the fleur-de-lis2 ,youghal in the seventeenth century1 with the town mark of a single-masted ship4 ,in #aghc a small village near ,waterford1 termed ,new ,geneva1 owing to a company of ,geneva watch-makers having settled there1 had an assay office for a few years1 mainly for watch-cases4 ,the harp was used in their mark4 ,clonmel1 ,waterford1 ,mullinger1 ,kinsale1 ,kilkenny1 and ,drogheda all made plate which was assayed at ,dublin4 ,the oldest piece of ,irish hall-marked plate now existing is a flagon in ,trinity ,college1 ,dublin1 bearing the ,dublin hall-mark for #afch4 ,the caster 7illustrated p4 #cca7 is in date #afii1 and bears the ,dublin hall-marks for that year and the maker's initials ,g4 ,l4 7,george ,lyng74 ,marks illustrated page #dji4 ,this example is interesting as showing the type of art existing contemporary with ,english work4 ,the grace and elegance of this caster stamp it as being the work of a practised artist1 and though doubtless ,english fashions did affect the class of articles made1 the native skill in the subtle use of ornament and the perfection of symmetry was in strong evidence across the ,irish ,channel4 ,a loving-cup with two handles1 in harp form1 was made by ,robert ,goble1 of ,cork1 about #afid1 7illustrated p4 #cca74 ,these cups are peculiarly ,irish and were made nowhere else1 except when the ,english silversmith or the ,sheffield plateworker copied them4 ,the harp to this day has remained symbolic of ,erin1 and ,beleek teacups of delicate egg-shell porcelain sometimes have a harp handle4 ,throughout the eighteenth century a great number of these two-handled harp cups were made4 ,they have a fine bold form and evidently fulfil the object for which they were made4 ,the marks as shown in the specimen illustrated are usually at the top of the body near the rim4 ,illustration3 ,,cream-,,jug4 ,,cork1 #agfd4 ,fine chased and repouss work4 ,signed under lip1 8,jonathan ,buck1 #agfd40 7,marks illustrated p4 #dji47 ,illustration3 ,,cream-,,jug4 ,,dublin1 c4 #agdj4 ,maker1 ,john ,hamilton4 ,finely chased and embossed decoration4 7,by courtesy of ,messrs4 ,harris ,sinclair1 ,dublin47 ,in the year #agdj1 when ,frederick of ,prussia seized the rich country of ,silesia1 young ,oliver ,goldsmith sat at the feet of his schoolmaster1 that old soldier of fortune1 ,thomas ,byrne1 who had served with our army in ,spain4 ,he listened to 8the exploits of ,peterborough and ,stanhope1 the surprise of ,monjuich1 and the glorious disaster of ,brihuega10 and he lent an ear to the stories of 8the great ,rapparee chiefs1 ,baldearg ,o',donnell and galloping ,hogan40 ,at fifteen he entered ,trinity ,college1 ,dublin1 as a poor scholar4 ,to-day he rests on ,college ,green1 one of ,ireland's proud monuments4 ,at this date the silversmith was doing great things2 the ,metropolitan ,museum at ,new ,york has a fine centre-piece of these far-off days4 ,it will be seen in the illustration 7p4 #cce7 to what refinement the art of the ,dublin silversmith had attained4 ,the maker is ,robert ,calderwood1 and in such a specimen claims recognition for craftsmanship of a very high order4 ,his mark is ,r4 ,c4 with a small crown between the letters1 and his work is always prized by collectors4 ,a cream-jug1 made by ,john ,hamilton1 of ,dublin about the same date 7illustrated p4 #cci71 may be compared1 to the advantage of the ,irish craftsmen1 with work of the same period wrought in ,england or ,scotland4 ,there is a suggestion in the handle of the old harp design of the loving-cup1 but the rich chasing and exquisite ornamentation of the body exhibit the finest touches of the silversmith's art4 ,on the same page a fine cream-jug made by ,jonathan ,buck of ,cork1 in #agfd1 is illustrated1 and the marks are given on page #dji4 ,it is minutely signed in full under the lip1 8,jonathan ,buck1 #agfd40 ,the mark has a buck in a shield4 ,the handle in this piece still lovingly adheres to the harp form1 delightfully adapted to this graceful vessel4 ,we may conjecture that this was a wedding gift to some bride1 as the figures of the goddess ,venus and ,cupid are in fine relief4 ,such an example is unique with its elaborate chased and repouss work4 ,the cream-pail 7illustrated p4 #cdc7 is of ,dublin make1 about #aggj4 ,there is strong classic influence4 ,the drapery1 the medallion rosette1 and the key pattern of the incised work1 all tell of the prevailing fashion4 ,it is as classic as the doorways on the ,quays at ,dublin4 ,but there is a robustness in ,irish classicism which establishes it as something not merely copied as a prevailing fashion but embodied in the handiwork of the craftsman4 ,perhaps the ,latinity of the old faith imparted a cosmopolitan kinship to the metal-workers and carvers and art craftsmen of ,ireland4 ,they always realized to the full continental fashions when the wave of importation reached their shores4 ,the delights of ,gallic or ,italian artists became at once acclimatized4 ,the potato ring or dish stand is a form of ,irish silver not made elsewhere4 ,they were rings of metal upon which old ,oriental bowls were placed to prevent the hot vessel injuring the polished surface of the mahogany table4 ,they were possibly used later to support wooden bowls for holding potatoes4 ,genuine ,irish examples are always circular4 ,they belong to the late eighteenth and early nineteenth century4 ,bowl and dish were synonymous terms in those days1 hence they are sometimes called 8,dish ,rings40 ,there are three types3 7#a7 ,the plain pierced4 7#b7 ,pierced work1 ornamented with flowers and birds and pastoral scenes4 7#c7 ,basket work formed of round wire twisted1 or flat square wire strips interlaced4 ,illustration3 ,,cream-,,pail4 ,,dublin1 c4 #aggj4 ,maker1 ,will ,hughes4 ,contemporary ladle by another maker4 7,marks illustrated p4 #dji47 7,by courtesy of ,messrs4 ,harris ,sinclair1 ,dublin47 ,on the cover of this volume is illustrated an example of a typical ,irish dish ring1 kindly lent by ,messrs4 ,carrington ,co4 ,this is in date about #agfj1 the last year of the reign of ,george ,,ii4 ,the maker is ,robert ,calderwood4 ,it is representative of the pierced type1 having exquisite chased work with birds and flowers4 ,such pieces are only found1 as a rule1 in well-known private collections or on the shelves of museum cases4 ,the year before it was fashioned in ,dublin1 ,general ,wolfe had captured ,quebec1 and in ,september #agfj ,montreal had capitulated1 completing the conquest of ,canada4 ,the following ,makers' ,marks will be of interest to those possessing old ,irish silver as of use in determining dates of ,dublin silver2 and specimens bearing these initials are to be seen in the ,dublin ,museum3-- #afee1 ,d4 ,b4 7,daniel ,bellingham72 #afeg1 ,i4 ,s4 7,john ,slicer72 #afhj1 ,w4 ,l4 7,walter ,lewis72 #agae1 ,j4 ,t4 7,john ,tuite72 #agaf1 ,j4 ,w4 7,joseph ,walker72 #agag1 ,i4 ,h4 7,john ,hamilton72 #agbd1 ,m4 ,w4 7,matthew ,walker72 #agbe1 ,i4 ,s4 7,john ,sterne72 #agdc1 ,r4 ,h4 7,robert ,holmes72 #agdh1 ,w4 ,w4 7,william ,williamson72 #agdh1 ,w4 ,k4 7,william ,knox72 #agej1 ,c4 ,s4 7,christopher ,skinner72 #agfj1 ,g4 ,b4 7,george ,beere72 #agfc1 ,i4 ,l4 7,john ,laughlin72 #agfe1 ,s4 ,w4 7,stephen ,walsh72 #agfe1 ,w4 ,t4 7,w4 ,townshend72 #aggj1 ,d4 ,k4 7,darby ,kehoe72 #agga1 ,c4 ,h4 7,capel ,harrison72 #aggb1 ,t4 ,l4 7,thomas ,lilly72 #aggc1 ,c4 ,t4 7,charles ,townshend72 #agge1 ,t4 ,j4 7,thomas ,jones72 #aggf1 ,r4 ,w4 7,robert ,williams72 #aghj1 ,i4 ,n4 7,john ,nicklin72 #agij1 ,w4 ,l4 7,william ,law72 #ahjb1 ,r4 ,b4 7,robert ,breading72 #ahai1 ,i4 ,l4 ,b4 7,james le ,bas74 ,,sale ,,prices ,,potato ,,or ,,dish ,,rings4 ,large prices have been paid for these examples of ,irish silver with scroll work1 pastoral scenes1 fruit1 and flower subjects1 and pierced trellis decoration4 ,they realize prices varying from #ej to #bej1 and fine early examples bring even more4 ,the following prices have been given for examples3 #ageg1 #abi2 #agfj1 #bcjs4 per oz41 #ih2 #aggb1 #ahhs4 per oz41 #acf2 #aghf1 #bjjs4 per oz41 #afd4 ,,appendix ,,to ,,chapter ,i ,the following ,tables are intended to be of practical use to the student of ,old ,silver1 and they are arranged in a convenient form for reference4 ,i4 ,tables showing ,date ,letters used at the ,london ,assay ,office from #aeih to #ahce 7pages #cea-cee74 ,,ii4 ,table showing ,differences of ,shields in ,hall ,marks1 ,standard ,marks1 and ,date ,marks of ,london ,assay ,office1 from the ,accession of ,queen ,elizabeth to the present day 7page #ceg74 ,,iii4 ,series of ,examples showing ,types of ,marks found on authentic specimens of ,old ,silver assayed in ,london during the above period 7pages #cei-che74 ,,iv4 ,series of ,examples from ,silver assayed at ,exeter1 ,chester1 ,norwich1 ,york1 ,newcastle1 ,birmingham1 and ,sheffield 7pages #chg-cii74 ,scottish and ,irish ,marks are also given 7pages #dja-dji74 ,i ,,tables ,,showing ,,date ,,letters ,used at ,london ,assay ,office4 #aeih-ahce ,,ii ,,table ,,showing ,,differences ,,in ,,shields ,in ,london ,hall ,marks1 ,standard ,marks and ,date ,marks1 ,from ,elizabeth to ,george ,v ,,table ,,of ,,london ,,assay ,,office ,,annual ,,date ,,letters4 #aeih-afag4 #afah-afcg4e #afch-afeg4 #afeh-afgg4 ,a ,a #aeih a ,a #afah ,a ,a #afch ,a ,a #afeh ,b ,b #aeii b ,b #afai ,b ,b #afci ,b ,b #afei ,c ,c #afjj c ,c #afbj ,c ,c #afdj ,c ,c #affj ,d ,d #afja d ,d #afba ,d ,d #afda ,d ,d #affa ,e ,e #afjb e ,e #afbb ,e ,e #afdb ,e ,e #affb ,f ,f #afjc f ,f #afbc ,f ,f #afdc ,f ,f #affc ,g ,g #afjd g ,g #afbd ,g ,g #afdd ,g ,g #affd ,h ,h #afje h ,h #afbe ,h ,h #afde ,h ,h #affe ,i ,i #afjf i ,i #afbf ,j ,i #afdf ,j ,i #afff ,k ,k #afjg ,k #afbg ,k ,k #afdg ,k ,k #affg ,l #afjh l ,l #afbh ,l ,l #afdh ,l ,l #affh ,m ,m #afji m ,m #afbi ,m ,m #afdi ,m ,m #affi ,n ,n #afaj n ,n #afcj ,n ,n #afej ,n ,n #afgj ,o ,o #afaa o ,o #afca ,o ,o #afea ,o ,o #afga ,p #afab p ,p #afcb ,p ,p #afeb ,p ,p #afgb ,q ,q #afac q ,q #afcc ,q ,q #afec ,q ,q #afgc ,r ,r #afad r ,r #afcd ,r ,r #afed ,r ,r #afgd ,s #afae s ,s #afce ,s ,s #afee ,s ,s #afge ,t ,t #afaf t ,t #afcf ,t ,t #afef ,t ,t #afgf ,v ,v #afag v ,v #afcg ,v #afeg ,v ,v #afgg ,the shape of the shields used is shown in ,table ,,ii4 ,,table ,,of ,,london ,,assay ,,office ,,annual ,,date ,,letters4 #afgh-afif4 #afif-agae4 #agaf-agce4 #agcf-agee4 a ,a #afgh ,a ,a #afif ,a ,a #agaf a ,a #agcf ,a b ,b #afgi ,b ,b #afig ,b ,b #agag b ,b #agcg c ,c #afhj ,c ,c #afih ,c ,c #agah c c #agch d ,d #afha ,d ,d #afii ,d ,d #agai d ,d #agci e ,e #afhb ,e ,e #agjj ,e ,e #agbj e ,e #agdj f ,f #afhc ff ,f #agja ,f ,f #agba f ,f #agda g ,g #afhd g ,g #agjb ,g ,g #agbb g ,g #agdb h ,h #afhe h ,h #agjc ,h ,h #agbc h ,h #agdc i ,i #afhf i ,i #agjd ,i ,i #agbd i ,i #agdd ,k #afhg k ,k #agje ,k ,k #agbe k ,k #agde ,a l ,l #afhh l ,l #agjf ,l ,l #agbf l ,l #agdf ,m #afhi m ,m #agjg ,m ,m #agbg m ,m #agdg ,a n ,n #afij n ,n #agjh ,n ,n #agbh n ,n #agdh o ,o #afia o ,o #agji ,o ,o #agbi o ,o #agdi p ,p #afib p ,p #agaj ,p ,p #agcj p ,p #agej ,q #afic q ,q #agaa ,q ,q #agca q ,q #agea r ,r #afid r ,r #agab ,r ,r #agcb r ,r #agebf s ,s #afie s ,s #agac ,s ,s #agcc s ,s #agec t ,t #afif t ,t #agad ,t ,t #agcd t ,t #aged v ,v #agae ,v ,v #agce v ,v #agee ,the shape of the shields used is shown in ,table ,,ii4 ,,table ,,of ,,london ,,assay ,,office ,,annual ,,date ,,letters4 #agef-agge4 #aggf-agie4 #agif-ahae4 #ahaf-ahce4 ,a a #agef a a #aggf ,a a #agif a a #ahaf ,b b #ageg b b #aggg ,b b #agig b b #ahag ,c c #ageh c c #aggh ,c c #agih c c #ahah ,d d #agei d d #aggi ,d d #agii d d #ahai ,e e #agfj e e #aghj ,e e #ahjj e e #ahbj ,f f #agfa f f #agha ,f f #ahja f f #ahba ,g g #agfb g g #aghb ,g g #ahjb g g #ahbb ,h h #agfc h h #aghc ,h h #ahjc h h #ahbc ,i i #agfd i i #aghd ,i i #ahjd i i #ahbd ,k k #agfe k k #aghe ,k k #ahje k k #ahbe ,l l #agff l l #aghf ,l l #ahjf l l #ahbf ,m m #agfg m m #aghg ,m m #ahjg m m #ahbg ,n n #agfh n n #aghh ,n n #ahjh n n #ahbh ,o o #agfi o o #aghi ,o o #ahji o o #ahbi ,p p #aggj p p #agij ,p p #ahaj p p #ahcj ,q q #agga q q #agia ,q q #ahaa q q #ahca ,r r #aggb r r #agib ,r r #ahab r r #ahcb ,s s #aggc s s #agic ,s s #ahac s s #ahcc ,t t #aggd t t #agid ,t t #ahad t t #ahcd ,u v #agge u v #agie ,u v #ahae u v #ahce ,the shape of the shields used is shown in ,table ,,ii4 ,,ii ,,table ,,showing ,,differences ,,in ,,shields ,,in ,,london ,,hall-,,marks1 ,,standard ,,marks1 ,,and ,,date ,,marks ,,from ,,queen ,,elizabeth ,,to ,,george ,v4 ,illustration ,,iii ,,examples ,,showing ,,types ,,of ,,marks#g ,found on ,authentic ,specimens ,of ,old ,silver ,assayed in ,london ,from the ,reign of ,elizabeth ,to the ,present ,day ,,iii ,,london ,,marks ,illustration3 ,a to ,v #aeeh to #aegg 7,twenty letters are used1 omitting ,j47 ,the earlier letters of this alphabet were impressed with a stamp following the outline of the shape of the letter4 ,later a shield was used4 ,the type of this date letter is ,black ,letter ,small4 ,similar type was used from #afgh to #afif1 and the shields are the same shape4 ,this type was again used in the reign of ,victoria from #ahef to #ahge1 but the shield is different4 ,illustration3 ,a to ,v #aegh to #aeig 7,twenty letters are used1 omitting ,j2 and the ,u is of the same form as the ,v1 which was followed in succeeding alphabets till the year #agce47 ,roman ,capital ,letters are used at this period4 ,the lion and leopard's head are in a stamp following the outline1 a practice which continued till #afgh4 ,from #agaf to #agce1 in the reign of ,george ,i1 a similar alphabet was used with shields of the same shape2 but the first four years have the figure of ,britannia and lion's head erased1 the ,higher ,standard ,mark4 ,in #agbj the lion and leopard's head with a new shape of shield clearly indicate the difference4 ,illustration3 ,a to ,v #aeih to #afag ,lombardic ,capitals are used in this alphabet4 ,the peculiarities in this series are the letter ,a with its crossbar 7#aeih71 the letter ,c 7#afjj71 which is a ,d reversed1 and the letter ,g 7#afjd74 ,illustration3 a to v #afah to #afcg ,the letters used are ,small ,italic4 ,the shields are slightly longer and pointed at bottom4 ,the noticeable letters puzzling to beginners are b 7#afai71 similar to h 7#afbe71 l 7#afbh71 and s 7#afce74 ,the l 7#afbh7 is similar to the s 7#agec74 ,,london ,,marks ,illustration3 #aefd ,illustration3 #aegh ,illustration3 #afjf ,,beaker 7illustrated p4 #aba74 ,illustration3 #afca ,maker1 ,william ,shute4 ,illustration3 #afcg ,,candlestick 7illustrated p4 #bbc74 ,,london ,,marks ,,the ,,court ,,hand ,,alphabet #afch to #afeg ,,charles ,i4 ,,and ,,commonwealth ,the next alphabet used at the ,london ,assay ,office for annual date letters is of a peculiar type known as the ,court ,hand4 ,most of the letters are of a character which has not survived in modern usage and they are of a form dissimilar to any other4 ,this ,court ,hand was employed from the year #afch to #afeg1 that is during the latter half of the reign of ,charles ,i and during the ,commonwealth up to #afeg4 ,this series of characters was again used from #afif to #agae1 that is to say during six years of the reign of ,william ,,iii1 the whole of the reign of ,queen ,anne1 and for the first two years of ,george ,i4 ,two very important periods are thus covered by these two ,court ,hand alphabets4 ,it should not be difficult to avoid confusing the one period with the other1 as there are other factors which determine which is the latter series4 ,the leopard's head and the lion are1 from #afig to #agbj1 replaced by the figure of ,britannia and the lion's head erased4 ,the illustration of both series of ,court ,hand letters on pages #cea and #cec will enable readers to identify them more readily4 ,the examples illustrated on page #cfe are1 in conjunction with the maker's mark1 the leopard's head1 and the lion passant1 for the period #afch to #afeg4 ,a comparison may be made with the later ,court ,hand characters1 where examples will be found illustrated on page #cgc4 ,illustration3 a to u #afch to #afeg ,among the difficulties presented by this ,court ,hand1 the following letters are likely to give trouble in identification owing to their similarity in shape1 which becomes more pronounced when the letters are worn and the details slightly obliterated4 ,the a 7#afch7 may be mistaken for the i 7#afdf72 the b 7#afci7 is not unlike the letter h 7#afde72 and the k 7#afdg7 resembles the letter b 7#afci71 which with its peculiar form1 when worn1 is only distinguishable by the bar across the centre4 ,a worn letter d 7#afda7 is apt to resemble an s 7#afee74 ,in examining the letters under a glass1 care should be taken to see that they are not upside down1 as in some instances they often resemble others4 ,the shape of the shield is usually clearly enough defined to show the pointed base4 ,although these letters are so extremely puzzling1 especially to beginners1 it should be borne in mind in comparison with the similar ,court ,hand alphabet which was used later from #afif to #agae1 that the date marks are only confirmatory4 ,in the later series there is the difference in the omission of the lion passant and the leopard's head1 replaced by the figure of ,britannia and the lion's head erased4 ,but the character of the silver itself tells its own story in cases where date marks and standard marks happen to be wholly obliterated4 ,a piece of ,queen ,anne plate differs so essentially in style from a piece of ,charles ,i or ,cromwellian that it should be impossible to fall into any error in mistaking the one for the other4 ,illustration3 #afch ,,salt ,,cellar 7illustrated p4 #aea74 ,illustration3 #afdj ,illustration3 #afdh ,,apostle ,,spoon 7illustrated p4 #ahe74 ,illustration3 #afec ,,porringer 7illustrated p4 #aig74 ,illustration3 #afed ,,london ,,marks #afeh to #afif ,,charles ,,ii1 ,,james ,,ii1 ,,william ,,and ,,mary ,this period covers the late ,stuart silver--,charles ,,ii1 ,james ,,ii1 and the major portion of the reign of ,william ,,iii4 ,the period represents a renaissance in the styles1 and there is a noticeable rejuvenance in the specimens still preserved4 ,for example1 see candlesticks illustrated 7page #bbg74 ,but it must be remembered that during the ,charles ,i period in the days of the ,civil ,war much of the silver was melted down to enable the king to use it in striking the coins of the realm4 ,similarly in the reign of ,william ,,iii the old silver was called in by the ,royal ,mint to be melted down to convert into coin of the realm1 for reasons which we have explained elsewhere4 ,on account of the depredations of the coin-clippers much of the fine old silver of the reigns of ,charles ,,ii and ,james ,,ii was destroyed4 ,in consequence1 the silver of the reigns of ,charles ,i1 ,charles ,,ii1 and ,james ,,ii is of considerable rarity4 ,with the opening of the eighteenth century1 or1 to be exact1 from #afig to #agbj1 the ,higher ,standard was obligatory1 and with this departure1 and the fashions of ,queen ,anne1 a new period of silver is entered4 ,collectors are divided into schools according to their predilections4 ,to one1 nothing later than ,elizabeth offers any interest4 ,to another1 early ,stuart silver affords charms which no later period can supplant4 ,again1 to others the ,queen ,anne period is the be-all and end-all of their ambitions in collecting4 ,illustration3 ,a to ,u #afeh to #afgg ,in this alphabet the peculiarities are the letters ,c 7#affj7 and ,e 7#affb71 which are only distinguishable from each other by the cross-bar to the letter ,e4 ,the letter ,g is an exceptional form 7#affd71 and is shown on the opposite page4 ,o 7#afga7 is also an unusual form4 ,letters ,t 7#afgf7 and ,l 7#affh7 are somewhat similar in form1 and may easily be mistaken for each other in worn examples4 ,the letter ,h 7#affe7 is illustrated as the mark on a wine-cup 7page #abi74 ,illustration3 a to t #afgh to #afif ,in the year #afgi an oblong shield was used for the lion1 as shown on page #ceg4 ,this mark is taken from the ,sumner ,salt in the ,mercers' ,company ,hall1 illustrated page #aee4 ,the letter ,e is found on a ,snuffers and ,tray1 illustrated page #bca1 and the letter ,f on a ,porringer 7#afhc71 illustrated page #bje4 ,the letter ,h 7#afhe7 is shown on the opposite page4 ,in regard to this alphabet great changes were in the air 7see ,higher ,standard ,mark1 pages #di-ei71 and this alphabet comes to an end with the letter t1 and no later date letter than t was employed4 ,but from ,march to ,may in #afig the letter a of the ,court ,hand alphabet was used1 and from ,may #afig to ,may #afih the ,court ,hand letter b was used 7see succeeding alphabet74 ,this is the only occasion when the ,london ,assay ,office departed from the regular employment of twenty letters1 from ,a to ,u1 excluding the letter ,j4 ,illustration3 #affj ,,cup 7illustrated p4 #ge74 ,illustration3 #affd ,illustration3 #afge ,illustration3 #afhe ,illustration3 #afib ,other ,marks illustrated are #affe 7p4 #abi71 #affi 7p4 #aig71 #afhb 7p4 #bca71 #afhc 7p4 #bje74 ,,london ,,marks #afig to #agae ,,william ,,iii 7#afig-agjb71 ,,queen ,,anne 7#agjb-agad7 ,during this period there were some important ,acts of ,parliament which relate to ,silver ,plate and determine certain changes which are interesting to collectors4 ,in #afif-g1 by #h and #i ,william ,,iii1 cap4 #h1 the standard of silver plate was raised higher than that of the coinage1 to stop the practice of melting down the coin of the realm and converting it into plate4 ,from the #beth of ,march1 #afig1 the new standard became compulsory1 and any silver plate made less than 4#iei1 that is1 #iei parts of pure silver in every thousand1 was illegal4 ,the marks of the maker were to be the first two letters of his surname1 and the lion passant and the leopard's head were to be discontinued4 ,the new standard silver was to be stamped with the figure of ,britannia in place of the former mark1 and the lion's head erased in place of the latter4 ,in #agjj1 under #ab ,william ,,iii1 cap4 #d1 ,chester1 ,york1 ,exeter1 ,bristol1 and ,norwich were reappointed ,assay ,towns with the right to stamp silver4 ,it was enacted that the new standard should be observed2 that the maker's mark1 the variable date letter 78,roman071 the arms of the city1 the lion's head erased1 and the figure of ,britannia be stamped on the silver4 ,in #agjb1 #a ,anne1 cap4 #c1 a similar power was conferred on ,newcastle-on-,tyne4 ,illustration3 a to v #afig to #agae ,this alphabet presents a difficulty at the outset4 ,the letter a was only used from ,march to ,may #afig1 and from thence to ,may #afih the letter b was used4 ,an example is illustrated on page #bag of this latter period4 ,the maker1 ,john ,bodington1 signs the first two letters of his surname below a bishop's mitre4 ,the letter c is illustrated from a mark on a cupping-bowl1 #afih1 and should be compared--as should all the letters in this ,court ,hand alphabet--with the letter c 7#afdj7 in the series #afch to #afeg4 ,the letter c 7#afih7 and q 7#agaa7 are shown opposite4 ,the maker's initials1 ,ke1 stand for ,william ,keith4 ,the letter d 7#afii7 is given elsewhere 7page #cec74 ,the letter f 7#agja7 is the mark on a sugar-caster illustrated 7page #bfi74 ,the maker1 ,christopher ,canner1 stamps the first two letters of his surname4 ,the letter i 7#agjd7 is unlike any modern i1 and is from a ,monteith illustrated 7page #ace74 ,the maker1 ,louis ,mettayer1 uses the first two letters of his surname4 ,the letter k 7#agje7 is equally unfamiliar4 ,it is from a teapot and stand4 ,the maker1 ,simon ,pantin1 signs the first letters of his ,christian and surnames4 ,in #agci this was made compulsory by statute4 ,the letter r 7#agab7 is shown on a caster illustrated 7page #bfi74 ,all the marks on opposite page denote the ,higher ,standard--figure of ,britannia and lion's head erased4 ,the ,higher ,standard 7#afig-agbj7 ,illustration3 #afih ,maker1 ,william ,keith4 ,illustration3 #agje ,maker1 ,simon ,pantin4 ,illustration3 #agjg ,maker1 ,robert ,cooper4 ,illustration3 #agji ,maker1 ,seth ,lofthouse4 ,illustration3 #agaa ,maker1 ,william ,keith4 ,other ,marks illustrated are #afig 7p4 #bag71 #agja 7p4 #bfi71 #agjd 7p4 #ace71 #agab 7p4 #bfi74 ,,london ,,marks #agaf to #aggh ,,george ,i1 ,,george ,,ii1 and ,,george ,,iii 7the first quarter of his reign74 ,in the sixth year of the reign of ,george ,i1 in #agbj1 the old silver standard was revived4 ,after #agbj the figure of ,britannia and the lion's head erased disappear from silver4 ,in #agba the leopard's head and the lion passant reappear as hall and standard marks1 and from this date the provincial offices again took up the assaying of silver4 ,in #agba the leopard's head was in a square shield1 as shown on page #ceg4 ,in #agbb and #agbc the leopard's head was in a circular shield4 ,in #agbd and #agbe the shield for the leopard's head was in an escutcheon with a rounded base 7see illustration1 page #ceg74 ,from #agbf to #agbh the leopard's head again is in a circular shield1 and this and the previous years1 #agbb and #agbc1 are the only occasions when the circular shield was used4 ,the shapes of the shields of the lion passant during this time are shown in the ,table 7page #ceg74 ,from #agbi to #agch the leopard's head is in a shield with a pointed base1 and the lion is in an oblong shield4 ,from #agci to #agee the lion is in a shield which is irregular in shape following the outline4 ,the leopard's head from #agci to #agej is in a shield of elaborate shape1 and the whiskers of the leopard are clearly marked in the stamp4 ,from #agea to #agee the shield for the leopard's head changes4 ,these differences can be seen in the ,table 7page #ceg74 ,from #agef to #agge the leopard's head has another shield4 ,the lion from #agef to #ahie 7#aci years7 retains the same shaped shield4 ,illustration3 ,a to ,v #agaf to #agce ,the example given on the opposite page for the year #agag belongs to the ,higher ,standard period4 ,the mark for #agbb is from a tea-caddy made by ,bowles ,nash1 whose mark is a ,b with a star4 ,illustration3 a to u #agcf to #agee ,the example given on the opposite page for the year #agec shows the date letter s1 and is noticeable as likely to be confused with the letter f #agda4 ,illustration3 ,a to ,u #agef to #agge ,the mark for #agfa on a cake-basket with the maker's mark1 ,e4,r4 7,edward ,romer7 is illustrated 7page #bia74 ,it will be observed that from this date the initial letters of ,christian and surname of makers were now used4 ,this was compulsory in #agci by #ab of ,george ,,ii cap4 #bf4 ,for the year #aggc a sugar-bowl is illustrated 7page #bhc74 ,the marks are given on the opposite page4 ,the makers were ,s4 and ,j4 ,crespell4 ,illustration3 #agag ,illustration3 #agbb ,maker1 ,bowles ,nash4 ,illustration3 #agea ,maker1 ,benjamin ,gignac4 ,illustration3 #agec ,illustration3 #aggc ,,sugar-,,bowl 7illustrated p4 #bhc74 ,other ,marks illustrated are #agdf 7p4 #bea71 #agfa 7p4 #bia74 ,,london ,,marks #aggf to #ahce ,,george ,,iii1 ,,george ,,iv 7#ahbj-cj71 ,,william ,,iv ,the most important feature in regard to marks in this period is the addition of the reigning sovereign's head1 which commenced in #aghd4 ,this ,duty ,mark was continued throughout the reigns of ,george ,,iii1 ,george ,,iv1 ,william ,,iv1 and during the reign of ,victoria until #ahij1 when the mark of the sovereign's head was discontinued on the abolition of the duty on silver4 ,in regard to the collection of silver1 it must be admitted that this period embraces decadent styles4 ,the delicacy of the ,stuart period with its refinement and grace1 and the subsequent reticence of the ,queen ,anne and early ,georgian styles1 with their sober though essentially national character1 was submerged in the first half of the nineteenth century in the ,victorian era4 ,there is an absence of originality and a feeling of dull1 insipid1 or overloaded ornament in most of the work of this period4 ,practically with this period1 from a collector's point of view1 the subject comes to an end4 ,but there are bright spots now and again visible4 ,there is the classic influence due to the same artistic impulse which directed ,wedgwood and the ,brothers ,adam2 but this only extended into the early years of the nineteenth century4 ,the ,first ,empire style came and went in furniture and silver1 and only fitfully does it appear in design later than #ahcj4 ,illustration3 a to u #aggf to #agie ,in this period the most noticeable difference in the marks is the addition of the head of ,george ,,iii1 in #aghd1 when the ,duty ,act was passed 7#bd ,george ,,iii74 ,illustration3 ,a to ,u #agif to #ahae ,three examples are given from this period1 #agih1 #ahjh1 and #ahaj2 the last set of marks is taken from a silver-gilt salt with ,pompeian style of ornament made by ,rundell1 ,bridge and ,rundell4 ,this is illustrated on page #agc4 ,illustration3 a to u #ahaf to #ahce ,in #ahba the head of ,george ,,iv replaced that of his father1 and from #ahca to #ahcf the head of ,william ,,iv was stamped as a ,duty ,mark4 ,in #ahba the leopard's head lost its crown1 and has so remained since that date4 ,the lion at the same time had the head fuller and in profile1 in which style it has continued till the present day4 ,illustration3 #aggi ,illustration3 #agih ,illustration3 #ahjh ,illustration3 #ahaj ,,salt ,,cellar 7p4 #agc74 ,illustration3 #ahbf ,,london ,,marks #ahcf to #aiae ,,victoria 7#ahcg-aija71 ,,edward ,,vii 7#aija-aj71 ,,george ,v ,from a collecting point of view there is not much in this last period to invite comparison either in beauty or originality with the best periods of old silver4 ,in order to complete the series of examples herein given a selection of marks has been made covering this period1 so that the reader may recognize modern marks1 especially when the design of the piece has been copied from some old specimen4 ,the period is important in embracing several protective measures designed to safeguard the public interests and to bring the assay offices under stricter supervision4 ,the ,report of the ,select ,committee of the ,house of ,commons on the ,hall-,marking of ,gold and ,silver ,plate1 etc41 which was issued in #ahgi1 should be carefully studied by those students who wish to master the complexities of hall-marking4 ,in #ahgf it was enacted 7#ci and #dj ,vict4 cap4 #ce7 that all foreign plate1 before its sale in ,england1 should be assayed here and bear the letter ,f in an oval escutcheon4 ,amended by #d ,edward ,,vii1 cap4 #f1 #aijd4 ,in regard to forgery of silver plate there is ample provision to bring the offenders to book4 ,by ,vict4 #g and #h1 cap4 #bb1 sections #e and #f1 penalties are provided for those altering and adding to plate1 and possessing1 selling1 or exporting such plate without fresh assay2 a fine of #aj can be imposed for each article so found in a person's possession without lawful excuse4 ,illustration3 ,a to ,u #ahcf to #ahee ,from #ahcg the head of ,queen ,victoria appears as a ,duty ,mark1 and till #ahge the leopard's head1 still uncrowned1 is of a different form 7see ,table1 page #ceg74 ,illustration3 a to u #ahef to #ahge ,in this period the shape of the shield for the date letter1 which had remained the same since #agef1 was now for the last time used4 ,its new shape is shown in the following period4 ,illustration3 ,a to ,u #ahgf to #ahie ,the shape of the date shield was changed with the letter ,b in #ahgg4 ,in #ahgf1 with the letter ,a1 the shield of the leopard's head was changed1 and the face became more feline with whiskers 7see ,table1 page #ceg74 ,in #ahgf another new mark was added1 the letter ,f1 in an oval escutcheon1 which was compulsory by law to be stamped on all foreign silver assayed at any office in the ,united ,kingdom4 ,in #ahij the sovereign's head disappears1 as the duty on silver was then abolished4 ,illustration3 a to u #ahif to #aiae ,in this last period of all it will be observed that the shields of the date letter and the leopard's head both change their shapes1 and have three lobes4 ,illustration3 #ahce ,maker1 ,william ,eames4 ,illustration3 #ahde ,maker1 ,r4 ,garrard4 ,illustration3 #ahgc ,illustration3 #ahia ,maker1 ,s4 ,c4 ,harris4 ,illustration3 #aiae ,,footnotes3 #e ,these and subsequent alphabets follow entries in the minutes of the ,goldsmiths' ,company1 and were verified from pieces of plate by ,mr4 ,octavius ,morgan4 7,see p4 #ch47 #f ,these letters have been verified by me from pieces of old silver4--,a4 ,h4 #g ,the ,position of ,marks4 ,marks are not placed on old silver in a straight line4 ,they are shown in this manner in this volume for convenience1 and are the author's own arrangement4 ,they are in practice irregularly stamped1 sometimes in a circle and sometimes upside down4 ,it must be borne in mind that the maker put his mark on first prior to sending the piece to the ,assay ,office4 ,the remaining marks were stamped thereon under the direction of the ,wardens4 ,although the maker's mark was stamped first1 some of the other marks were often placed on each side of it4 ,,iv ,,examples ,,of ,,provincial ,,marks ,,exeter ,,chester ,,norwich ,,york ,,newcastle ,,birmingham ,,sheffield ,,provincial ,,marks ,,exeter ,although the records show that ,exeter was among the ,assay ,offices appointed in #agjj by #ab and #ac ,william1 cap4 #c and #d1 it is evident that silver was assayed here by the city guild of goldsmiths1 as some of the marks found on old silver1 indubitably of ,exeter origin1 belong to the sixteenth century4 ,we are enabled1 by the kindness of ,mr4 ,j4 ,h4 ,ellett ,lake of ,exeter1 to give a very representative selection of ,exeter marks1 and1 in addition1 to give illustrations of the pieces themselves in this volume4 ,it will be seen that the earlier marks date from #aegb1 and the ,x surmounted by a crown was the city or hall-mark up to a period as late as #afdj4 ,in the early eighteenth century1 subsequent to the ,act of ,william ,,iii1 the hall-mark becomes a castle with the shield divided by a vertical line4 ,in #aggc a ,report was made by a ,committee of the ,house of ,commons1 who held an inquiry and took evidence as to the manner of conducting the ,assay ,offices in ,london1 ,york1 ,exeter1 ,bristol1 ,chester1 ,norwich1 and ,newcastle4 ,the ,assay ,master at ,exeter1 in describing the method employed at his office1 stated that the hall-mark was a castle1 and the date letter for #aggb was ,z1 in ,roman character1 and that ,a was to be the letter for the next year1 and that the whole alphabet was gone through4 ,but ,j1 apparently1 was never used at ,exeter1 and in later alphabets no letter after ,u was used1 e4g4 ,a to ,u 7#agig to #ahaf71 etc4 ,,exeter ,,marks ,it is not possible in a volume of this size to give all the date letters of provincial offices1 but the following may be of use as indicating the letters used at ,exeter3-- ,a to ,z 7#agja to #agbd7 in pointed shield4 a to z 7#agbe to #agdh7 ,a to ,z 7#agdi to #aggb7 in square shield4 ,a to ,y 7#aggc to #agif74 ,the letter ,i was used for two years1 #agha and #aghb4 ,a to ,u 7#agig to #ahaf7 in square shield4 a to u 7#ahag to #ahcf7 in square shield with four corners cut off4 ,a to ,u7#ahcg to #ahef7 ditto ditto4 ,a to ,u 7#aheg to #ahgf7 ditto4 ,a to ,f 7#ahgg to #ahhb71 when the office closed4 ,square shield with oval base4 ,in regard to the marks illustrated on opposite page it will be seen that the ,higher ,standard ,mark was used at ,exeter after #agja4 ,examples are shown1 #agjf and #agad4 ,collectors have sometimes stumbled into the belief that no silver was allowed by law to be assayed at any other office than ,london during the period #afig to #agbj4 ,but it is only between #afig and #agja that the provincial offices were practically closed4 ,from #agja till #agbj such offices did assay and mark silver plate with the figure of ,britannia1 and the lion's head erased4 ,illustration3 #aege ,,chalice 7illustrated p4 #fg74 ,illustration3 #afdj ,,chalice 7illustrated p4 #ga74 ,illustration3 #agjf ,maker1 ,john ,elston4 ,illustration3 #agad ,maker1 ,pentecost ,symonds4 ,illustration3 #agdh ,,tankard 7illustrated p4 #aag74 ,other ,exeter ,marks illustrated are #agje 7p4 #aae71 #agjg 7p4 #bji71 #agbh 7p4 #bgc71 #agbi 7p4 #ha71 #agcc 7p4 #aag74 ,,provincial ,,marks ,,chester1 ,,norwich1 ,,and ,,york ,the old cathedral cities were the centres of art1 therefore it is not surprising to find assay offices established there from the earliest times4 ,besides ,exeter1 which we have considered1 there were assay offices at ,chester1 ,norwich1 and ,york4 ,it is remarkable that no assay office appears to have existed at ,canterbury1 nor at ,salisbury1 nor at ,winchester4 ,chester has a long history in connexion with the coinage and with assaying silver4 ,in the sixteenth century there is a record of the assay of silver there1 and ,charles ,i struck some of his silver coinage there in #afde with the mint mark of the three wheatsheaves of the city4 ,norwich was mentioned as one of the assay towns in #b ,hen4 ,,vi1 cap4 #ag1 in #adbc1 which honour it shares with ,york and ,newcastle as being of such ancient lineage4 ,the corporation of ,norwich possesses several pieces of plate of the ,elizabethan period1 with the city arms1 a lion1 and a castle as a hall-mark4 ,a ,tudor rose with a crown above is the standard mark4 ,the office ceased early in the eighteenth century4 ,york is another office which is now extinct4 ,at the end of the eighteenth century it was not mentioned among the other assay offices1 but in the middle of the nineteenth century it had recommenced but did little business1 and no plate seems to have been assayed there since about #ahgj4 ,the ,chester hall-mark down to #afig is the city arms1 viz4 a dagger erect between three sheaves of wheat4 ,in #agja the mark became three demi-lions with wheatsheaves1 when ,chester was reappointed as one of the assay offices in the reign of ,william ,,iii4 ,the shield was again changed after #agge to the older form with the dagger which is still in use at the ,chester assay office4 ,we give on the opposite page an example of the mark in #agge1 with the three demi-lions superimposed on the shield with the three wheatsheaves4 ,the later mark1 of the year #ahjj1 shows the dagger with the wheatsheaves4 ,it will be observed that these marks have the leopard's head and the lion passant1 the hall-mark and the standard-mark of the ,london office4 ,the present marks used at the ,chester ,assay ,office1 together with the maker's initials1 are the lion passant1 the ,city arms1 and the date letter4 ,the letters now in use are ,italic capitals commencing with ,a in #aija4 ,the letter for #aiae is ,p4 99 99 99 99 99 ,an example is given of ,norwich marks stamped on a tall wine-cup1 about #afbj1 of the ,james ,i period4 ,the castle and lion is the hall-mark4 ,a ,tudor rose surmounted by a crown is also found on ,norwich silver as the standard mark4 ,the mark of the orb and cross given opposite is the mark of ,peter ,peterson the maker4 99 99 99 99 99 ,the ,york mark prior to #agjj is of a peculiar composite character4 ,it is now held to represent half leopard's head and half fleur-de-lis conjoined4 ,the example shown is on a flagon in the possession of the ,corporation of ,york1 and was made by ,marmaduke ,best1 whose initials are stamped2 the letter ,r is the date letter for #afgd4 ,the other example1 about #ahjj1 shows the hall-mark with the ,st4 ,george's cross and the five diminutive lions4 ,the date-mark was obliterated on this specimen4 ,the maker's mark is ,n4,g4 ,the duty mark was too worn to reproduce4 ,it will be noticed1 as at ,chester1 the leopard's head and lion passant are included in the marks4 ,,chester ,illustration3 #agge ,maker1 ,richard ,richardson4 ,illustration3 #ahjj ,,norwich ,illustration3 c4 #afbj ,,wine ,,cup 7illustrated p4 #abe74 ,,york ,illustration3 #afgd ,maker1 ,marmaduke ,best4 ,illustration3 c4 #ahjj ,,provincial ,,marks ,newcastle-on-,tyne 7#agjb-ahhd7 ,birmingham1 ,sheffield 7#aggc to present day7 ,newcastle is cited in the ,acts of #adbc and #adfb as one of the cities appointed to assay silver4 ,by the ,act relating to the ,higher ,standard1 and making it illegal to assay silver elsewhere than ,london1 there is a hiatus after #afif4 ,but the provincial assay offices did not long remain compulsorily idle4 ,they petitioned the ,house of ,commons1 and obtained redress4 ,in #agjb1 #a ,anne1 cap4 #c was specially applicable to ,newcastle-on-,tyne1 and this ,act reappointed the town for assaying silver1 and it is there on record that 8there is1 and time out of mind hath been1 an ancient ,company of ,goldsmiths1 which1 with their families1 by the said penalty are like to be ruined1 and the trade utterly lost in the said town40 ,the ,newcastle date letters are as follows3#h-- #agjb to #agbj1 ,a to ,q4 ,in circular shields4 ,except ,a1 which is in a square shield4 ,letters used in no order4 #agba to #agci1 a to ,t4 ,old ,english capitals1 except a and ,t4 ,circular shields1 except ,r and ,t4 #agdj to #ageh1 ,a to ,t4 ,roman capitals in shield with pointed base4 #agei to #agij1 ,a to ,z4 ,italic capitals ditto ditto #agia to #ahad1 ,a to ,z4 ,roman capitals4 ,shield hexagonal in shape4 #ahae to #ahch1 ,a to ,z4 ,block capitals4 ,square-shaped shield with top corners cut off4 #ahci to #ahfc1 ,a to ,z4 ,roman capitals4 ,hexagonal shield4 #ahfd to #ahhc1 a to u4 ,small ,roman type4 ,oval shield4 ,office closed in #ahhd4 ,the complete ,newcastle marks are the ,lion passant1 the ,leopard's ,head1 the ,town or ,hall ,mark of ,three ,castles1 the ,date ,letter1 the ,maker's ,mark1 and the ,duty ,mark of the ,sovereign's ,head 7till #ahij74 ,birmingham and ,sheffield were both granted the rights to assay silver in #aggc by #ac ,geo4 ,,iii1 cap4 #eb4 ,the ,birmingham marks are an ,anchor1 a ,lion passant1 a ,date ,letter1 and the ,maker's ,mark1 and the ,duty ,mark till it was abolished in #ahij4 ,the date alphabets for ,birmingham#a are3-- #aggc to #agih1 ,a to ,z4 ,roman capitals4 #agih to #ahbd1 a to z4 ,small ,roman4 #ahbd to #ahdi1 ,a to ,z4 ,old ,english capitals4 #ahdi to #ahge1 ,a to ,z4 ,roman capitals4 #ahge to #aijj1 a to z4 ,old ,english small4 #aijj to #aibd1 a to z4 ,small ,roman4 ,the ,office ,year begins #ast ,july and ends #cjth ,june4 ,the ,sheffield#i marks are the ,lion passant1 a ,crown1 the ,date ,letter1 the ,maker's ,mark1 and the ,sovereign's ,head as the ,duty ,mark till abolished in #ahij4 ,from #aggc to #ahbc the date letters were taken at random4 ,from #ahbd to the present day they run in regular order from ,a to ,z4 ,on small pieces of silver the crown and date letter are on one punch4 ,the alphabets for ,sheffield are3-- ,letters omitted-- #ahbd to #ahdc1 a to z4 i1 j1 n1 o1 w1 y4 #ahdd to #ahfg1 ,a to ,z4 ,j and ,q4 #ahfh to #ahib1 ,a to ,z4 ,i4 #ahic to #aiag1 a to z4 j4 ,the ,newcastle marks1 #agcg1 are drawn from a coffee-pot 7illustrated page #bdc74 ,the ,date ,letter is ,r in old ,english capital type4 ,the ,birmingham marks 7reproduced opposite7 are in date #ahjd and #ahhi4 ,it will be seen that the ,duty ,mark of ,sovereign's ,head is in a broken oval shield4 ,the ,sheffield marks are from candlesticks1 that of #aggc being made by ,samuel ,roberts ,co4 ,,newcastle-,,on-,,tyne ,illustration3 #agcg ,,coffee-,,pot 7illustrated p4 #bdc74 ,,birmingham ,illustration3 #ahjd ,illustration3 #ahhi ,,sheffield ,illustration3 #aggc ,maker1 ,samuel ,roberts ,co4 ,illustration3 #aggh ,,footnotes3 #h ,for details concerning these marks ,i am indebted to ,thomas ,taylor1 ,esq41 of ,chipchase ,castle1 and to ,basil ,anderton1 ,esq41 ,public ,librarian1 ,newcastle-on-,tyne4--,a4 ,h4 #i ,i am indebted for these marks to the courtesy of the ,assay ,master1 ,birmingham1 and to the ,assay ,master1 ,sheffield4 ,v ,,examples ,,of ,,scottish ,,and ,,irish ,,marks ,,edinburgh ,,glasgow ,,dublin ,,cork ,,scottish ,,silver ,scottish marks are in a field by themselves4 ,the art of the silversmith has always been on a high level in ,scotland1 and the statutes governing the marks are many in number1 and extend over a long period from as early as the fifteenth century4 ,besides ,edinburgh and ,glasgow1 the number of ,scottish hall-marks is legion4 ,the following towns are known to have marked and presumably assayed silver3 ,stirling1 ,perth 7sometimes having mark of lamb and flag1 and sometimes double-headed spread-eagle71 ,inverness1 ,dundee 7marked with design of town arms1 a pot of lilies71 ,aberdeen1 and ,banff4 ,edinburgh used the thistle as the ,standard ,mark after #agei4 ,before that date the ,assay ,master's initials were used4 ,the ,hall ,mark is a castle with three towers1 and has been in use since the fifteenth century4 ,the ,date ,mark1 letters ,a to ,z 7omitting ,j71 has been regularly employed since #afha4 ,the ,maker's ,mark has been used since #adeg4 ,the ,duty ,mark of the sovereign's head was added from #aghd to #ahij4 ,glasgow1 whose patron saint is ,st4 ,kentigern 7known also as ,st4 ,mungo71 has for a ,hall ,mark a tree with a bird perched on summit1 a bell suspended from the boughs1 and transversely across trunk a salmon with a ring in his mouth2 the latter alluding to the miracle of the recovery in the fish's mouth of the lost ring of the ,queen of ,caidyow4 ,the ,standard ,mark is a lion rampant1 used after #ahai1 and the ,maker's ,mark his initials4 ,the ,duty ,mark of the sovereign's head was used as at ,edinburgh4 ,,scottish ,,marks ,the ,edinburgh marks of the date #agje shown on the opposite page are from an old ,scottish ,quaich 7illustrated page #cac74 ,robert ,inglis was the ,maker1 and the ,assay ,master was ,james ,penman1 and their initials are on separate stamps4 ,the letter ,a is the date letter for #agje4 ,the mark for #agej shows the letter ,v in italic capitals1 and the ,assay ,master's initials are ,h4,b1 and the ,makers' are signified by ,k ,d4 ,an ,edinburgh mug is marked with the letters ,a4,u and ,i ,k1 standing for ,alexander ,ure1 the ,maker1 and ,james ,kerr1 the ,assay ,master4 ,the date letter is ,k1 probably representing the year #agij4 ,a sugar-caster1 #agdf 7illustrated page #cag71 has the ,maker's initials ,e4,o4 and the ,assay ,master's initials ,h4,g4 7for ,hugh ,gordon74 ,the castle is also stamped as the ,hall ,mark1 and the date letter ,r in italic capitals4 ,a coffee-pot made by ,patrick ,robertson1 #agfi 7illustrated page #cba71 has the marks shown opposite4 ,the thistle is the ,standard ,mark2 the castle is the ,hall ,mark2 ,p4,r4 is the ,maker's ,mark2 and the letter ,p for the date4 ,another of ,patrick ,robertson's pieces--a fine tea-urn in classic style--is illustrated page #cbe4 ,the date letter for this is ,z1 indicating the year #aggh4 ,two ,glasgow marks are shown opposite4 ,one is before #ahai1 before the lion rampant was used2 and the other shows the lion rampant1 the ,standard ,mark of ,glasgow still in use4 ,the ,duty ,mark ,stamp is the head of ,george ,,iv4 ,f is the date letter for #ahbd4 ,,edinburgh ,illustration3 #agje ,,quaich 7illustrated p4 #cac74 ,illustration3 #agej ,illustration3 #agfi ,,coffee-,,pot 7illustrated p4 #cba74 ,,glasgow ,illustration3 #agac ,illustration3 #ahbd ,,irish ,,silver ,irish silver offers some complications in regard to its markings1 and it is especially interesting in its character4 ,dublin is the centre of the silversmiths' work in ,ireland1 and officially the ,dublin ,goldsmiths' ,company holds the exclusive right of assaying and marking ,irish silver2 but1 as we shall show1 there was excellent silver made elsewhere in ,ireland1 notably at ,cork1 and in the chapter devoted to ,irish silver some fine specimens are illustrated4 ,the ,standard ,mark is the harp1 and was used with the crown added to it1 in the year #afcg1 under the terms of a charter granted by ,charles ,i to the ,goldsmiths of ,dublin4 ,as we have seen1 in ,england from #aghd to #ahij the head of the sovereign was added as a mark to denote that duty had been paid4 ,but in ,ireland a ,duty ,mark was in force as early as #agcj1 viz4 the figure of ,hibernia4 ,in #ahjg1 in the reign of ,george ,,iii1 the duty was raised2 and it was enacted #dg ,geo4 ,,iii that the king's head should be stamped as a ,duty ,mark4 ,this was continued till #ahij1 as in ,england1 but at the same time the old ,duty ,mark of the figure of ,hibernia was retained1 and has still been used since #ahij4 ,the figure of ,hibernia may be practically regarded as a ,hall ,mark1 although it was first adopted to denote that duty had been paid4 ,the ,maker's ,mark1 in the early days a device1 and later initials1 follows the practice of assay offices in ,england4 ,the date letter was used from the middle of the seventeenth century4 ,the present series of letters from #ahif to #aibj covers the alphabet from ,a to ,z 7omitting ,j7 in old ,english capitals4 ,,irish ,,marks ,dublin4 #afii4 ,the marks of this date shown opposite are from a caster 7illustrated page #cca74 ,the maker is ,george ,lyng4 ,this was of the period prior to the adoption of the figure of ,hibernia4 ,dublin4 #agjf4 ,these marks are taken from a cup with harp handles4 ,the harp with crown is in a gracefully shaped shield4 ,the ,maker's initials are ,e4,b41 and the date letter ,s4 ,dublin4 #aggj4 ,in these marks1 drawn from a cream-pail 7illustrated page #cdc71 the figure of ,hibernia appears4 ,it will be noted that this is prior to the addition of a ,duty ,mark in ,england 7in #aghd71 and prior to the further addition of a second ,duty ,mark in ,ireland 7in #ahjg71 when the head of ,george ,,iii denoted that duty had been paid4 ,the ,maker of this piece was ,will ,haynes4 ,the date is about #aggj1 but undecipherable4 ,the present ,dublin alphabet ,a to ,z1 ,old ,english capitals 7omitting ,j71 commenced in #ahif4 ,the date letter for #aiae is ,u4 ,these letters are in the same order as the ,london alphabet from #ahif1 but the latter is small ,roman1 and commences again at ,a in #aiaf1 whereas the ,dublin alphabet continues to ,z in #aibj4 99 99 99 99 99 ,cork4 #afid4 ,this series of marks shown opposite includes the mark of ,robert ,goble1 of ,cork1 the maker4 ,the two castles on different stamps appear on ,cork examples1 and the galley with sails4 ,cork4 #agfd4 ,these marks are drawn from a cream-jug 7illustrated page #cci71 with fine chased and repouss work1 signed by ,jonathan ,buck in full1 and having as a mark a buck1 together with the word ,,sterling1 which was sometimes used on ,cork and other ,irish silver4 ,,dublin ,illustration3 #affi ,,caster 7illustrated p4 #cca74 ,illustration3 #agjf ,maker1 ,edward ,barrett4 ,illustration3 c4 #aggj ,,cream-,,pail 7illustrated p4 #cdc74 ,,cork ,illustration3 c4 #afid ,,loving-,,cup4 ,maker1 ,robert ,goble4 7illustrated p4 #cca74 ,illustration3 #agfd ,,cream-,,jug4 ,maker1 ,jonathan ,buck4 7illustrated p4 #cci74 ,,index ,addison1 ,spectator1 quoted on salt spoon1 #aec ,alphabets of ,london date marks 7#aeih-ahce71 #cei-che ,american silversmiths1 #dg ,anathema ,cup1 the 7#adha71 ,pembroke ,college1 #ij1 #id ,apostle spoons1 list of apostles with their emblems1 #ahc2 prices1 #ahg1 #aic ,assay offices1 early1 #bg2 eighteenth century1 #bh ,basket work in silver1 #bgf1 #bhb2 bread and cake baskets1 #bic ,beaker1 the ,stuart1 #aai2 illustrations of the1 #aba 8,beer ,lane10 engraving by ,hogarth1 #acb ,bell-shaped salt cellar1 illustrated1 #adg ,below the salt1 table customs1 #ada ,birmingham ,marks illustrated1 #cih1 #cii ,bodington1 ,john1 silversmith 7#afig71 #baf ,bowl1 plum broth 7#afig71 illustrated1 #bag ,boxes for sugar1 #bfa ,bread-basket1 the1 #bic ,britannia mark1 forgeries of1 #bbj ,britannia mark1 when found on silver1 #ea2 used when silver is not higher standard1 #eh1 #fa ,buck1 ,jonathan1 silversmith1 ,cork1 specimen illustrated1 #cci ,busfield1 ,william1 silversmith1 ,york1 #aac ,caddy spoons1 #aid ,cake basket1 the1 #bic ,candle holders1 part of centre-pieces1 #bgf ,candlestick1 brass1 seventeenth-century1 illustrated1 #abi ,candlesticks1 silver-- ,charles ,,ii examples illustrated1 #bbg ,early eighteenth-century examples illustrated1 #bca ,early ,stuart type1 #bbe ,lambeth delft example 7#afdh7 illustrated1 #bbc ,sheffield example 7#aghb7 illustrated1 #bce ,casters1 #bga-bgf ,casters illustrated-- ,george ,,ii 7,exeter71 #bgc ,group 7,queen ,anne and ,george ,,iii71 #bgg ,irish 7#afii71 #cca ,scottish 7#agdf71 #cag ,william ,,iii and ,queen ,anne1 #bfi ,catherine of ,braganza popularizes tea-drinking1 #bed ,centre-piece1 the1 #bgf ,chalice1 the1 ,elizabethan forms1 #gc1 #gd2 the ,exeter pattern1 #gc ,charles ,i statue1 ,charing ,cross1 its secret burial1 #ajg ,charles ,,ii and ,lord ,mayor1 piquant story of1 #dd ,chester ,marks illustrated1 #cie ,,chronological ,,list ,,of ,,specimens ,,illustrated-- ,henry ,,vii #adij ,mazer1 #hg 7#adhe-aeji7 #adii ,leigh ,cup1 ,mercers' ,company1 #ia #aejj ,hour-glass standing salt1 #adc ,elizabeth #aegj ,stoneware jug with silver mounts1 #ie 7#aeeh-afjc7 #aegb ,flagon1 #aje #aegb ,chalice and cover1 #fg #aegc ,chalice and cover1 #ga #aege ,chalice and cover1 #fg #aehe ,standing cup and cover1 #ie #aeii ,flagon1 #aje #afja ,bell-shaped salt cellar1 #adg ,james ,i #afjf ,beaker1 #aba 7#afjc-afbe7 c4 #afbj ,tall wine cup 7no date letter71 #abe ,charles ,i #afca ,wine cup1 #abi 7#afbe-afdi7 #afca ,beaker1 #aba #afcg ,candlestick1 #bbc #afch ,salt cellar1 ,mercers' ,company1 #aea #afdj ,chalice and cover1 #ga #afdh ,apostle spoon 7,st4 ,andrew71 #ahe ,commonwealth #afea ,spoon1 slipped in the stalk1 #aha 7#afdi-affj7 #afeb ,spoon1 seal-top1 #ahe #afec ,porringer1 #aig #affj ,spoon1 ,puritan1 #aha ,charles ,,ii #affj ,cup1 #ge 7#affj-afhe7 #affb ,posset-cup and cover1 #aig #affe ,spoon1 flat stem1 #aha #affe ,wine cup1 #abi #afff ,porringer1 #bja #affi ,porringer1 #aig #afgj ,teapot1 #bdc #afga ,beaker1 #aba #afgb ,porringer1 #bji #afgc ,candlesticks1 #bbg #afgd ,apostle spoon 7,st4 ,simon ,zelotes71 ,exeter1 #ahi #afgg ,pepys standing cup1 #ii #afgi ,spoon1 lobed end1 #ahi #afgi ,tankard1 #aaa #afgi ,caudle cup and cover1 #bja #afgi ,octagonal salt cellar 7,mercers' ,company71 #aee #afhj ,patens1 #gi #afhb ,snuffers and tray1 #bca #afhc ,posset-pot and cover1 #bje #afhd ,tankards 7,york71 #aaa #afhe ,posset-pot and cover1 #bac ,william ,,iii #afib ,flagons1 #ge 7#afhi-agjb7 #afid ,loving-cup 7,cork71 #cca #afig ,dish and ladle1 #bag #afii ,caster 7,dublin71 #cca #agja ,caster1 #bfi #agja ,tankard1 #aaa ,anne #agjb ,spoon trefoil top1 rat's-tail 7,exeter71 #ahi 7#agjb-agad7 #agjb ,lavabo bowl1 #gi #agjc ,spoon1 trefoil top 7,newcastle71 #ahe #agjc ,spoon1 trefoil top1 #ahe #agjd ,candlestick1 #bca #agjd 8,monteith0 punch-bowl1 #ace #agje ,tankard 7,exeter71 #aae #agje ,scottish quaich1 #cac #agjf ,candlestick 7,exeter71 #bca #agjg ,porringer 7,exeter71 #bji #agab ,caster1 #bfi #agab ,trencher salt cellar1 #afe #agad ,paten 7,exeter71 #gi ,george ,i #agah ,tea-caddy 7,exeter71 #bei 7#agad-agbg7 #agba ,candlestick1 #bca #agbf ,cream-jug1 #cje ,george ,,ii #agbh ,caster 7,exeter71 #bgc 7#agbg-agfj7 #agbi ,small communion cup and cover1 #ha #agcj ,tea-caddy1 #bei #agcj ,coffee-pot1 #bee #agcj ,trencher salt cellar1 #afe #agcc ,mug 7,exeter71 #aag #agcf ,jug1 helmet-shaped1 #cja #agcg ,coffee-pot 7,newcastle71 #bdc #agdj ,centre-piece 7,dublin71 #cce #agdj ,cream-jug 7,dublin71 #cci #agda ,coffee-pot1 ,frontispiece #agde ,teapot1 #bdg #agdf ,kettle and stand1 #bea #agdf ,caster 7,edinburgh71 #cag #agdg ,caster1 #bgg #agdh ,tankard 7,exeter71 #aag #ageh ,trencher salt cellar1 #afe #agfj ,tea-caddies and sugar box1 #bfc #agfj ,irish potato-ring1 ,design on cover of volume #agdj-agge ,bread-baskets1 #bhi ,george ,,iii #agfj ,caster1 #bgg 7#agfj-ahbj7 #agfa ,centre-piece1 #bgi #agfa ,cake-basket1 #bia #agfd ,cream-jug1 #cje #agfd ,cream-jug 7,cork71 #cci #agfe ,circular salt cellar with club feet1 #afe #agfi ,salt cellar with glass liner1 #afg #agfi ,coffee-pot 7,edinburgh71 #cba #aggj ,cream-pail 7,dublin71 #cdc #agga ,salt cellar1 perforated work1 #agc #agga ,caster1 #bgg #aggc ,sugar-bowl1 #bhc #agge ,coffee-pot1 #bee #agge ,tea-caddy1 #bei #agge ,centre-piece1 #bgi #aggf ,cream-pail1 #bhe #aggh ,tea-urn 7,edinburgh71 #cbe #aggi ,cream-jug1 #cje #aghj ,cream-jug1 #cje #agha-agij ,salt cellars1 tureen form1 #aga #aghb ,candlestick 7,sheffield71 #bce #aghb ,cream-pail1 #bhe #aghd ,tea-caddy1 #bei #aghe ,salt cellar1 circular1 #afe #aghe ,salt cellar with glass liner1 #afg #aghf ,salt cellar1 cloven-hoof feet1 #afg #aghf ,sugar-bowl1 #bhe #aghi ,salt cellar with club feet1 #afg #aghi ,salt cellar1 circular1 #aga #agij ,cream-jug1 #cji #agij ,mug 7,edinburgh71 #cac #agia-agig ,salt cellar1 boat-shaped1 #aga #agij-ahjj ,coffee-pots and teapots1 #bee #ahjj ,cream-jug1 #cji #ahjc ,salt cellar1 washing tub form1 #agc #ahjd ,cream-jug1 #cji #ahji ,cream-jug1 #cji #ahaj ,salt cellar1 ,pompeian design1 #agc ,george ,,iv #ahah ,salt cellar1 tureen form1 #agc 7#ahbj-ahcj7 ,william ,,iv #ahcb ,salt cellar1 circular1 #agc 7#ahcj-ahcg7 ,classic influence1 when at its height1 #bhg ,clipped coins called in1 panic in #afif1 #eg ,coffee-drinking1 women's petition to ,parliament1 #bde ,coffee-pots1 #bej ,coffee-pots illustrated-- ,george ,,ii 7#agda71 ,frontispiece ,group ,george ,,ii and ,george ,,iii1 #bee ,newcastle 7#agcg71 #bdc ,scottish 7#agfi71 #cba ,coin clipping1 attempt to stamp out1 #eb ,coiners1 heavy penalties for1 #ec ,communion cup and cover 7,exeter71 #gh ,copper tokens1 seventeenth century1 with goldsmith's name1 #dd ,cork ,marks illustrated1 #dji ,cream-jug1 the1 #cjc ,cream-pail1 the1 #bhh ,cups1 standing1 #ij ,date letters of ,london ,assay ,office 7#aeih-ahce71 #cei-che ,date marks1 eccentricities of alphabets1 #cf2 explanation of1 #cd-ci ,delft salt cellars1 ,lambeth1 ,rouen1 illustrated1 #afa ,dish1 plum broth 7#afig71 illustrated1 #bag ,dish ring or stand1 ,irish1 #cdb 8,dollar0 found on ,irish silver1 #ccd ,dollars1 ,spanish1 legal tender with head of ,george ,,iii stamped on them1 #ccg ,dryden receives bad coins from his publisher1 #ed ,dublin ,marks illustrated1 #dji ,dutch silver--brandy cup in form like quaich1 #caf ,duty mark1 the1 explanation of1 #fj ,ecclesiastical plate1 #fe-gh ,edinburgh ,marks illustrated1 #dje ,edinburgh tea-table customs1 #cjc ,earthenware emulating silver1 #afi1 #bdi1 #bfb1 #bid ,east ,india ,company1 teapot presented to1 #bda2 import of tea and teapots by1 #bdi ,eighteenth-century ,assay ,offices1 #bh ,eighteenth-century beverages1 #bec2 salt cellars1 types of1 #aeg ,elizabethan flagons1 #ajg ,elston1 ,john1 silversmith1 ,exeter1 #gh ,exeter ,marks illustrated1 #ha1 #aae1 #aag1 #bji1 #bgc1 #cia ,exeter silver plate illustrated-- ,chalices1 ,elizabethan1 #fg1 #ga2 ,charles ,i1 #ga ,communion cup1 ,george ,,ii1 #ha ,mug1 ,george ,,iii1 #aag ,spoons1 #ahi ,tankard1 ,queen ,anne1 #aae2 ,george ,,ii1 #aag ,flagons1 sixteenth-century1 #ajg ,flaxman1 ,john1 teapot designed by1 #bej ,foreign mark1 the1 #fb ,forgeries1 #bbj ,fraud1 cutting out old marks1 #bge ,fraud1 possibilities of1 in marks1 #fc1 #cei ,french influence in late eighteenth century1 #bhg ,gamble1 ,ellis1 goldsmith1 master of ,hogarth1 his shop card1 #de ,gibson1 ,george1 silversmith1 ,york1 #aac 8,gin ,street10 engraving by ,hogarth1 #acb ,glasgow ,marks illustrated1 #dje ,glasgow silver4 ,marks1 #djd2 quaich 7#affe7 illustrated1 #cac ,glassworker1 designs of the1 utilized in silver1 #bab ,goble1 ,robert1 silversmith1 ,cork1 specimen illustrated1 #cca2 marks illustrated1 #dji ,goldsmiths' ,company1 ,london1 early power of1 #bf2 the true function of1 #ce2 salt cellars in possession of1 #adf ,hall-marks1 explanation of1 #be-cj ,hall-marks of various ,assay ,offices1 #bh ,handle1 the1 of posset-pot and porringer1 #bjg ,hanway1 ,jonas1 condemns tea1 #bed ,harp handles in ,irish silver1 #cch2 cup illustrated1 #cca ,hibernia1 figure of1 as a mark1 #cc1 #ccd ,higher standard mark1 explanation of1 #di-ei ,hogarth1 ,william1 apprenticed to goldsmith1 #de2 his satires on drinking1 #acb ,house of ,commons ,select ,committee on ,hall-marking of ,plate1 #be1 #bg1 #aec ,hour-glass form of salt cellar illustrated1 #adc ,individuality of craftsmen's work extinguished1 #dc ,initials of makers1 #dc ,innholders' ,company salt cellars1 #adf ,ions1 ,i41 silversmith1 ,exeter1 #gd ,irish goldsmiths1 #dg ,irish makers' names1 #cde1 #cdf ,irish plate illustrated-- ,caster1 #cca ,centre-piece1 #cce ,cream-jugs1 #cci ,cream-pail1 #cdc ,loving-cup1 #cca ,potato-ring1 ,cover of volume ,irish silver1 #cbi ,irish standard mark1 #cc ,irish towns where silver was wrought1 #ccg ,jug1 stoneware 7#aegj71 with silver mounts1 #aja ,lambeth delft salt cellar1 #afc ,lamerie1 ,paul de1 mark illustrated1 #bea ,lantern-shaped teapot 7#afgj7 illustrated1 #bdc ,lavabo bowl illustrated1 #gi ,leigh standing cup1 the1 #ic 8,lima0 found on ,george ,,ii gold coins1 #ccg ,lion's head erased mark1 when found on silver1 #ea ,locke1 8,further ,considerations ,concerning the ,raising the ,value of ,money10 #ee ,london hall-marks-- ,marks illustrated1 #abi1 #ace1 #aig1 #bje1 #bag1 #bca1 #bea1 #bfi1 #bia1 #cdi-che ,table of date letters 7#aeih-ahce71 #cea-cee ,table showing differences in shapes of shields1 #ceg ,longfellow3 poem on ,paul ,revere1 silversmith1 #dh ,louis ,seize style in table ornaments1 #bhg ,loving-cup1 the1 and its ceremonial1 #id ,lowndes' 8,essay for the ,amendment of the ,silver ,coins10 #ec1 #ee ,lustre ware 7,staffordshire7 emulating silver1 #bdi ,makers' marks1 explanation of1 #dj ,makers' names1 ,irish silver1 list of1 #cde1 #cdf ,marks illustrated-- ,birmingham1 #cii ,chester1 #cie ,cork1 #dji ,dublin1 #dji ,edinburgh1 #dje ,exeter1 #cia ,glasgow1 #dje ,london1 #cea-che ,newcastle1 #cii ,norwich1 #cie ,sheffield1 #cii ,york1 #cie ,marks on silver--a trade secret1 #ch ,marks stamped on silver1 various1 #bc-fc ,marks1 the position of1 as stamped on silver1 #cei2 to prevent fraud1 #bge2 used by various assay offices1 #bi2 where placed on spoons1 #aic ,mazer1 the fifteenth century1 #hf ,mercers' ,company1 ,leigh ,cup 7#adii7 illustrated1 #ia ,monteith punch-bowl illustrated1 #ace ,mordaunt1 ,charles1 ,earl of ,peterborough1 #acd ,morgan1 ,octavius1 his pioneer work on marks1 #ch ,mug1 the1 #aai ,newcastle-on-,tyne1 date letters employed at1 #cf1 #cg2 illustrated1 #cig-cii ,newcastle-on-,tyne silver plate illustrated-- ,coffee-pot1 #bdc ,spoon1 #ahe ,nineteenth century1 early1 types of salt cellars1 #aeg ,norwich ,corporation salt cellar1 #adi ,norwich mark illustrated1 #cie ,norwich silver plate illustrated-- ,tall wine cup1 #abe ,paten1 the1 its form1 #fi ,pepys1 ,samuel1 buries his silver plate at ,bethnal ,green1 #abg ,pepys standing cup and cover1 the1 #aja ,peterborough1 ,earl of1 his exploits1 #acd ,peterson1 ,peter1 silversmith1 ,norwich1 #abc ,provincial ,assay ,offices reappointed1 #ej ,provincial offices ceased marking silver for five years1 #bi1 #ej ,porcelain teapots the prototypes of silver1 #bdf1 #bdi ,porringer1 the1 #aie-bbj 8,portobello10 found on ,english silver coins1 #ccd ,posset-pot1 the1 #aie-bbj ,posset-pot1 sixteenth-century ,exeter ,college1 ,oxford1 #bjc ,potato-ring1 ,irish1 #cdb ,potter1 the eighteenth-century1 and the silversmith1 #afi1 #bdi1 #bfb1 #bid ,pottery1 seventeenth-century example of posset-cup1 #baa ,prices-- ,beakers1 #acg ,candlesticks1 #bbi1 #bcg ,casters1 #big ,coffee-pots1 #bfb ,cream-jugs1 #cjh ,cups1 standing1 #acg ,dish rings1 #cdf ,elizabethan jug1 #aja ,goblets1 #ach ,irish silver1 #cdf ,jug1 stoneware1 silver mounts1 #aja ,loving-cups1 #acg ,mazers1 #hi 8,monteith10 #ach ,porringers1 #bai1 #bbj ,posset-pots1 #bai ,potato-rings1 #cdf ,punch-bowls1 #ach ,quaich1 #cbj ,salt cellars1 #ade1 #adi1 #aei1 #agj1 #age ,spoons1 apostle1 #ahg1 #aic2 caddy1 #aid2 seal-top1 #aid ,standing cups1 #acg ,sugar-bowls1 #big ,tankards1 #acg ,tea-caddies1 #bfa1 #bfe ,tea-kettles1 #bfe ,teapots1 #bfe ,wine cups1 #ach ,punch-bowl1 the1 #abh ,punch-bowl1 historic ,american1 #dg ,puritans1 destruction of objects of art by1 #gj ,quaich1 the ,scottish1 #caf ,queen ,anne forgeries posset-pots1 #bbj ,radcliff1 ,j4 ,r41 silversmith1 ,exeter1 #gd ,revere1 ,paul1 celebrated ,american silversmith1 #dh ,richards1 ,edmund1 silversmith1 ,exeter1 #baf ,ring1 potato or dish1 ,irish1 #cdb ,romer1 ,edward1 silversmith1 #bid ,salt cellars1 #aci2 classified list of types1 #aed1 #aeg ,salt cellars-- ,norwich ,corporation1 #adi ,christ's ,college1 ,cambridge1 #aeh2 illustrated1 #adc ,clothworkers' ,company1 #adf ,goldsmiths' ,company1 #adf ,ironmongers' ,company1 #adf ,innholders' ,company1 #adf ,mercers' ,company1 #aei2 illustrated1 #aea1 #aee ,skinners' ,company1 #adf ,vintners' ,company1 #adf ,scott1 ,sir ,walter1 quoted as to tea-leaves1 #cjd ,scottish silver1 #caa-cbg ,scottish silver plate illustrated-- ,caster1 #cag ,coffee-pot1 #cba ,mug1 #cac ,quaich1 #cac ,tea-urn1 #cbg ,scottish standard mark1 #ce ,seventeenth-century tankards1 #aaj ,shapes of shields1 differences in1 table showing1 #ceg ,sheffield ,marks illustrated1 #cih1 #cii ,sheffield 8silver plated0 or silver plate1 definition1 #bcd ,sheffield silver plate illustrated-- ,candlestick1 #bce ,shields1 table showing differences in ,london ,hall-marks1 #ceg ,shute1 ,william1 silversmith1 marks illustrated1 #cfa ,silver mountings for wood vessels1 #hf2 for earthenware1 #hf1 #ih1 #aja1 #aji ,skinners' ,company salt cellars1 #adf ,somerset ,house1 the battle of1 #ajg ,spanish dollars legal tender with head of ,george ,,iii stamped on them1 #ccg ,spoons-- ,apostle1 #ahj1 #ahc2 illustrated1 #ahe1 #ahi2 prices1 #ahg ,fiddle pattern1 #aib ,flat stem1 #ahh2 illustrated1 #aha ,maidenhead1 #ahg ,rat-tail1 #aia2 illustrated1 #ahi ,seal-top1 #ahg2 illustrated1 #ahe2 prices1 #aid ,slipped in the stalk1 #ahh2 illustrated1 #ahe ,trifid1 #ahh2 illustrated1 #ahe ,spoons1 placing of marks on1 #aic ,staffordshire silversmith's designs1 #bid ,staffordshire lustre ware emulating silver1 #bdi ,staffordshire potter's emulation of silver plate1 #afi1 #bdi1 #bfb1 #bid ,standard ,marks1 #ca-cc ,standard work on marks1 #cd ,standing cups1 #ij ,standing salt cellars1 #aed 8,sterling0 found on ,cork silver1 #ccd ,stoneware jug1 the1 ,elizabethan1 with silver mounts1 #ih1 #aja ,strong1 ,james1 silversmith1 ,exeter1 #gh ,sugar-bowls1 #bhg ,sugar1 silver boxes for1 #bfa ,sumner salt cellar1 the1 illustrated1 #aee ,symonds1 ,pentecost1 silversmith1 ,exeter1 #gh ,table customs1 8below the salt10 #ada ,tankards1 seventeenth-century1 #aaj ,tea advertisement1 a quaint seventeenth-century1 #bdb ,tea-caddies1 #beh2 evolution to cabinet-maker's style1 #bfa ,tea-drinking1 excessive1 #bed ,teapot1 the earliest known silver 7#afgj71 #bda ,teapots1 #bda ,tea-strainers1 #cjd ,tea-table manners1 eighteenth-century1 #cjc ,tea-urn1 ,scottish1 #aggh2 illustrated1 #cbe 8,tiger0 ware1 ,elizabethan1 with silver mounts1 #ih ,tokens1 copper 7seventeenth century7 with goldsmiths' names1 #df ,town marks found on ,scottish silver1 #cae ,trencher salt cellars1 #aeg ,turner cup1 the 7#afgi71 ,york ,corporation plate1 #ajb 8,vigo0 found on ,queen ,anne's guineas 7#agjc71 #ccg ,vyner1 ,sir ,robert1 piquant story of1 #dd ,wedgwood wooden models of silversmith's designs1 #bej ,wesley1 ,john1 condemns tea1 #bed ,west ,malling jug1 the ,elizabethan 7#aeha71 #aja ,wine cup1 the ,stuart1 #abc ,wine cup1 illustrations of-- ,james ,i1 #abe ,charles ,,ii1 #abi ,women's petition to ,parliament against coffee1 #bde ,william ,,iii and the debasement of the coin1 #di ,york ,corporation plate1 #ajb ,york ,marks illustrated1 #cie ,york silver plate illustrated-- ,tankards 7,charles ,,ii71 #aaa ,marks1 #cie ,printed in ,great ,britain by ,,unwin ,,brothers1 ,,limited1 ,,london ,,and ,,woking ,,unwin',s 8,,chats0 ,,series ,chats on ,old ,jewellery and ,trinkets4 ,by ,,maciver ,,percival4 ,with nearly #cjj ,illustrations4 ,cloth1 #is4 net4 8,the book is very thorough1 dealing as it does with classic1 antique and modern ornaments2 with gold1 silver1 steel and pinchbeck2 with the precious stones1 the commoner stones and imitation40 ,outlook4 8#8,chats on ,old ,jewellery and ,trinkets' is a book which will enable every woman to turn over her jewel-case with a fresh interest and a new intelligence2 a practical guide for the humble but anxious collector4444 ,a good glossary of technicalities and many excellent illustrations complete a valuable contribution to collector's lore40 ,illustrated ,london ,news4 ,chats on ,cottage and ,farmhouse ,furniture4 ,a companion volume to 8,chats on ,old ,furniture40 ,by ,,arthur ,,hayden4 ,with a coloured frontispiece and #ge other ,illustrations4 ,cloth1 #is4 net4 8,one gets very much for one's money in this book4 ,seventy-three full-page illustrations in half-tone embellish a letterpress which is replete with wise description and valuable hints40 ,vanity ,fair4 8,mr4 ,hayden's book is a guide to all sorts of desirable and simple furniture1 from ,stuart to ,georgian1 and it is a delight to read as well as a sure help to selection40 ,pall ,mall ,gazette4 8,mr4 ,hayden writes lucidly and is careful and accurate in his statements2 while the advice he gives to collectors is both sound and reasonable40 ,westminster ,gazette4 ,chats on ,old ,coins4 ,by ,,fred ,w4 ,,burgess4 ,with a coloured frontispiece and #beh other ,illustrations4 ,cloth1 #is4 net4 8,a most useful and instructive book 444 will prove a boon to the intending collector of old coins and tokens1 and full of interest to every collector4 ,as was to be expected of any volume of this series1 the illustrations are numerous and good1 and greatly assist the reader to grasp the essentials of the author's descriptions40 ,outlook4 8,the author has not only produced #8a practical guide for the collector' but a handy book of reference for all4 ,the volume is wonderfully cheap40 ,notes and ,queries4 ,chats on ,old ,copper and ,brass4 ,by ,,fred ,w4 ,,burgess4 ,with a coloured frontispiece and #hf other ,illustrations4 ,cloth1 #is4 net4 8,mr4 ,f4 ,w4 ,burgess is an expert on old copper and bronze1 and in his book there is little information lacking which the most ardent collector might want40 ,the ,observer4 8,italian bronzes1 ,african charms1 ,chinese and ,japanese enamels1 bells1 mortars1 ,indian idols1 dials1 candlesticks1 and snuff boxes1 all come in for their share of attention1 and the reader who has mastered ,mr4 ,burgess's pages can face his rival in the auction-room or the dealer in his shop with little fear of suffering by the transaction40 ,the ,nation4 ,chats on ,household ,curios4 ,by ,,fred ,w4 ,,burgess4 ,with #id ,illustrations4 ,cloth1 #is4 net4 8,mr4 ,burgess gives much information about such attractive antiques as old glass and enamels1 old leather work1 old clocks and watches1 old pipes1 old seals1 musical instruments1 and even old samplers and children's toys4 ,the book is1 in short1 an excellent and comprehensive guide for what one may call the general collector1 that is1 the collector who does not confine himself to one class of antique1 but buys whatever he comes across in the curio line1 provided that it is interesting and at moderate price40 ,aberdeen ,free ,press4 ,chats on ,japanese ,prints4 ,by ,,arthur ,,davison ,,ficke4 ,with a coloured frontispiece and #ef ,illustrations4 ,cloth1 #is4 net4 8,mr4 ,ficke writes with the knowledge of the expert1 and his history of ,japanese printing from very early times and his criticism of the artists' work are wonderfully interesting40 ,tatler4 8,this is one of the most delightful and notable members of an attractive series4444 ,a beginner who shall have mastered and made thoroughly his own the beauty of line and the various subtlety and boldness of linear composition displayed in these sixty and odd photographs will have no mean foundation for further study40 ,notes and ,queries4 ,chats on ,old ,clocks4 ,by ,,arthur ,,hayden4 ,with a frontispiece and #hj ,illustrations4 #bnd ,ed4 ,cloth1 #is4 net4 8,a practical handbook dealing with the examples of old clocks likely to come under the observation of the collector4 ,charmingly written and illustrated40 ,outlook4 8,one specially useful feature of the work is the prominence ,mr4 ,hayden has given to the makers of clocks1 dealing not only with those of ,london1 but also those of the leading provincial towns4 ,the lists he gives of the latter are highly valuable1 as they are not to be found in any similar book4 ,the volume is1 as usual with this series1 profusely illustrated1 and may be recommended as a highly interesting and useful general guide to collectors of clocks40 ,the ,connoisseur4 ,chats on ,old ,silver4 ,by ,,arthur ,,hayden4 ,with a frontispiece1 #ii full-page ,illustrations1 and illustrated table of marks4 ,cloth1 #is4 net4 8,mr4 ,hayden's #8,chats on ,old ,silver' deals very thoroughly with a popular branch of collecting4 ,there are a hundred full-page illustrations together with illustrated tables and charts1 and the student of this book can wander round the old curiosity shops of these islands with a valuable equipment of knowledge4444 ,altogether we have here a well-written summary of everything that one could wish to know about this branch of collecting40 ,the ,sphere4 8,the information it gives will be of exceptional value at this time1 when so many families will be forced to part with their treasures--and old silver is among the most precious possessions of the present day40 ,morning ,post4 ,chats on ,old ,miniatures4 ,by ,j4 ,j4 ,,foster1 ,f4,s4,a4 ,with a coloured frontispiece and #aaf other ,illustrations4 ,cloth1 #is4 net4 ,this book presents in a concise and popular form a variety of valuable information on the collection and preservation of miniatures1 on the leading ,english and ,french artists1 and on the specimens exhibited in public galleries4 8,mr4 ,foster is truly a guide1 philosopher and friend4 ,he tells us not only how to judge and how to buy miniatures1 but how to take proper care of them4444 ,the splendid photographs by which the book is enriched adds in a great measure to its attractiveness and utility40 ,aberdeen ,free ,press4 ,chats on ,old ,lace and ,needlework4 ,by ,,mrs4 ,,lowes4 ,with a frontispiece and #gd other ,illustrations4 ,cloth1 #is4 net4 ,written by an expert and enthusiast in these most interesting branches of art4 ,the low price at which the work is issued is exceptional in dealing with these subjects1 and it is remarkable in view of the technical knowledge displayed and the many photographic illustrations which practically interleave the book4 8,in commendable1 clear and concise style ,mrs4 ,lowes explains the technical features distinguishing each example1 making the book the utmost value in identifying samples of old lace40 ,weldon's ,ladies' ,jour4 ,chats on ,oriental ,china4 ,by ,j4 ,f4 ,,blacker4 ,with a coloured frontispiece and #gj other ,illustrations4 ,cloth1 #is4 net4 ,will be of the utmost service to collectors and to all who may have old ,chinese and ,japanese porcelain in their possession4 ,it deals with oriental china from the various standpoints of history1 technique1 age1 marks and values1 and is richly illustrated with admirable reproductions4 8,a treatise that is so informing and comprehensive that it commands the prompt recognisation of all who value the choice productions of the oriental artists4444 ,the illustrations are numerous and invaluable to the attainment of expert knowledge1 and the result is a handbook that is as indispensable as it is unique40 ,pall ,mall ,gazette4 ,chats on ,english ,earthenware4 ,a companion volume to 8,chats on ,english ,china40 ,by ,,arthur ,,hayden4 ,with a coloured frontispiece1 #aej ,illustrations and tables of over #bjj illustrated marks4 ,cloth1 #is4 net4 8,to the ever-increasing number of collectors who are taking an interest in old ,english pottery 444 will be found one of the most delightful1 as it is a practical work on a fascinating subject40 ,hearth and ,home4 8,here we have a handbook1 written by a well-known authority1 which gives in the concisest possible form all the information that the beginner in earthenware collecting is likely to need4 ,moreover1 it contains one or two features that are not usually found in the multifarious #8guides' that are produced to-day40 ,nation4 ,chats on ,autographs4 ,by ,a4 ,m4 ,,broadley4 ,with #acj ,illustrations4 ,cloth1 #is4 net4 8,being an expert collector1 ,mr4 ,broadley not only discourses on the kinds of autograph he owns1 but gives some excellent cautionary advice and a valuable #8caveat emptor' chapter for the benefit of other collectors40 ,westminster ,gazette4 8,it is assuredly the best work of the kind yet given to the public2 and supplies the intending collector with the various sources of information necessary to his equipment40 ,manchester ,guardian4 ,chats on ,old ,pewter4 ,by ,h4 ,j4 ,l4 ,j4 ,,mass1 ,m4,a4 ,with #eb half-tone and numerous other ,illustrations4 ,cloth1 #is4 net4 8,it is a remarkably thorough and well-arranged guide to the subject1 supplied with useful illustrations and with lists of pewterers and of their marks so complete as to make it a very complete and satisfactory book of reference40 ,manchester ,guardian4 8,before setting out to collect old pewter it would be as well to read ,mr4 ,mass's book1 which is exhaustive in its information and its lists of pewterers1 analytical index1 and historical and technical chapters40 ,spectator4 ,chats on ,postage ,stamps4 ,by ,,fred ,j4 ,,melville4 ,with #eg half-tone and #ag line ,illustrations4 ,cloth1 #is4 net4 8,the whole book1 with its numerous illustrations of excellent quality1 is a vade mecum for stamp collectors1 even though their efforts may be but modest2 we congratulate ,mr4 ,melville on a remarkably good guide1 which makes fascinating reading40 ,academy4 8,there is no doubt that ,mr4 ,melville's book fills a void4 ,there is nothing exactly like it4 ,agreeably written in a popular style and adequately illustrated1 it is certainly one of the best guides to philatelic knowledge that have yet been published40 ,world4 99 99 99 99 99 ,t4 ,,fisher ,,unwin ,,ltd41 #a ,,adelphi ,,terrace1 ,,london1 ,w4,c4#b 99 99 99 99 99 ,transcriber's ,note3 ,the following corrections have been made to this text4 ,page #ef3 possesser changed to possessor--possessor of such coin4 ,page #gh3 marker's changed to maker's--the maker's mark is ,e4 ,g4 ,page #hf3 peple changed to people--more wealthy people4 ,page #ih3 dittograph 8to0 removed--to the son4 ,page #aad3 finals to finials--finials of the handle4 ,page #bae3 hugh to huge--huge appendages4